…..news letter #806 – dog days…..

Ugh… so late with this today. Lots of sweet reissues this week. And loads of good used stuff hitting the bins and getting bought this week. Now that the summer festival season is dying down, maybe come down for a dig.

…..picks of the week…..

rocchi

Claudio Rocchi: Suoni di Frontiera (Die Schachtel) LP
Die Schachtel present the first vinyl reissue of Claudio Rocchi’s Suoni di Frontiera, originally released in 1976. A foundational album of electronic music, available again on vinyl for the first time since its original release. An unavoidable and formative element of Italy’s long history of avant-garde music is its resistance to category and definition. Even in the face of this, Claudio Rocchi’s stunning Suoni di Frontiera is an anomaly — a body of introspective synthesizer works, stretching out to the world beyond. Italian experimental and avant-garde music from this period is distinctly different from other contexts in Europe and America, in part because many artists would begin within the realms of popular music, and slowly pushed towards more ambitious creative territories as time wore on. Rocchi is no exception. He entered the public eye during the late 1960s and early ’70s, working within the idioms of psychedelic rock, folk, and prog. While some of Suoni di Frontiera’s elements are present in earlier and later works, nothing reaches the crystalline totality of its being. It is the lone, pure avant-garde gesture in Rocchi’s long and noted career. Infused with oscillating loops, astral synth excursions, and sharp collages of vocal snippets and electronics, the music of Suoni di Frontiera might remind some of early Cluster and Harmonia. But Suoni di Frontiera’s ambition and breadth is overwhelming. It achieves what few have: realizing the dream set forth by the pioneers of early electronic music and creating a new democratic architecture of sound, as creatively ambitious as it is accessible. It is a gesture of the avant-garde, which could have only emerged from the realms of pop — sixteen discrete works of acoustics instrumentation, electronics, processing, and synthesis, freestanding and intertwined as a towering whole. It’s a restless constellation, delving from one possibly to the next — pulsing, rhythmic tones, sheets of pure abstraction, fragments of voice and environmental sound, captured and spun wild by tape loops, beautiful ambiences, and space age sounds. Its reemergence holds the potential to reform many perceptions surrounding electronic music as a whole. Oren Ambarchi, from the liner notes: “Another crucial piece of the ’70s Italian puzzle has been unearthed for our pleasure. Dig in.” Newly remastered and pressed on heavyweight vinyl; Silver and gloss varnish print with printed inner sleeves housing a transparent anti-static record sleeve; Includes insert with notes in Italian and English; Edition of 500.

File Under: Electronic, Experimental
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noyesRob Noyes: The Feudal Spirit (Poon Village) LP
2017 repress. “Rob Noyes has been on the Eastern Massachusetts scene for a while, but what we’ve heard him play is music from within the context of electric bands, most of whom are loud as hell and exist somewhere along the rim of the post-core continuum. More recently, Rob has taken to displaying his solo acoustic guitar chops and they are massive. The Feudal Spirit is the first vinyl evidence of their ‘shoulders.’ Like Western Mass’s Tony Pasquarosa, who mines the same widely-variant style-pits, Rob’s approach to acoustic playing resembles his electric work only through shared-belief-in-a-strong-downstroke. On the way to developing his own compositional/performance approach, Noyes sometimes seems to have absorbed an almost infinite reservoir of influences. Apart from some superb Basho-like 12-string tunneling, most momentary fragments tend to recall legendary Limeys like John Renbourn (and through him, Davey Graham), because Rob’s overt melodic structures tend towards the non-bluesoid. But then you’ll maybe hear a note-sequence spiced like something dropped from the hot strings of Michael Chapman or even a powerful throng that makes you think of Wizz Jones. When that happens, you realize there’s more of a blues base to some of the songs than you’d been able to untangle. Mr. Noyes hits a vast array of sub-genres on this album, and he hits them all pretty damn hard. Rob’s playing carries the weight of many possibly-imaginary forebears, but the way he smears them all together shows a holistic mastery of touch and imagination that defies a lot of today’s players, who tend to shine in short bursts, then allow their dreams to outrun their technique. Rob Noyes has no such apparent limitations. Like Raymond Pettibon, whose artwork graces The Feudal Spirit’s cover, Rob’s able to create a true form-gobble, making some real beautiful noise in the process. Around the world, licensed Hodologists whisper, ‘Make mine Noyes.’ Why don’t you join them?” –Byron Coley, October 23rd, 2016, South Deerfield, MA. Screenprinted jackets — new EZ-open jacket for the OCD/record collector set! Cover art by Raymond Pettibon. 180 gram vinyl pressed at RTI; Lacquers cut by Bob Weston at Chicago Mastering Service.

File Under: Guitar Soli, Blues, Folk
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…..new arrivals…..

abate

Maurizio Abate: Live at Elastico (Holidays) LP
Another wonderful live session by the multi-instrumentalist Maurizio Abate, captured by Ulrich Rois (Bird People) in 2014 during his exhibition at the old location of the art association eLaSTiCo — in the center of Bologna — then mixed and edited by Maurizio himself. To be considered a twin release of the Live From The Border EP published in 2012, this single-sided release features a twenty-minute track that builds a ritual and meditative soundscape with the processed sound of a hurdy-gurdy and a harmonica. Edition of 150.

File Under: Psych, Electronic, Rock
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amos

Amos & Sara: Invite to Endless Latino (War Extension) LP
Alga Marghen present a reissue of Amos & Sara’s Amos & Sara… Invite To ‘Endless Latino’, originally released by It’s War Boys on cassette in 1983. From anonymous: “Overhead comes this thrum-thrum-thrum. They look up to see a plane circling just off the island. The door facing them opens and out pop two figures, tumbling down into the water. Lazily, without a care in the world, the plane turns north and flies away. Of course, the guys start up the boat and head off to investigate. What just happened? Who jumps out of an aircraft at that height? In the water, they find two women. Both dead. Here’s the strange thing. Both the bodies, they beat up pretty bad but not only that. They both badly burnt. . . . I really got started on this thanks to my cousins, Luis and Ramon. My cousins are collectively known as Los Rubios. It ain’t a family name. . . . You heard of Bahia Blanca? My cousins, they run a small boat out of the harbour there. Shark fishing. That’s their thing. Back then, we’re talking ’76, it was just starting to take off. . . . One day they’re out on the boat. That particular day, they didn’t have no takers so they figure they’ll take the boat out anyway. Hake, gatuzo, squid — fishing to fill their own bellies. That’s when they hear the plane. Luis and Ramon race back to port. Pretty soon, a big crowd gathers. The harbour master comes running. ‘Ai, ai, muchachas,’ he groans. ‘This is a bad business. Seguro, a very bad business. You boys poking about in the hornets’ nest. Why you not leave these women to the sharks?’ While the Rubios are protesting, the local inspector arrives. He is angry beyond belief. He dismisses the harbour master and the crowd of onlookers with violent curses. . . . Overhead, in the place inhabited by saints and angels, a gentle half-hearted bossa starts up and then grinds to a halt. The silence is broken only by the sound of a shaker — it could be a rain stick — being crushed underfoot. And you will find me there at length, all the life in me rising like a wraith into the noonday sky, a dragonish mist that forms a garment for each of us to wear as we dance to Endless Latino!”

File Under: Post Punk, Rock, Experimental
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belfi

Andrea Belfi: Ore (Float) LP
Andrea Belfi (born 1979) is an international respected electroacoustic musician and composer. He began playing drums at the age of 14. He studied art in Milan, before becoming involved in experimental music and since 2002 he’s been in collaboration with a wide range of artists, currently residing in Berlin, Germany. His new album Ore is released on the new UK record label Float which was founded by Sofia Ilyas, who was previously the label manager at Erased Tapes Records. The new label exists parallel to Float PR, the London based agency dedicated to the promotion of unique artists and projects, and Andrea Belfi is the first signing. Titled Ore, the album places the drums as its centerpiece, while textures are embellished and mutated through electronic manipulations and dark, eerie sonic details. Over the years, Belfi has built a sound-world that artfully combines a modest drum set-up with an equally concise electronics component. He has searched long to produce and refine the acoustic timbres of his music, but has now reached a certain point of fulfilment, courtesy of his Saari drum-kit from Finland. Melded seamlessly with the acoustic elements are a Nord modular and sampler. On Ore, Belfi attains a masterful synthesis of these two sonic realms. Belfi has gained a reputation for his energetic and charismatic performances, both as a solo musician and within numerous collaborations. 2016 saw him tour with Nonkeen, the German three-piece band headed by Nils Frahm. Belfi became an instant highlight following a sold-out gig at London’s Barbican Centre, lighting the stage with an impressive and explosive drum solo that became one of the most memorable moments from the evening. “When I started the record I really wanted to find something very direct. I was looking for something very raw, something sonically and acoustically complex. The title Ore actually was suggested by my wife. I had to look up the meaning and loved the concept — something raw that you can extract, and the refinement into a precious material. It’s a very simple metaphor but there’s a lot there, you can just put that word out and you don’t have to explain too much. You give an input to the listener, and just leave it to the imagination.” Mixed by Francesco Donadello; Mastered by Nils Frahm.

 File Under: Electronic, Minimal
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bucknor

King Bucknor Jr. & Afrodisk: African Woman (Hot Casa) LP
Hot Casa present a reissue of King Bucknor Jr. & Afrodisk Beat 79’s African Woman, originally released in 1979. African Woman is a fantastic Afro-beat album from the Fela Anikulapo Kuti disciple and Kalakuta Republic member. A sublime spiritual and political session recorded in 1979 at the EMI studio in Lagos, Nigeria. Arranged and self-produced, Kingsley Bucknor’s second album, hopelessly obscure and impossible to find, ranks alongside the best Afro-beat albums in history. At the age of 19, King Bucknor Jr., also known as the Black Isaiah of Africa, released his second album backed by a 16-piece band called The Afrodisk, and ten background singers. Two long and hypnotic grooves with all the Afro-beat ingredients: fluid and complex drums patterns, strong horns, female voices on chorus, strong lyrics, beautiful keys, and horns solos. Essential for all Afro collectors and music lovers. Vinyl replica; Remastered by Carvery (UK); Includes inner sleeve with an interview.

File Under: Afro Beat
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costa

Gal Costa: India (Mr. Bongo) LP
A post-Tropicalia masterpiece from one of the movements key figures and true legends of Brazilian music, Gal Costa. Features a stellar line up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogério Duprat and Tenorio Jr. amongst others. Replica original gatefold including the cover that was banned by the Brazilian military government in 1973 during the brutal dictatorship. ‘India’ includes the incredible ’Pontos De Luz’ as sampled by Kaytranada on ’Lite Spots’ – one of our favourite Brazilian songs of all time. A wonderful album from start to finish, touching on MPB, folk, jazz, funk and rock with strong Tropicalia and Nordestino influences throughout. A record that we have long been wanting to reissue! Licensed courtesy of Universal Music Group Limited.

File Under: Brazilian, Tropicalia
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daphni

Daphni: FabricLive 93 (Fabric) CD
Daphni (aka Caribou, aka Dan Snaith) presents the 93rd installment of FabricLive. FabricLive 93 marks Daphni’s first mix CD and his first full body of work under the moniker since 2012’s critically acclaimed Jiaolong album, and most recently Caribou’s seminal standout 2014 album Our Love. This special FabricLive mix is composed of 23 original, unreleased Daphni tracks and four new Daphni edits, featuring tracks from Jamire Williams, Luther Davis Group, Pheeroan Ak Laff, and Container. “A lot of these tracks were recorded in situ in the mix itself,” Snaith says. “I’d put one track in place and instead of searching through existing music to find the track to follow it, I’d just make an entirely new one. The tracks on here pull from very diverse ends of the spectrum of music that I like and make.” Packaged in bespoke slipcase containing die-embossed tin.

File Under: Electronic, Experimental
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earthling

Earthling Society: Ascent to Godhead (Riot Season) LP
UK space/psych rock favorites Earthling Society return with their new album Ascent To Godhead, their second album of 2017. Ascent To Godhead is the fleetwood psychonauts’ second release on Riot Season, the first being their 2014 album England Have My Bones which got great reviews across the board. Whereas Zen Bastard was a re-imagining of ancient songs from the back catalog, Ascent To Godhead consists of brand new compositions improvised in the studio. No Hawkwind-esque generators are to be found, which is often found to be synonymous with the space rock genre. Instead, there is a calamitous howl more reminiscent of Birthday Party than Gong. Earthling Society’s unique song writing abilities remain however; where no song starts and ends the same, constantly morphing into something new. Jazz and Eastern rhythms are at the forefront of Ascent To Godhead, taking inspiration from Alice Coltrane, Sun Ra, Far East Family Band, Midori Takada, amongst others. This is no hippy claptrap from the sunshine playroom, it’s an album that ties your brain in knots, and oozes spiritual meaning. Also included is the long lost garage rocker “Can You Levitate?”. Recorded in 2009 and only unearthed earlier in 2017, Ascent To Godhead proves that Earthling Society were belting this stuff out long before the current psych scene. Alice Coltrane inspired, hand-painted artwork; Blue vinyl; Edition of 400.

File Under: Psych, Space Rock
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garrett

Garrett: Private Life (Music from Memory) LP
Garrett came from the inside of his own mind, from within a home recording studio somewhere on planet Earth. The Private Life of creative awareness and the music captured here is the visceral offering to all outside. Every one of us has a Private Life. This is Garrett’s.

File Under: Electronic, Funk, Soul
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greenspan

Greenspan & Taraval: s/t (Geej) LP
A strange confluence of sound that sounds part krautrock synth label Brain records, part Hyperdub techno haze and synth wormholes, with spectacular sound design that has banged at Berghain and sound-tracked winter night drives. Jeremy Greenspan is known mainly for his work with Junior Boys and Jessy Lanza. Taraval is a longtime touring member of Caribou, but both have released several 12″ and EPs of electronic exploration over the past few years. Inspired by synthesizer minimalists like JD Emmanuel, Cluster, and John Carpenter, the two attempted to create a type of dance music with hardware that was indebted to their influences, but did not feel intrinsically retrogressive. The idea was to make a type of raw synthesizer and drum machine music that could be listened to beside the hypermodern techno of Pearson Sound or Actress. The cover art is a tribute to a mysterious mural that looms over the Hamilton, Ontario area where the album was recorded. Each of the five tracks were edited down from much longer recording jams which were done with hardware sequencers in real time. The recording was done completely off-the-floor with no overdubs or added material after the fact. As this release might appeal to synthesizer hobbyists and enthusiasts, it seemed appropriate to compile a list of the instruments used in the original recordings: ARP Odyssey, Pioneer Toraiz SP-16, Eurorack Modular System, Roland JX8P, DSI Tempest, Simmons SDS-8, Roland SH101, Roland Jupiter 6 Yamaha CS50, Oberheim OB-XA.

File Under: Electronic, Krautrock, Kosmiche
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gruppo

Gruppo Di Improvvisazione Nuova Consonanza: Azioni/Reazioni (Die Schachtel) 5LP Box
Includes five LPs, DVD, and book; Edition of 500. The year 2007 saw one of the most remarkable findings in the long treasure-hunting history of Die Schachtel: the complete set of recordings of the early manifestation (1967-1969) of one of the most legendary improv group of all time, the Gruppo di Improvvisazione Nuova Consonanza. Rescued by the private archives of Walter Branchi, one of the original founding members — alongside Franco Evangelisti, Ennio Morricone, Ivan Vandor, Roland Kayn, Egisto Macchi, Mario Bertoncini, and John Heineman — the tapes were then restored in their entirety. Only a part of them were published in a CD-only boxset in an edition of 500, titled Azioni 1967-1969, which also featured a DVD with the original film Nuova Consonanza shot by Theo Gallher during the rehearsal and concert that the group held on March 19th and 20th, 1967, at the Galleria d’arte Moderna in Rome. Spanning from free-jazz to total abstract noise to wild electronic sounds, their music was — and remains — one of the most dynamic, original, and uncompromising expression of a period defined by intense experimentation and musical bravery, anticipating experiments to come in years following. Or, to put it simple, “They were utterly unique,” as per the words that John Zorn, who expressively wrote for this edition. To mark the ten-year anniversary of its original release, Die Schachtel present Azioni/Reazioni 1967-1969, the complete cycle of improvisations — which includes thirteen additional, never before published pieces — taken from the original tapes. Remastered by Giuseppe Ielasi.

File Under: Experimental, Improv, Italian, Morricone
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island people

Island People: s/t (Raster) LP
Gatefold double LP version. Island People is a new band project consisting of mastering engineer Conor Dalton, Grammy award winning producer David Donaldson, musician and DJ Graeme Reedie, and guitarist Ian “Chippy” Maciennan. On their first self-titled record, they present their collaborative work that evolved over the past three years. Being based in different cities, namely Berlin and Glasgow, files had to be exchanged back and forth between the band members in order to create tracks. Their delicate sound structures, field recordings, and other sound sources were heavily processed and rendered unrecognizable. Layer after layer, the tracks came into being quite naturally, not only reflecting their continuous way of working, but also incorporating their different and individual backgrounds: “During the whole creation of the album, we never realized our actions were quickly leading us into forming Island People, we were too busy having fun, making music and sharing ideas.” The result of their collaboration is a timeless music that is as open as a natural phenomenon, developing a certain feeling of euphoria over time. All in all, Island People is a pure listening record in the best tradition of ambient.

File Under: Electronic, New Age
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karkhana

Karkhana: For Seun Matta (Holidays) LP
Featuring some of the most innovative players from Beirut, Cairo, and Istanbul, Karkhana met for the first time in Beirut in 2014, bringing together influences from the three major experimental music scenes of the region and beyond. Through their live shows, the band’s seven multi-instrumentalists build a transcendental atmosphere developing what could possibly be called free Middle Eastern music. Shades and traces of shaabi, tarab, sufi, and much more are heard in the distinct blend of free jazz and psychedelic krautrock they’ve created. Recorded and mixed by Matt Bordin at Outside Inside Studio — in only two days — and mastered by Carl Saff at Saff Mastering Studio in Chicago, For Seun Matta is the first studio album by the band following the 7″ Nafas released on Omlott (2016) and Live At Metro Al-Madina released on Sagittarius A-Star (2015). Featuring Sharif Sehnaoui on electric guitar, Sam Shalabi (The Dwarfs Of East Agouza) on oud and electric guitar, Maurice Louca (The Dwarfs Of East Agouza) on organ and synth, Umut Çağlar (Konstrukt) on zurna, gralla, bamboo flutes, and percussion, Mazen Kerbaj on trumpet, Tony Elieh on electric bass, and with the recent addition of Michael Zerang on drums. “I wish I could track down more of this tantalising outfit’s music to share. . . . This Middle Eastern super group first got together to celebrate the music of Egyptian surf guitarist Omar Khorshid — who was also a key figure in Oum Kalthoum’s orchestra — but their remit has expanded somewhat and now they’re fully committed to outer-perimeter explorations in krautrock-leaning, cosmic free jazz” –John Doran, The Guardian. Edition of 500.

File Under: Free Jazz, Psych, Kraut Rock, Middle Eastern
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kink gong

Kink Gong: Tibetan Buddhism Trip (Akuphone) LP
Psalmody, small bells, big cymbals, gongs and drums — this puzzling collage of Tibetan Buddhist rites recordings is hypnotizing. It opens the way to the state of trance. The slight electronic arrangement reminds the listener that reality is not so far. The two twenty-minute tracks instantly convey an unknown and fascinating universe. Mantra chanting accelerates, horns become more insistent and a mystical atmosphere arises. With Tibetan Buddhism Trip, Akuphone starts to explore ritual and ceremonial music, here with a subtle mix of field recordings and electronic handlings. Over the years King Gong, aka Laurent Jeanneau, has specialized in the recording of ethnic minorities, particularly from South East Asia. He has recorded over 160 albums and his work is now largely well-known around the globe. An impressive collection allows him to manipulate, assemble, and reconstruct his field recordings in order to create new sound landscapes. Recorded in Tibet and Yunnan (China) between 2006 and 2013. Recomposed in Berlin in 2016. Includes insert with unseen pictures and download card including a live performance in Bristol.

File Under: Field Recording
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lean

Lean Left: I Forgot to Breathe (Trost) LP
LP version with screenprinted cover. Lean Left, the quartet of jazz drummer Paal Nilssen-Love and saxophonist Ken Vandermark with The Ex members Terrie Hessels and Andy Moor, present I Forgot To Breathe. Personnel: Paal Nilssen-Love – drums; Terrie Hessels – guitar; Andy Moor – guitar; Ken Vandermark – reeds.

File Under: Free Jazz
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jata

Marijata: This is Marijata (Mr. Bongo) LP
Marijata was a group made up of three members – Kofi ‘Electric’ Addison on drums, Bob Fischlan on organ and Nat Osmanu on guitar, hailing from Ghana. ‘This Is Marijata’ is the groups’ first LP; released originally on the Gapophone label – it is pure, rootsy, raw, driving African funk music of the highest order, now highly sought-after in both its original and previously reissued forms. Addison, Osmanu and Fischlan formed a band called the Sweet Beans with a young singer and guitarist, namely the legendary Pat Thomas. They released ‘False Lover’ in 1974 on Gapophone Records before recording ‘This Is Marijata’ and then ‘Pat Thomas Introduces Marijata’ shortly afterwards. ‘This Is Marijata’ is summed up perfectly by the text on the back cover: “Three young musicians of the Sweet Beans believe that in music and entertainment business, there is no room for mediocrity if one’s music is to win over a bigger audience and fame. How could they give the public a taste of the talent they had so meticulously nurtured since they began their musical careers without upsetting the current musical inclination in the country? Simple, Gapahone Records, quick to spot talent listened to the music of Kofi “Electric” Addison (Drummer) Bob Fischlan (Organist) and Nat Osmanu (Guitarist), liked it and the result, after month of hard work is what you have on this album – THIS IS MARIJATA. Backed by a group of hand-picked musicians, the whole album is exclusively the work of three young men who are trying to bring back some freshness and raw funk into the current flash-in-the-pan songs being recorded in this country. “I Walk Alone” a cool, scintillatingly slow number, displays some interesting instrumental works. “No Condition Is Permanent” and “Break Through” exhibit originality using the funk medium. Even though the vocal rendition sounds somewhat on the hoarse and gritty side, a strong impression is left on the mind of the listener that the boys have something going for them right in there. With the emergence of this album, I believe subsequent albums will breathe more freshness into the whole entertainment scene. Right on, brothers Marijata.”

File Under: Afro Beat, Soul/Funk, Highlife
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nww

Nurse With Wound: Dark Fat (Dirter) 3LP Box
Triple LP box set of Nurse With Wound’s 2016 release Dark Fat. Dark Fat is a celebration and documentation of ten years of NWW shows, but to call Dark Fat a live album is far too simplistic. It is an entirely new recording constructed by combining the most interesting moments of the past decade into unique tracks. M.S. Waldron is to thank as he is archival commandant of the NWW oeuvre, and since 2006 he has recorded every single thing. He has recorded all the live shows, sound-checks, rehearsals, off-stage events, and even covertly recorded the private conversations of the band. These recordings have been studiously and lovingly crafted into a unique sonic tapestry by Waldron and Steven Stapleton with delicate embroidery and filigree added by Andrew Liles and Colin Potter. This is now spread over six sides of luxurious vinyl and encased in a box with a gatefold insert, all featuring the art of Steven Stapleton aka Babs Santini. Listen in the Dark and soak up the Fat.

File Under: Experimental, Industrial

oliveira

Jocy De Oliveira: Estorias Para Voz, Instrumentos Acusticos e Eletronicos (Blume) LP
Blume present the first vinyl reissue of Jocy De Oliveira’s legendary debut Estorias Para Voz, Instrumentos Acusticos e Eletronicos, reissued for the first times since its original release in 1981. Defined by a body of singular music spanning seven decades, within the histories and continuing legacies of avant-garde practice, she is without equivalent. Her debut album Estórias Para Voz, Instrumentos Acústicos e Eletrônicos resonates through a shimmering body of organized sound, unveiling truths lingering in the shadows, the sins suffered by the Latin American avant-garde, with the actualities of its astounding heights. Oliveira began her career as a concert pianist. She left Brazil at young age to study in America and Europe, before being recruited by major orchestras across both continents, working under Stravinsky, and having pieces written for her and premiering of works by Berio, Xenakis, Santoro, Cage, and Manuel Enriquez. During the early 1960s, Oliveira shifted her efforts toward composition. She embarked on a process of folding organized sounds across nearly every context it could inhabit, blurring the lines between performance and composition, and incorporating diverse media well beyond the world of sound. In 1961, within a collaborative theater work written with Luciano Berio, Berio Apague Meu Spot Light, she instigated the first performance of electronic music staged in Brazil. Released in 1981, during the last years of her country’s military dictatorship, Estórias Para Voz, Instrumentos Acústicos e Eletrônicos was met by controversy before quickly sinking from view, heard by almost no one beyond Brazil’s borders. Among the most astounding realizations of electroacoustic process ever recorded, it is a series of sonic stories for voice, and acoustic and electronic instruments: prepared piano, violin, percussion, synthesizers, electric celesta, etc. The album’s singularity, culture, humanity, and introspection cannot be displaced; like its composer, Estórias Para Voz, Instrumentos Acústicos e Eletrônicos is Brazilian. Its draws on a diverse range of the country’s music and percussion traditions, as well as Indian raga structures, and Japanese Shōmyō singing, inspired in part by the sounds of immigrant communities within São Paulo, the city where Oliveira grew up. A landmark classic from the ’70s Brazilian electronic music scene. To quote Keith Fullerton Whitman, this is the “lost Tropicalia/psych/free-vocal/ring-modulator freakout/jam hybrid that you’ve only dreamt about!” Comes in a full-color cover with a printed inner sleeve housing a Nagaoka anti-static record sleeve; Includes original insert that functions as Obi; Red-colored vinyl.

File Under: Electronic, Classical, Brazil
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ghost

OST: Ghost in the Shell (WRWTFWW) LP
Standard Edition now available… We Release Whatever The Fuck We Want Records present the first ever official vinyl pressing of the soundtrack for Mamoru Oshii’s critically acclaimed and all around legendary science fiction anime film Ghost In The Shell (1995), adapted from Masamune Shirow’s groundbreaking manga series of the same name. The haunting score is composed by Kenji Kawai, one of Japan’s most celebrated soundtrack composers alongside Joe Hisaishi and Ryuichi Sakamoto, whose work includes Hideo Nakata’s Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai’s compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme “Making Of Cyborg”, Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film’s musings on the nature of humanity in a technologically advanced world. Ghost In The Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron’s Avatar (2009), the Wachowskis’s The Matrix (1999), and Steven Spielberg’s AI: Artificial Intelligence (2001). For fans of anime, manga, movie soundtracks, science fiction, ambient, folklore, Japan, Akira (1988), artificial intelligence, Midori Takada. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon).

File Under: OST, Electronic, Classical, Japan
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palestine

Charlemagne Palestine: Arpeggiated Bosenforfer + Falsetto Voice (Alga Marghen) LP
In 1974, Ileana Sonnabend commissioned Charlemagne Palestine to create a limited edition, double LP in conjunction with a performance to celebrate the opening of her new Soho gallery at 420 West Broadway. Charlemagne made several recording attempts, first at Swarthmore College in Pennsylvania where they had a Bösendorfer Imperial Piano in their theater. He recorded “Bösendorfer + Voice”, “Voice Piece” as well as some Bösendorfer tests, with Mayo Thompson as producer and Kurt Munkacsi as sound engineer. These ecstatic Swarthmore recordings, recorded late at night in the big empty theater space, represented the original elements on which Charlemagne Palestine later created the piano pieces for Four Manifestations on Six Elements. For more than 40 years since these recordings were made, Palestine never went back to listen to them, but recently on re-listening to these Swarthmore recordings with Alga Marghen, he found several blissful, arpeggiated piano and falsetto voice studies which he feels now deserve to be heard. Included in the Alga Marghen VocSon series, this LP of two previously unreleased 1974 recordings finally see the light of day. Edition of 405.

File Under: Avant Garde, Drone, Minimalism

porter

Porter Ricks: Anguilla Electrica (Tresor) LP
First full-length in seventeen years from the Chain Reaction/Force Inc. legends. Ever since their initial singles were released in the mid-1990s and became international calling cards for the Chain Reaction label, the Porter Ricks duo of Thomas Köner and Andy Mellwig have represented that crucible point in which techno music leaked into new social environments and became the background music for cutting-edge cultural critique. Their submerged “scuba” sound, presented in dark tone colors and reverberating to infinity, is now instantly identifiable as one of the “soundmarks” of Berlin club culture. Just as importantly, it is still a palpable aftershock of a pre-millenial genre explosion that saw deep dub, shimmering post-rock, abstract hip-hop, and art-damaged noise all drinking from the same well of inspiration. For proof of Porter Ricks’s enduring legacy, look no further than the fact that “dub techno” is now a stylistic movement that has expanded far beyond the confines of Berlin and the Basic Channel/Chain Reaction label alliance (where Mellwig’s mastering skills also played a starring role). Lurid traces of Porter Ricks’s aesthetic can now be found in the work of producers like Andy Stott and Miles Whittaker, showing the potential for the duo’s unique “aquatic” techniques to be applied to a variety of different musical contexts. Their new LP on Tresor, Anguilla Electrica, may be their first full-length release in seventeen full years, but it radiates with confidence and with a clarity and intensity rarely seen in a world so over-saturated with communications noise. It’s made clear at once that it’s a continuation of a sonic ideal rather than a tribute to what has already been achieved: the duo is not idly sitting back while their newer acolytes do their talking for them. This new LP is well worth the wait and is a life-affirming one in an uncertain and perilous time, drowning out daily anxieties like a rush of incoming surf — yet it is far more invigorating than relaxing. True to the Porter Ricks’s tradition, it will be just as exciting hearing this music as it will be to experience what new cultural mutations it leaves in its wake.

File Under: Electronic, Dub Techno
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rainforest

Rainforest Spiritual Enslavement: Fallen Leaves Camouflaged Behind Tropical Flowers (Hospital) LP
Marking six years of Rainforest Spiritual Enslavement’s cultish, elemental output, Dominick Fernow (Prurient) gives the project’s first ever release a vinyl pressing for the first time, coiling up two extended tracts of impure, unnatural gloom ranking amongst his most cherished works. Fallen Leaves Camouflaged Behind Tropical Flowers was originally released on tape in 2011 in an edition of 59. When RSE was first conceived with Fallen Leaves Camouflaged Behind Tropical Flowers in 2011, the project was shrouded in a veil of mystery which left many fiends guessing to its provenance — it seemed too far reduced to be identified as Fernow’s work, but also didn’t easily resonate with anyone of Hospital Productions’ usual suspects, instead holding a unique line of stygian slow techno that sounded like some our bleakest, febrile fantasies come to life. Soon enough RSE’s creator and navigator was indeed revealed to be Fernow, and the project became regarded among his most prized golems by those in the know, not least because it was starkly defined in contrast to his myriad other pseudonyms — Vatican Shadow, Prurient, Christian Cosmos, Force Publique Congo, and so on — by dint of its perceived restraint and glowering minimalism. Perhaps because of that stringent, meditative asceticism, the hypnotic grip of RSE has remained undiminished and perhaps as strong as ever on this new vinyl edition, where the predator heartbeat and keening tonal groans of “Life Would Transform” sound more pensive and narcotically effective than ever, and the borderland industrial chug and clag of “Skull Covered In Moss” seems to be seated deeper into its dank gloom, emulating a location recording of a burial-by-mud in some godforsaken no-man’s-land, with lurking parakeets and mechanical birds awaiting their turn on your soon-to-be carrion. RIYL: Coil, Demdike Stare, Prurient, Brian Eno / Jon Hassell’s Fourth World (1980). Remastered by Paul Corley; Cut at Dubplates & Mastering, Berlin. Edition of 500.

File Under: Electronic, Ambient, Industrial
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regis

Regis: Gymnastics (Downwards) LP
For the 21st anniversary of Regis’s pivotal debut album, the Brum techno overlord has remade the scene of the crime from original stems and salvaged 8-track tapes. The unyielding results effectively present a doctored version of his seminal — some may say game-changing — record, featuring new studio versions and unreleased sequences. It’s basically a stronger, fitter version of his most prized LP, loaded with sounds as brutally functional as the city which birthed them. Originally recorded in September 1996 in Room 406, Digbeth, Birmingham aka Scorn’s studio — sandwiched between Tony De Vit and Broadcast’s recording spaces — Regis used one drum machine, one synth, and one FX unit to nail home a back-to-basics approach to techno; one inspired as much by the direct immediacy of Chicago house as the febrile DJ sets of Jeff Mills, but also drawing a crucial “X factor” from his background as a bit of a hooligan, with form in a number of post-industrial, EBM, and punk units. When Gymnastics first hit the ‘floor, it was considered shocking anathema to the swell of manicured, proggy arrangements which were by then dominating the spotlight of British dance in clubs and the media. It was loopy, stripped-to-the-bone, and shark-eyed, always moving forward and without the faintest recourse to melody or harmony — simply reveling in the gnashing tension and swerve of raw, clattering drum machines, and monophonic synth jabs. Big Beat or trance it fucking well wasn’t. 21 years later its lip-biting force is now felt stronger than ever. From the grumbling refusal of “We Said No” and the austere wall-banger “Allies” that boot off the album, through the 16th note nag of “Translation” to the rictus jag of “Sand” and the metallic bite of “The Black Freighter”, this is timeless, primal dance music that still causes friction wherever it’s deployed. James Brown is dead. Long live Regis. New reworked artwork (original featured the Twin Towers photographed in 1996). Remastered and cut by Matt Colton.

File Under: Electronic, Techno
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reich

Steve Reich & Ensemble Modern & Synergy Vocals: Music For 18 Musicians (Victory) LP
A stunning version of Steve Reich’s masterpiece of musical minimalism Music For 18 Musicians (1974-1976), performed live at Tokyo Opera House in 2008 by Ensemble Modern and Synergy Vocals, featuring the composer as guest performer. LP housed in a deluxe die cut jacket with printed insert. In the 1960s, with Terry Riley and Philip Glass, Reich gave pulse back to experimental music. He discovered the tape-based techniques of looping and phasing, using recordings of fragments of speech, and then molecules of musical material. ” (…) When Steve Reich released Music For 18 Musicians (ECM, 1978), it was a consolidation and major leap forward in the pulse-based music that the minimalist progenitor had been exploring on earlier compositions including ‘Four Organs’ (1969), a piece that relied on nothing more than a six-note chord, yet was a near flat-out sonic assault. 18 Musicians was an altogether more complex and sophisticated work, with a broader textural palette based largely on tuned percussion — piano, vibraphone, marimba and xylophone — but also working with maracas, voice, strings, and clarinets to create a sweeping, hour-plus long suite that was hypnotic, melodic, and eminently accessible. With the mathematical precision by which its eleven sections and wrapping ‘Pulses’ develop, it’s a demanding suite to play (…)” –John Kelman, All About Jazz, 2008

File Under: Avant Garde, Minimalism

sakata

Akira Sakata/Manuel Mota/Giovanni Di Domenico/Mathieu Calleja: Jomon (Holidays) LP
Japanese saxophone transgressor Akira Sakata meets with his long-time collaborator and Fender Rhodes virtuoso Giovanni Di Domenico, Portuguese guitarist Manuel Mota, and drummer Mathieu Calleja for a session recorded at Les Ateliers Claus in Brussels. Named after the Jomon period of the Japanese prehistory — when Japan was inhabited by a hunter-gatherer culture rich in tools, clay pottery, and jewelry made from bone and stone — the record features three tracks: “Jomon” (縄文), “Kaen” (火焔), and “Dogu” (土偶). The Dogu (literally: “clay figures”) were small humanoid and animal figurines made during the Jomon period for religious purpose: it may have been believed that illnesses could be transferred into the Dogu, which was then destroyed, clearing the illness, or any other misfortune. The record itself is a musical healing ritual invoking a powerful demon with Sakata’s throat singing, unleashing then slowly hypnotizing it in the second half of the album, putting it back into its vault before it’s too late. Beautiful artwork made with Sakata’s hand-painted Kanji characters. Edition of 250.

File Under: Free Jazz

sanders

Pharoah Sanders: Izippho Zam (My Gifts) (Everland) LP
Everland Jazz present a reissue of Pharoah Sanders’s Izipho Zam (My Gifts), originally released in 1973. “Popular and increasingly in demand, Izipho Zam (My Gifts) falls into the ‘rare’ category among record collectors and is a gift to fans of master Pharoah Sanders. This demand is partially galvanized by the fact that ‘Prince Of Peace’ has become an inspirational mine to hip hop artists and is much loved by samplers. Izipho Zam is Pharoah Sander’s third album, initially recorded in January 1969, it was originally released on the Strata-East label in 1973. On Izipho Zam, Sanders and his band take you on a journey into another world providing an amazing experience! Passionate, intense and free, Sanders saxophone especially, is exquisite, pouring out its soul telling a story of its own. Hailed by peers as the best tenor saxophonist in the world, Pharoah Sanders is a legend in jazz music. He is regarded as one of the pioneers of free jazz and is the mentor of jazz giant, saxophonist Robert Stewart. Born in 1940 into a musical family as Farell Sanders in Arkansas, he first played the clarinet before switching to tenor saxophone in high school. After high school, he moved to California to study music and art. In 1961, Sanders moved to New York where he often played gigs with a number of free jazz dignitaries including Billy Higgins, Sun Ra and Don Cherry. His name ‘Pharoah’ was given to him by Sun Ra, who was his bandleader then. It was during one of these gigs that he met John Coltrane who became his mentor. While playing with Coltrane, Sanders inevitably rose to prominence due to his very distinctive tenor saxophone sound.” –Rachel Kinoti Licensed by Strata-East Recordings.

File Under: Spiritual Jazz
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omega

Squadra Omega: Nervoso (Holidays) LP
Squadra Omega teams up again revealing itself in the shape of a trio composed of — exactly as for the session which gave birth to Il Serpente Nel Cielo (2015) — OmegaFrank (drums), OmegaG8 (bass, electronics), and OmegaMatt (guitar, organ, sax, electronics). An improvised session recorded live by Matt Bordin at Outside Inside Studio, where the Squadra goes nervously free — constantly suspended and harmonically non resolved — following a trail of skilled atonal jazz rock guitar tunes leading to moments of dazed electronics. Definitely not an easy-listening album, wonderfully rendered. For fans of early ECM records. Masterful cut made by Daniel Krieger at SST in Frankfurt. Edition of 250.

File Under: Electronic, Jazz, Psych

tical

H.Tical: Impact: Synthesized Sound & Music (Intervallo) LP
Intervallo present a reissue of H. Tical’s, aka Armando Sciascia, Impact: Synthesized Sound And Music, originally released in 1971. From the very first second, Impact: Synthesized Sound And Music is a difficult, icy release, embracing many cornerstones of what would become known as industrial music. These 16 sonic experiments are totally devoted to VCS3 synthesizers, which are the main architects of whirling escapes, white noise, and sonic landscapes in the mood of early Warp releases. Impact: Synthesized Sound And Music was originally released via Armando Sciascia’s Vedette label in 1971, under the alias H. Tical. It’s a really peculiar library music album, filled with incredibly contemporary sounds and atmospheres. Unlike Distortions by Blue Phantom (1971), whose super groovy and almost hard-prog tracks are all credited to H. Tical, this is a totally different sonic planet – and it’s difficult to figure out what kind of images could be paired with such an extreme experiment, which is a one-of-a-kind effort in Sciascia’s more traditional career as a composer. Moreover, the musical delirium is enhanced by the usual beauty of the titles, such as “Colluvium”, “Metastasis”, “Trigonos”, “Intercosmic”, “Rubidio”, or “Laser”, mixing Latin and English. This is a wonderful, alienating album made of “static” music, totally estranged from the idea of movement. A true desert island album, or better said, an abandoned planet album. Edition of 400.

File Under: Library, Italian
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trad

Trad, Gras Och Stenar: Tack For Kaffet (So Long) (Subliminal Sounds) LP
Limited clear vinyl edition. Gatefold double LP version. The long-awaited new album from the legendary pioneers of transcendental psychedelic rock music and DIY culture in general. Tack För Kaffet (So Long) is a tribute to the deceased band members and dearest friends Torbjörn Abelli and Thomas Mera Gartz. It becomes something of a farewell show for the old Träd, Gräs Och Stenar because all the old and new members, including founder Bo Anders, Torbjörn and Mera, and Reine Fiske (Dungen, The Amazing), are all contributing to this album. The sounds were captured on tape in their music workshop in the countryside and consists mainly of improvised moments where the sounds travels beyond time and space, something that has been TGS hallmark over the years. Perhaps there’s a form of melancholy over some of the album, much depending on how cruelly and suddenly Mera and Torbjörn passed away, but also on a little lighter and crazier whim. Everything is recorded live so there are no euphemistic circumstances, rather everything is pared down, bared bone drones, sounds traveling in the magical improvised unknown with no makeup, just as life can be when the feeling has control. A manifestation of improvised timelessly organic music and free creation. Real life!

File Under: Psych
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univers zero

Univers Zero: Heresie (Sub Rosa) LP
Sub Rosa present a reissue of Univers Zero’s second album Heresie, originally released in 1979. 2010 remixed version (Cuneiform Records). A classic of chamber rock music, featuring heavy use of dissonance and dark, brooding, and extremely complex melodies. Comes on limited edition orange and gold vinyl; Includes insert; 380 gram sleeve. “This music on this LP might have little to do with rock, and might also be a massive downer, but the quality of the writing and playing is extremely high. Michel Berckmans’ solo work on oboe and bassoon work is magnificent, and Patrick Hanappier’s string playing (violin and viola) also demonstrates the precision of a trained classical musician, along with demonic avant-garde scraping and howling on ‘Jack The Ripper.’ Best of all, Univers Zero never cheapens the effect of the music with any of the stock cartoon licks which are associated with the gothic genre today. Group members sound deadly serious about what they’re doing, which might call their sanity into question, but which makes for an incredibly powerful listening experience. In fact, Heresie is a stunning one-of-a-kind item that has never been duplicated by anyone — including Univers Zero.” –William Tilland, AllMusic

File Under: Experimental, Prog
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vaccina

Lino Capra Vaccina: Echi Armonici da Antico Adagio (Die Schachtel) LP
Die Schachtel present unreleased material from Lino Capra Vaccina on Echi Armonici da Antico Adagio. For fans of the Italian avant-garde, few names inspire the loyalty and devotion offered to the percussionist and composer Lino Capra Vaccina, a perfect emblem of the country’s extraordinary movement of musical minimalism. He first gained note as a member of Aktuala, creating a hybrid of rock, avant-garde, and ancient musics while incorporating a diverse number of sonic traditions from across the globe: African, Middle Eastern, Indian, etc. Vaccina’s career as a composer has been marked by two distinct features: an incredibly high bar of quality and ambition, and a tragically slim recorded output. Following his departure from Aktuala, he worked extensively with others — Juri Camisasca, Franco Battiato, etc. — and within the short-lived super group Telaio Magnetico, but his astounding solo efforts have been slow to emerge. In 1978, he released the legendary LP Antico Adagio (DS 027CD/027-1LP), and wouldn’t be heard from again until 1992’s equally extraordinary L’Attesa. Fortunately, the Milan based imprint Die Schachtel has embarked on a multifaceted project of reissuing Vaccina’s hard-to-find LPs for a new generation, as well as offering a range of stunning, unreleased archival recording. Echi Armonici da Antico Adagio falls into the latter category, but it is nothing short of a momentous event. Echi Armonici da Antico Adagio draws on the same body of recordings from which Vaccina’s masterpiece Antico Adagio also grew, entering an already shimmering stage. The album is a revelation, a lost, towering artifact of the Italian avant-garde. It features two sidelong works of pulsing, hypnotic, ritualistic drone with Vaccina’s percussion — gongs, bells, and cymbals — threaded by sustained tones, generated by the voices of Juri Camisasca and Dana Matus. Flirting with the outer-reaches charted by Buddhist and African music, it is a trance-inducing, meditative, cosmic world of sonic interplay. Sheets of resonance, stunning harmonic interplay, and intricate rhythms rise as one. Both performances — immersive, beautiful, deeply moving, rewarding, and intellectually rigorous — reveal themselves slowly at every return. Nearly forty years after its rhythms, tones, and ambiences imprinted themselves onto tape, Echi Armonici da Antico Adagio is unquestionably one of the most important albums to appear in 2017. Silver and gloss varnish print with printed inner sleeves housing a transparent anti-static record sleeve; Edition of 300.

File Under: Experimental, Avant Garde, Electronic
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girls

Various: Girls in the Garage 1 (Past & Present) LP
Prior to Joan Jett, Patti Smith, Courtney Love, and other era-defining women in rock, there were the girls in the garage. Like their male counterparts discovered, being in a band was not only cool and alluring, it was sexual and ultimately political, without making a “political” statement. The garage band was a medium that enabled a voice to be heard, an adolescent fury of angst and frustration or plain old hormones. Girls In the Garage captures the raw essence of those juvenile dreams played out through guitars, drums, mics and amplifiers. Prevailing gender roles would be tested, as rock ‘n’ roll became someone else’s domain. The arrival of rock ‘n’ roll and the teenager not only belonged to the boy next door, it aroused the aspirations and emotions of girls. Although it’s been said that it was rare for a girl group to play on their own records in the mid-1960s, they were not alone. On both sides of the Atlantic, cynical and shrewd producers largely employed session musicians, afraid of any conceivable faults at the hands of such young and innocent hands, male and female. The ones who didn’t were bold visionaries that believed not only in a new generation’s ambitions, but capabilities too. As the rise of a female presence in rock ‘n’ roll rose through the appearance of figures such as The Vejtables’ Jan Errico, the Honeycombs’ Honey Lantree, and the fabulous Maureen Tucker (whose deliberately primal technique is such an undervalued part of the Velvet Underground’s sound), so too did the rise of all-female bands. Liverpool’s Liverbirds and Hull’s Mandy And The Girlfriends gave weight to the idea that it was “normal” and paved the way for likeminded girls to drop the dream boy and pick up the guitar. Although, the prevailing attitude amongst both major and independent record labels was never going to be inspiring or welcoming, like the wailing blues mamas such as Memphis Minnie or Jessie Mae Hemphill, times were-a-changin’ and girls didn’t just want to have “fun”. Emerging groups such as the Pleasure Seekers, White Boots, Ace Of Cups, The Bittersweets, and The Luv’d Ones were playing rock ‘n’ roll on their own terms whilst breaking new ground — whether they were trying to or not. Features: Denise & Co., The Puppets, The Models, The Chymes , The Bittersweets, The Interpreters, The ID, The Glass Opening, The Belles, The Luv’d Ones, Kim And Grim, Lydia Marcelle, The Continental Co-Ets, The Beatle-Ettes, Cathy Rich, and Althea And The Memories. Comes on 180 gram yellow colored vinyl; Includes full-color four-page booklet.

File Under: Garage

natura

Various: La Natura e L’Uomo (Intervallo) LP
Intervallo present a reissue of La Natura E L’Uomo, originally released in 1973. Intervallo’s third reissue in the incredible series of nature-themed libraries originally released in the first half of the ’70s by Cardium, Chic, Nereide, Musical, Rhombus, Spring, and Weekend labels. Real hardcore collector items which gave birth to a small cult during the last four decades. La Natura E L’Uomo, (Italian for “nature and mankind”), first came out in 1973; despite being part of the same series as Biologia Marina (1973) and Ittiologia (1973) (part of Intervallo’s reissue series), it is actually a different affair, in which the avant-garde urge partly leaves room for sweeter, acoustic atmospheres. But there are also amazing examples of ambient experimentations such as “Protozoi” or “Venus”, both featured in two versions. The main characters of this release are pretty much the same ones we met in the other volumes: Alessandro Alessandroni, Franco Tamponi, and Amedeo Tommasi. La Natura E L’Uomo also introduces two new names: Marco Di Marco, author of the tracks with a more definite easy listening mood, is a pianist and a jazz composer from Bologna, while the alias Kema hides Alessandroni’s wife, the amazingly talented Giulia De Muittis, who was an equally formidable force. She and her husband are responsible for the most enticing tracks of the album: “Bassa Marea”, “Pescatori”, and “Venus”. Edition of 400.

File Under: Italian, Library

…..Restocks…..

Tim Buckley: Goodbye And Hello (Rhino) LP
Coil: New Backwards (Important) LP
Judy Collins: WIldflower (Rhino) LP
Darkthrone: A Blaze in the Northern Sky (Peaceville) LP
Aretha Franklin: Aretha Arrives (Rhino) LP
Golem: Orion Awakes (Mental Groove) LP
Grateful Dead: Smiling on a Cloudy Day (Rhino) LP
Joy Division: Closer (Rhino) LP
Joy Division: Unknown Pleasures (Rhino) LP
La’s: s/t (Rhino) LP
Metallica: … And Justice for All (Elektra) LP
Metallica: Kill ‘Em All (Elektra) LP
Roberto Musci: Tower of Silence (Music From Memory) LP
Outkast: Atliens (Legacy) LP
Psychic TV: Force The Hand of Chance (Angry Love) LP
Tragically Hip: Trouble at the Henhouse (Universal) LP
Tragically Hip: Up to Here (Universal) LP
Whitehorse: Panther In The Dollhouse (Six Shooter) LP
Amy Winehouse: Back to Black (Universal) LP
Amy Winehouse: Frank (Universal) LP
Amy Winehouse: Lioness (Universal) LP
X-TG: Desert Shore/Final Report (Industrial) LP
Yamasuki: Le Monde Fabuleux Des Yamasuki (The Great Thunder) LP

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…..news letter #805 – mmm flavor country…..

Well! I’ve decided to try something different with the audio links in news letter today. Instead of Soundcloud/Youtube, I’m giving Spotify a try. They seem to have a lot more stuff than Soundcloud and or Youtube. So, we’ll see how this works, if you have any input, love it, hate it, didn’t know there were audio links, let me know. Anyway, Warm Jets will be in tomorrow. And Shooting Guns are awesome as always. Come for a dig.

….. picks of the week…..

hctwj

Brian Eno: Here Come the Warm Jets (Astralwerks) LP
***HIGHEST RECOMMENDATION*** In tomorrow...  Brian Eno presents deluxe gatefold, 2LP heavyweight vinyl editions of his classic releases Here Come The Warm Jets, Taking Tiger Mountain (By Strategy), Another Green World and Before and after Science. Each album is now spread over two 180-gram vinyl discs, which play at 45 RPM and have been mastered at half-speed by Miles Showell at Abbey Road Studios, ensuring these seminal works sound better than ever before. Each album also contains an Obi, download voucher and Abbey Road Half Speed Master certificate. With experimentalism, conceptual art theory and use of the accidental as a foundation, these albums broke through the boundaries of popular music at the time. Elements of prog/psych/art rock, avant garde and 50s rock ‘n’ roll were combined with an array of cultural and philosophical ideas to create fresh sounding music, that was both visionary and captivating. Alongside George Martin and The Beatles’ work on Sgt. Pepper’s, Eno is arguably the other most pre-eminent practitioner of ‘studio as instrument’ ever. His unconventional recording techniques have resulted in a canon of work that places him alongside other iconic producers like Brian Wilson, Lee Scratch Perry and Phil Spector. As these albums progress chronologically, a nascent form of music begins to emerge. The ideas we hear in this early work continue to reveal themselves in Eno’s later ambient and electronic experiments. 1974 debut Here Come The Warm Jets’ hybrid of glam, prog and art rock continued in a vein similar to Eno’s previous albums with Roxy Music, but further upped the experimental ante. In developing the album’s words and music, Eno used unusual methods, including dancing for his band members – having them play accordingly, and singing nonsense syllables to himself, then forming those into actual words, phrases and meaning – a technique revisited across all these albums. The lyrics on Here Come The Warm Jets are macabre with an underlying sense of humor. They are mostly free-associative and have no particular meaning – another recurring method. Eno enlisted sixteen guest musicians to play on the album, including Robert Fripp and John Wetton of King Crimson, Simon King from Hawkwind, Bill MacCormick of Matching Mole and Quiet Sun, Paul Rudolph of Pink Fairies, Phil Manzanera and Andy MacKay from Roxy Music and Chris Spedding. Eno selected them on the basis that he thought they were incompatible with each other musically. He stated that he “got them together merely because I wanted to see what happens when you combine different identities with the knowledge that there might be accidents, accidents which will be more interesting than what I had intended.”

File Under: Rock, Classics, Essential Grooves, Glam, Pop
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guns

Shooting Guns: Flavor Country (Riding Easy) LP
While Canadian sextet Shooting Guns is known (and oft-nominated) for their film soundtrack work (like Netflix hit WolfCop), Flavour Country is the band’s fastest, heaviest and most visceral material—a collection of anthems to jettison from this universe into the multiverse. The album features some of the band’s most atmospheric sounds: there are slight hints of Ennio Morricone’s Spaghetti Western twang amidst the looping Meddle-era Pink Floyd heavy psych and driving drone reminiscent of Bobby Beausoleil’s belladonna laced soundtrack to Kenneth Anger’s Lucifer Rising. But for the most part, the band is out for blood, regardless of tempo. Album opener “Ride Free” kicks off with a blistering wall of guitars, blaring and rattling out of the gate like mutant progeny to fellow Canadian biker-rock heroes Steppenwolf duly firing all of the guns, exploding into space and returning to hunt down every last one of us. It accelerates from there: “French Safe” sounds like an unhinged battalion of musicians driving full throttle like a scene from a George Miller Road Warrior movie. Biting, lengthier tracks like “Simian Shelf” and the title track occupy the heavy end of the psychedelic spectrum, haunting the foggy moor between early, bluesy Sabbath-styled doom riffery and heavy pulse-riding kraut-rock.

File Under: Metal, Stoner, Rawk
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…..new arrivals…..

blackout

Blackout: Horse (Riding Easy) LP
Ask any New Yorker what makes them special and they’ll all tell you something different. But there’s something very particular about a city so condensed with a vast range of humanity all facing myriad daily challenges that gives its rock music a brash, direct aggression unlike other places. Case in point, NYC trio Blackouts take on doom and stoner rock is filled with a gritty, mechanistic heft unlike bands of their ilk from anywhere else. Subsumed within the greasy grooves of The Horse there are echoes of NYC heavy legends like Helmet, Cro-Mags, Judge, Prong and others not as intentional homage, but rather a vibe that permeates and inadvertently gives its bands a unique power that few can match. After a brief hiatus between the March 2015 release of their self-titled sophomore album on Riding Easy Records, Blackout has regrouped and (ahem) gotten back on The Horse for an 8-song blast of riffs that does not fuck around. On one fateful day in July 2016, with a handful of mushrooms and a bottle of tequila, vocalist/guitarist Christian Gordy set out to write an entire new Blackout record. Following the departure of original drummer Taryn Waldman earlier that year, the bands fate was uncertain. But, Gordy’s writing foray resulted in a wellspring of inspiration and by happenstance he contacted drummer Adam Taylor who had just parted with his band Ghost Punch. Within two months of banging out riffs with bassist Justin Sherrell, Blackout was back in action. The Horse was recorded over 4 days in September 2016 at Spaceman Sound in Brooklyn’s Greenpoint neighborhood, which the band describes as a whirlwind session laced with loads of buds, Petey’s burgers and lipstick. Or, described by blackout themselves: What you have before you now is a messy plate of meat, slathered in weird sauces. A haunted steak from Centaurus A to sink your tingling fangs into. Sit back, crack a semi cold one, maybe get some snacks and turn this motherfucker up to 8.

File Under: Indie Rock, Pop
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change of heart

Change of Heart: Smile (Label Obscura) LP
Label Obscura is proud to announce the reissue of one of the most important Toronto independent rock albums of the nineties. This Summer, Change Of Heart’s seminal 1992 album Smile will finally see its first release on vinyl, as a double LP. Originally released twenty-five years ago this summer by Cargo Records, Smile is a sprawling, twenty-one song album which was recorded in early January, 1992 at Toronto’s Reaction Studios. Said album was originally envisioned to be released as a double record, much like many of the classic records that influenced its creation, including the Minutemen’s Double Nickels on the Dime and Husker Du’s Zen Arcade, but due to budgets constraints at Cargo it was only ever released on compact disc and cassette. Re-assembled and remastered from the original master tapes by album producer Michael-Philip Wojewoda, Smile will be available as as a limited edition on coloured vinyl, limited to 300 copies.

File Under: Rock, Alternative, CanCon
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guardians

OST: Guardians of the Galaxy Vol 2 (Hollywood) LP
Guardians of the Galaxy Vol. 2 is filled with great action, humor and performances, but it is also infused with a new mixed tape and soundtrack, a dynamic that resonated deeply with audiences in the first film as evidenced by the success of the soundtrack album. The Grammy-nominated Guardians of the Galaxy soundtrack reached No. 1 on the U.S. Billboard 200 chart, becoming the first soundtrack album consisting entirely of previously released songs to top the chart. The album has also been certified Platinum by the R.I.A.A. Once again, music plays an important role in the telling of the story in Volume 2. Set to the all-new sonic backdrop, Marvel Studios’ Guardians of the Galaxy Vol. 2 continues the team’s adventures as they traverse the outer reaches of the cosmos. The Guardians must fight to keep their newfound family together as they unravel the mystery of Peter Quill’s true parentage. Old foes become new allies and fan-favorite characters from the classic comics will come to our heroes’ aid as the Marvel Cinematic Universe continues to expand. Director James Gunn explains, “We had Awesome Mix Volume 1 last time, and this time we have Awesome Mix Volume 2. It was so important that it’s actually part of the film’s title this time around. As most people know, Quill’s mom made the first tape for a slightly younger boy, and she made the second tape for a slightly older boy. So, in many ways the songs reflect the story. The songs are a little bit deeper in some ways; a little bit less pop in some ways. Some of the choices are a bit more eclectic; some of the choices are a bit more popular. But we have a real amazing group of songs that, like in the first movie, I wrote into the script. They are a part of the storytelling. Each song is very specific to the scene where it’s placed.” On the importance of the score, which often gets overlooked in a film heavy with popular songs, Gunn adds, “The one thing that is underappreciated is how important Tyler Bates’ score is to the first film. We still use the score from the first movie while shooting this film and it doesn’t get the respect it deserves because it gets so overshadowed by the soundtrack. There’s some beautiful score on that first soundtrack, and I know that the music we’ve written for the second film is even better than what we did for the first film. Tyler Bates has absolutely outdone himself, and we’re giving something very special to people with the music in this film, both the pop songs and the actual score.”

File Under: OST, Classics
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preoc

Preoccupations: Cassette (Flemish Eye) LP
In late 2013, Preoccupations – then known as Viet Cong – released a small-run Cassette EP only available on tour. Over the course of a year, Matt Flegel and Scott Munro worked in their basement studio with a mess of old and run down equipment to build a set of fresh material. Joined by bandmates Daniel Christiansen and Michael Wallace, the band completed work on a debut Cassette. What emerged from the studio was a mixture of sharply-angled rhythm workouts and euphoric ‘60s garage pop-esque melodies, balanced with a penchant for drone-y, VU-styled downer moments, and became a hard-to-find classic. Preoccupations’s first ever release, Cassette, is now being reissued on 12″ vinyl.

File Under: Indie Rock
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shindig

Shindig! #69 Mag
Shindig issue no. 69 contains features on a.o. Steve Marriott, Television Personalities, Paul Weller and Jimi Hendrix. Of course you also get the usual sections such as Shindiggin’, What’s hot on the Shindig! turntable, Thoughts & Words, letters and emails, It’s A Happening Thing, and much more.

File Under: Reading

omar

Omar Souleyman: To Syria, With Love (Mad Decent) LP
Syrian musician Omar Souleyman’s new album, To Syria, With Love, is set for release June 2 via Mad Decent. The follow up to 2015’s Bahdeni Nami marks Souley man’s third full-length studio record. In support of the new release, Souleyman will tour the U.S. in May, playing select dates including New York, Los Angeles, Detroit and Salt Lake City as well as festival performances at Form Arcosanti in Arizona and MoogFest in North Carolina. To Syria, With Love is a departure musically and lyrically from his previous material, with focus on more elaborate keyboard and techno elements. Completely setting politics aside, Souleyman consciously shares this personal ode to his native country with an emphasis on his emotional connection to the land and people but not without heartache in view of the nation’s current state.  “It’s been six years I’ve been away, and I’m tired of looking for home and asking about my loved ones. My soul is wounded and it’s like having dust in my eyes,” Souleyman says.

File Under: Dabke, Electronic, Syria
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television

Television: Live at the Old Waldorf (Rhino) LP
The second release in the RSD Vinyl Club series. This special RSD Vinyl Club title will be released on 2 x 140g black vinyl. An American rock band, formed in New York City in 1973, Television was part of the early 1970s New York underground rock scene. Live At The Old Waldorf (San Francisco 6/29/78) was originally given the Rhino Handmade treatment back in 2003 on CD only in an edition of 5,000 units. That release sold out in days. The 180g 2LP white vinyl set of 3,000 units for RSD 2011 also sold out. This title is very popular and in high demand on the Internet. This is a one time RSD Vinyl Club pressing, with a minimum of 2000 pieces required to press. This is a one time RSD Vinyl Club pressing with a minimum of 2000 pieces required to press.

File Under: Art Rock, Punk
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nuggs

Various: Transparent Days: West Coast Nuggets (Rhino) LP
The crucible of the 1960’s rock revolution lay squarely on the Pacific rim of the Americas. From Vancouver and the Pacific Northwest down through the San Francisco Bay area and the massive suburban sprawl of California’s southland, literally thousands of life-changing discs spewed forth from the smallest garage to the most state-of-the-art studio facility. It was truly rock music’s renaissance period, and the recorded evidence still has the capacity to thrill and enthral. This carefully curated selection of curios from the Warner Brothers family of catalogues is a celebration of the arcane and the acknowledged, the unheard and the unsurpassed, all with a direct tie to the West Coast. As a wise man once said: “It’s a nugget if you dug it!”

File Under: Psych
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…..Restocks…..

Arcade Fire: Funeral (Merge) LP
Arcade Fire: Neon Bible (Merge) LP
Broadcast: Future Crayon (Warp) LP
Broadcast: Haha Sound (Warp) LP
Broadcast: Tender Buttons (Warp) LP
Nuno Canavarro: Plux Quba (Drag City) LP
Cigarettes After Sex: s/t (Partisan) LP
Daft Punk: Random Access Memories (Columbia) LP
Daft Punk: Tron: Legacy (Disney) LP
Lee Fields: Special Night (Big Crown) LP
Lee Fields: My World (Truth & Soul) LP
Lee Fields: Faithful Man (Truth & Soul) LP
Future Islands: Far Field (4AD) LP
Led Zeppelin: I (Warner) LP
Led Zeppelin: II (Warner) LP
Led Zeppelin: III (Warner) LP
Led Zeppelin: IV (Warner) LP
Madlib/Freddie Gibbs: Pinata (Madlib) LP
Metallica: s/t (Elektra) LP
Mr. Bungle: Disco Volante (Music on Vinyl) LP
Night Beats: s/t (Trouble in Mind) LP
Outkast: ATLiens (Arista) LP
Replacements: Twin/Tone Years (Rhino) Box
Replacements: Sire Years (Rhino) Box
Spacemen 3: Sound of Confusion (Fire) LP
Spoon: Hot Thoughts (Matador) LP
Stars of the Lid: Tired Sounds of (Kranky) LP
Waxahatchee: Out in the Storm (Merge) LP
White Stripes: Get Behind Me Satan (Third Man) LP

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…..news letter #804 – enophile…..

What an exciting time to be alive! This week we finally see the reissue of Brian Eno’s four pop masterpieces! (Granted ‘Here Come the Warm Jets’ is late) This has been the biggest peeve of mine for years! These albums are completely essential. But not only did they reissue them, but they are double 45rpm audiophile pressings! I’m pretty curious as there’s never been an audiophile pressing of anything I know well enough to be able to judge if there is anything to this double 45rpm thing. SO, I strongly recommend you buy em, cuz they rule.

…..picks of the week…..

AGW

Brian Eno: Another Green World (Astralwerks) LP
***HIGHEST RECOMMENDATION!!!*** In tomorrow…. Brian Eno presents deluxe gatefold, 2LP heavyweight vinyl editions of his classic releases Here Come The Warm Jets, Taking Tiger Mountain (By Strategy), Another Green World and Before and after Science. Each album is now spread over two 180-gram vinyl discs, which play at 45 RPM and have been mastered at half-speed by Miles Showell at Abbey Road Studios, ensuring these seminal works sound better than ever before. Each album also contains an Obi, download voucher and Abbey Road Half Speed Master certificate. With experimentalism, conceptual art theory and use of the accidental as a foundation, these albums broke through the boundaries of popular music at the time. Elements of prog/psych/art rock, avant garde and 50s rock ‘n’ roll were combined with an array of cultural and philosophical ideas to create fresh sounding music, that was both visionary and captivating. Alongside George Martin and The Beatles’ work on Sgt. Pepper’s, Eno is arguably the other most pre-eminent practitioner of ‘studio as instrument’ ever. His unconventional recording techniques have resulted in a canon of work that places him alongside other iconic producers like Brian Wilson, Lee Scratch Perry and Phil Spector. As these albums progress chronologically, a nascent form of music begins to emerge. The ideas we hear in this early work continue to reveal themselves in Eno’s later ambient and electronic experiments. From its release in 1975 to today, Another Green World has been heaped with accolades. At the time, Village Voice described “the aural equivalent of a park on the moon” and Rolling Stone called it “a major triumph, an important record – and also a brilliant one,” whilst recently Q dubbed it “breathtakingly ahead of its time.” The album’s music veers from the experimental sounds of Eno’s previous albums – based loosely around rock – to the more meditative, synth-oriented instrumental minimalism of his subsequent work. Produced by Eno and Rhett Davies, like his previous solo efforts, Eno had several guest musicians contribute to Another Green World: Robert Fripp, John Cale, Phil Collins and his fellow brand X member Percy Jones. Unlike his previous albums, Eno worked on more solo material, including 6 songs in which he plays all the instruments himself; “In Dark Trees,” “The Big Ship,” “Another Green World,” “Sombre Reptiles,” “Little Fishes” and “Spirits Drifting.”

File Under: Rock, Classics, Essential Grooves, Ambient, Experimental
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pcaPye Corner Audio: Sleep Games (Ghost Box) LP 
Pye Corner Audio’s darkling synthetic transmissions had been hovering under the radar for a couple of years before 2012’s Black Mill Tapes collection on Type brought them to a wider and grateful audience. Now, Martin Jenkins finds himself equally lauded by the likes of Sandwell District’s Juan Mendez and Minimal Wave’s Veronica Vasicka as by the UK hauntological set – a testament to the scope and adaptability of his stygian productions. Nonetheless, this album release feels right at home on Ghost Box, and it follows Jenkins’ contribution to the label’s 7″ Study Series last year. If The Black Mill Tapes focussed on the unheimlich but decidedly driving meta-techno side of the Pye sound, Sleep Games gives as much time to exploring its more abstract and oneiric peripheries. Nonetheless, rhythm is foregrounded throughout: from the woozy, tape-warped Boards of Canada-ism of ‘Sleep Games’, via the Xander Harris/Umberto-esque giallo-disco chug of ‘The Black Mill Video Tape’ through to the distant, dubby pulse of ‘Palais Spectres’ and the rolling toms of ‘Underneath The Dancefloor’. Eschewing the tweeness which has arguably softened the impact of recent Ghost Box releases, Sleep Games is refreshingly drug-hazed and zonked-out yet shark-eyed, minimalist and full of post-apocalyptic, cold-wave menace: you can more easily imagine this stuff soundtracking a car ride through the deserted industrial zones of coastal America than a ramble round the Belbury parish and its bucolic environs. At the same time, this feels like a Ghost Box release through and through: ‘Print Through’ is a radiophonic seance right from the grimoire of Eric Zann, ‘Deep End’ has the school textbook sci-fi sigh of classic Belbury Poly and ‘Yesterday’s Enemy’ the occult public service broadcasting vibe of early Advisory Circle.

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

cade

Arcade Fire: Everything Now (Sonovox) LP
Limited ‘language’ cover variants now available! Free posters while supplies last! Everything Now is the fifth full-length offering from Quebec art-rock outfit Arcade Fire and follow-up to 2013’s Grammy-nominated Reflektor. The thirteen track release features the dance-friendly, David Bowie-esque title track lead single “Everything Now” and was produced by Arcade Fire, Thomas Bangalter (Daft Punk) and Steve Mackey (Pulp), with co-production by Markus Dravs (The Suburbs, Coldplay, Mumford & Sons). The album was recorded at Boombox Studios in New Orleans, Sonovox Studios in Montreal, and Gang Recording Studio in Paris. “There’s sort of an everything-nowness to life, I feel like almost every event and everything that happens surrounds you on all sides,” frontman Win Butler explained to BBC Radio 1. “It’s trying to capture some of the experiences of being alive now in all its flaws and all its glory.” 12″ black heavyweight vinyl in a gatefold sleeve, with a folded lyric sheet insert.

File Under: Indie Rock, Pop
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buckley

Tim Buckley: Goodbye and Hello (Rhino) LP
50th anniversary, 180 gram mono reissue! One of the great rock vocalists of the 1960s, Tim Buckley drew from folk, psychedelic rock, and progressive jazz to create a considerable body of adventurous work in his brief lifetime. Often cited as the ultimate Tim Buckley statement, Goodbye and Hello is indeed a fabulous album. Contains ‘Once I Was’ and ‘Pleasant Street.’ Original artwork.

File Under: Folk, Psych, Rock
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prunes

Electric Prunes: s/t (Rhino) LP
50th anniversary, purple vinyl mono reissue! When it comes to garage bands from the ‘60s, few delivered debut albums as immediately addictive as these guys. Side 1 kicks off with “I Had Too Much to Dream Last Night,” and Side 2 starts with “Get Me to the World on Time,” both classics.

File Under: Garage, Psych
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ttm

Brian Eno: Taking Tiger Mountain (By Strategy) (Astralwerks) LP
In tomorrow…. Brian Eno presents deluxe gatefold, 2LP heavyweight vinyl editions of his classic releases Here Come The Warm Jets, Taking Tiger Mountain (By Strategy), Another Green World and Before and after Science. Each album is now spread over two 180-gram vinyl discs, which play at 45 RPM and have been mastered at half-speed by Miles Showell at Abbey Road Studios, ensuring these seminal works sound better than ever before. Each album also contains an Obi, download voucher and Abbey Road Half Speed Master certificate. With experimentalism, conceptual art theory and use of the accidental as a foundation, these albums broke through the boundaries of popular music at the time. Elements of prog/psych/art rock, avant garde and 50s rock ‘n’ roll were combined with an array of cultural and philosophical ideas to create fresh sounding music, that was both visionary and captivating. Alongside George Martin and The Beatles’ work on Sgt. Pepper’s, Eno is arguably the other most pre-eminent practitioner of ‘studio as instrument’ ever. His unconventional recording techniques have resulted in a canon of work that places him alongside other iconic producers like Brian Wilson, Lee Scratch Perry and Phil Spector. As these albums progress chronologically, a nascent form of music begins to emerge. The ideas we hear in this early work continue to reveal themselves in Eno’s later ambient and electronic experiments. 1974’s Taking Tiger Mountain (By Strategy) is a loose concept album with topics ranging from espionage to the Chinese Communist revolution. To help guide production of the album, Eno and the album’s cover artist Peter Schmidt developed the highly influential Oblique Strategies cards which proffered instructions intended to aid creativity. They were also used on subsequent albums and are still consulted by Eno and many others to this day. Unlike Here Come the Warm Jets Eno used fewer guest musicians, instead opting for a core band consisting of Phil Manzanera, Andy Mackey, Brian Turrington and Freddie Smith of The Winkies, Robert Wyatt, Phil Collins of Genesis and Brand X, members of Randi & The Pyramids, The Simplistics and Portsmouth Sinfonia (an orchestra in which Eno had once played clarinet.)

File Under: Rock, Art Rock, Electronic
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baas

Brian Eno: Before and After Science (Astralwerks) LP
In tomorrow…. Brian Eno presents deluxe gatefold, 2LP heavyweight vinyl editions of his classic releases Here Come The Warm Jets, Taking Tiger Mountain (By Strategy), Another Green World and Before and after Science. Each album is now spread over two 180-gram vinyl discs, which play at 45 RPM and have been mastered at half-speed by Miles Showell at Abbey Road Studios, ensuring these seminal works sound better than ever before. Each album also contains an Obi, download voucher and Abbey Road Half Speed Master certificate. With experimentalism, conceptual art theory and use of the accidental as a foundation, these albums broke through the boundaries of popular music at the time. Elements of prog/psych/art rock, avant garde and 50s rock ‘n’ roll were combined with an array of cultural and philosophical ideas to create fresh sounding music, that was both visionary and captivating. Alongside George Martin and The Beatles’ work on Sgt. Pepper’s, Eno is arguably the other most pre-eminent practitioner of ‘studio as instrument’ ever. His unconventional recording techniques have resulted in a canon of work that places him alongside other iconic producers like Brian Wilson, Lee Scratch Perry and Phil Spector. As these albums progress chronologically, a nascent form of music begins to emerge. The ideas we hear in this early work continue to reveal themselves in Eno’s later ambient and electronic experiments. Produced by Eno and Rhett Davies, over 100 tracks were written for 1977’s Before and After Science with only 10 making the album’s final cut. The musical styles featured range from energetic and jagged to more languid and ethereal. The album marks Eno’s last foray into rock music in the ‘70s as a solo artist, with all his remaining records of the decade showcasing more of his ambient music, which was hinted at on the second half of Before and after Science. Unlike Eno’s previous albums, which were recorded in a very short time, Before and after Science was two years in the making. During this two-year period, Eno was busy working on his solo ambient albums Music for Films and Discreet Music, as well as Bowie’s Heroes and Low. On Before and after Science Eno worked with Fred Frith, Jaki Liebezeit of Can, Cluster, Dave Mattacks of Fairport Convention, Andy Fraser of Free, Percy Jones, Phil Collins, Robert Fripp, Paul Rudolph of Hawkwind, Bill MacCormick from Matching Mole / Quiet Sun , Phil Manzanera and Robert Wyatt who went under the pseudonym of Shirley Williams.

File Under: Rock, Electronic, Ambient
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aretha

Aretha Franklin: Aretha Arrives (Rhino) LP
50th anniversary, 180 gram mono reissue! Seriously, how many artists can successfully pull off covers of the Rolling Stones, Question Mark and the Mysterians, and Willie Nelson and do so credibly? Bow down before the Queen of Soul!

File Under: Soul
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las

The La’s: s/t (Polydor) LP
Originally released in 1990 on the Go! Discs label, The La’s equally enigmatic and exalted self-titled debut is a tasty nugget of classic British pop (Kinks, Small Faces) matched with the post-punk jangle of groups like the Smiths and XTC. Predating the second British invasion by a number of years, this, the sole album by the La’s features the classic “There She Goes” along with eleven more slices of pure pop goodness. “Upon its release, The La’s was immediately hailed by critics and adored by college radio. The harmonies and hooks are indelibly tied to early 60s pop, with a strong tip of the hat to another set of Liverpudlians. The band’s sound, despite the obvious linkage to a bygone era, never sounds dated, maintaining a fresh, unique identity without ever becoming derivative or ironic.” – Len Comaratta, Consequence of Sound

File Under: Rock, Pop, Post Punk
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love

Love: s/t (Rhino) LP
50th anniversary, 180 gram mono reissue! After gigging around the Los Angeles scene for three years, Arthur Lee was ready for something different. Inspired by seeing The Byrds live, he decided to merge their folk-rock sound with the driving R&B he had been playing to create a new group, dubbed Love. Recruiting guitarists Johnny Echols and ex-Byrds roadie Bryan Maclean, bassist Ken Forssi and drummer Alban “Snoopy” Pfisterer, Love began recording their eponymous debut LP in January 1966. Their first single, Bacharach/David composition “My Little Red Book,” spotlights an insistent, menacing riff that sounds nothing like what their contemporaries were committing to vinyl. Other cuts highlight the writing talents of Lee and the band members, notably on Lee’s anti-drug essay “Signed, D.C.” and Maclean’s “Softly to Me.” Also included is their version of the rock standard “Hey Joe,” rivaling The Leaves’ hit version for power and sporting some lyric alterations. The group, which lived communally at the time in a house formerly owned by Boris Karloff (they are pictured in the house’s garden on the LP cover), quickly coalesced into one of the West Coast’s most influential and exciting groups; here is where it all began.

File Under: Garage, Psych
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naomipunk

Naomi Punk: Yellow (Captured Tracks) LP
The 25 tracks on Yellow, conceived as a double album from day one, were self-recorded steadily throughout 2015-2017 at various locations. Much of the material was derived from what the band called The Scorpion Suite, a state of mind reached only by the alternative version of Naomi Punk they call The Scorpions (disambiguated). Many Scorpion Sessions were conducted by The Scorpions, each member performing their predetermined roll in a project half-aspiring to the register of licensing music, half-aspiring to musical novelty. The self-referential musical language of The Feeling (2012) was wrung out into the starker, live-informed Television Man (2014). On Yellow this language becomes a means, not an end. Integrated into the album are glimpses of live recordings, sounds of equipment being pushed around, hard rock sample libraries, sounds of the flapping wings of the album’s host (“I Found My Angel Wings” is embedded in thematic variation throughout), windy field recordings, emulsive synthetic woodwinds, a busted car stereo, a few four-track acoustic ballads, and more than a few puzzles and jokes. Much of the record conjures this notion of the undoing of ‘society’, at least in a western societal sense, and its supercession via the natural world; the revenge of Mother Earth.

File Under: Punk, Rock
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valerian

OST: Valerian (Idol) LP
Inspired by the cult French comic book from the 70s, Valerian and the city of thousand planets, represents the biggest European budget of all time (180M€) and will have a US launch budget (90M$) equal to Star Wars, Disney or Marvel. Leading roles are Cara Delevingne and Dana Dehaan and support roles are Rihanna, Clive Owen, Herbie Hancock, Kris Wu and Alain Chabat! It will be released in more than 300 theaters in Canada in 3D & real 3D. The amazing score is composed by very well-known French composer Alexandre Desplats (Harry Potter, Twilight, The Curious Case of Benjamin Button, Grand Budapest Hotel and many more). It was recorded in the prestigious Radio France Studio 104 with the National French Orchestra (97 musicians) and the Choeur de Radio France (40 choristers) and has a continuous and determining presence in the movie.

File Under: OST
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stone sour

Stone Sour: Hydrograd (Roadrunner) LP
Hard rockers Stone Sour, led by Slipknot frontman Corey Taylor, return with their fifth full-length slab Hydrograd. Recorded at Sphere Studios in North Hollywood, CA with producer Jay Ruston, Hydrograd comes preceded by the epically heavy lead tracks “Fabuless” and “Song #3.” Taylor on the new album, “This album is great because it’s got elements of everything. It’s got the heavy energy of the ’80s, there’s punk moments, there’s hard rock moments, all the great amalgam of music. There’s even jazz and hip-hop moments. It’s really, really cool. It’s probably the coolest album I’ve made since the first Slipknot album, let’s put it that way. It’s dope, dude. And, hey, I feel very confident making that statement, because it’s so good.”

File Under: Rock, Slipknot
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kit

This is the Kit: Moonshine Freeze (Rough Trade) LP
This Is The Kit – the musical project which holds exceptional Paris-via-Bristol songwriter Kate Stables close to its heart – have earned the adoration of peers including Guy Garvey, The National, and Sharon van Etten. ‘Moonshine Freeze’, is undoubtedly their most compelling and accomplished to date. Produced by John Parish (PJ Harvey, M Ward, Perfume Genius), it began in the immediate wake of its predecessor, ‘Bashed Out’, when days after coming off tour last November, Stables and her band (Rozi Plain, Jamie Whitby-Coles, Neil Smith and Jesse D Vernon) headed into Geoff Barrow’s Invada studios in Bristol. Aaron Dessner of The National also features on six of the album tracks. Stables’ chiaroscuro lyrics, and the detailed arrangements that have earned her fans in fellow musicians and thoughtful listeners, are here in full bloom, of course. But the songs themselves encompass more space and volume than ever before, with choruses at once inexplicable as well as singalong; the odd Motown-style horn chart cropping up here and there, in unexpected, but utterly welcome, interludes; sounds that veer from delicate to dusty to swelling in a moment. With Moonshine Freeze, This Is The Kit have struck a balance between the esoteric and the accessible, and have brought together a collection of brilliant songs with tremendous potential. Though the album’s songs were already written before heading into the studio, Stables says she had no fierce vision for how they should sound, preferring to let them take shape with the input of her band and Parish. “I’m not yet someone who says ‘I want this album to sound like an 80’s French nightclub’,” she says. “All I can do is write the songs and then step back from them and see what themes or patterns there are, then bring those patterns out so it’s a coherent piece of work, sonically and in terms of feeling.” Sonically, Moonshine Freeze is a beguiling mixture of great musical sophistication and something more guileless —children’s games, incantations and snatches of nursery rhymes. Stables’ voice too is a remarkable thing: in its angles there lies an exquisite strangeness reminiscent  of Will Oldham, Magnolia Electric Co, Robert Wyatt, Karen Dalton.

File Under: Folk
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wray

Link Wray: s/t (Future Days) LP
Recorded in a shaky makeshift chicken shack in rural Maryland, Link Wray’s eponymous 1971 solo album is a compelling and forward-looking piece of honest, handmade Americana. This album is vastly different from his previous work, foregoing instrumentals entirely. Instead, Wray, left with only one lung following a bout with tuberculosis in 1956, gives us his raw voice, full of spit and vinegar, as he blends elements of country, rock ‘n’ roll, roots, folk and gospel marked with fuzzy guitar and booming percussion. He kicks off with a track, “La De Da”, that may be the greatest song the Stones never wrote. Elsewhere, the single “Fallin’ Rain” channels Dylan at his most political, with lyrics about “stabbings and shootings and young men dying all around.” Link Wray proved to be the only album that the guitarist issued in his own name to hit the American charts during his nearly 50-year recording career. Although it didn’t receive much critical acclaim at the time of its release, Link Wray has seen a resurgence in recent years and developed a cult following, with artists from Nick Cave to The Neville Brothers recording versions of its tracks. Link, along with brothers Vernon and Doug began playing together professionally in 1942, their rowdy instrumental single “Rumble” charting at number 16 in 1958. Following a string of hits on Philadelphia-based Swan Records, Vernon began to serve as the family’s producer, eventually starting his own studio; first in the basement of his home and then–after his wife Evelyn complained about the noise–in a converted shack on the property. It was there that Link, Vernon and producer Steve Verroca found a sound that marked “a return to simplicity.” This carefully remastered reissue will take you right back to that chicken shack, and to sessions so electric you can almost feel the atmosphere.

File Under: Country, Rock, Blues
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…..Restocks…..

Courtney Barnett: The Double EP (Mom & Pop) LP
Courtney Barnett: Sometimes… (Mom & Pop) LP
Buena Vista Social Club: s/t (World Circuit) LP
Electric Wizard: Dopethrone (Rise Above) LP
Electric Wizard: Come My Fanatics (Rise Above) LP
Guided By Voices: Alien Lanes (Matador) LP
Nick Hakim: Green Twins (ATO) LP
Jason Isbell: Southeastern (Sony) LP
Jason Isbell: The Nashville Sound (Thirty Tigers) LP
King Crimson: In the Court of the Crimson King (Pangyric) LP
King Crimson: In the Wake of Poesiden (Pangyric) LP
King Crimson: Starless And Bible Black (Pangyric) LP
Morrissey: Vauxhall & I (Parlophone) LP
Morrissey: Your Arsenal (Sire) LP
The National: Boxer (Beggars) LP
Patti Smith: Horses (Legacy) LP
Jack White: Blunderbuss (Thirdman) LP

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…..news letter #803 – blue pants…..

Well, we’re still waiting on a shipment from 2 weeks back, so… that’s a drag. But other things are still coming in, so at least there’s that. And really, the only thing anyone is going to want for the next couple of weeks is the new Arcade Fire anyway, right? Take a break from the heat and come have a dig, we keep it real chilly in here.

…..pick of the week…..

belbury

The Belbury Poly: The Owl’s Map (Ghost Box) LP
Belbury Poly is Jim Jupp, co-founder of the Ghost Box label with Julian House and a notorious lover of analog electronics circa 60s/70s such as the Radiophonic Workshop or Raymond Scott. ‘The Owl’s Map’ originally broke through the space-time continuum in 2006, setting another flag point in the development of Hauntological thinking. In comparison to the fractal sonic tapestries of Julian House, Jupp’s sonics tend towards synth-driven sequences with slightly longer track lengths, we’re not talking Tangerine Dream style side-long trips, but more commonly hovering around the pop-perfected 3 min mark. In both its aesthetic and sound, ‘The Owl’s Map’ unnervingly harks back to the same kind of educational TV-for-schools programmes which were viewed by at least two generations of UK schoolchildren, programmes whose mystical/mythical undercurrents and fantastical subject matter were hugely reinforced by their accompanying electronic soundtracks. For many UK children, these programmes were the first time we would experience electronic music placed in a context like this, and at such a formative age would irrevocably alter our relationship with music. This is the subliminal stuff that probably soundtracked many a nightmare/dream, which may go some way to explaining the huge impact it had on certain corners of underground music today.

File Under: Pseudo Library, Electronic, Radiophonic
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…..new arrivals…..

arcadefire

Arcade Fire: Everything Now (Sonovox) LP
Available with either the limited edition Night Version cover with coloured vinyl, or the black vinyl Day Version. Free posters while supplies last! Everything Now is the fifth full-length offering from Quebec art-rock outfit Arcade Fire and follow-up to 2013’s Grammy-nominated Reflektor. The thirteen track release features the dance-friendly, David Bowie-esque title track lead single “Everything Now” and was produced by Arcade Fire, Thomas Bangalter (Daft Punk) and Steve Mackey (Pulp), with co-production by Markus Dravs (The Suburbs, Coldplay, Mumford & Sons). The album was recorded at Boombox Studios in New Orleans, Sonovox Studios in Montreal, and Gang Recording Studio in Paris. “There’s sort of an everything-nowness to life, I feel like almost every event and everything that happens surrounds you on all sides,” frontman Win Butler explained to BBC Radio 1. “It’s trying to capture some of the experiences of being alive now in all its flaws and all its glory.” 12″ black heavyweight vinyl in a gatefold sleeve, with a folded lyric sheet insert.

File Under: Indie Rock, Pop
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avey

Avey Tare: Eucalyptus (Domino) LP
Eucalyptus is the new studio album written and produced by Animal Collective’s Avey Tare. Conceived on Hawaiian mornings, written on a sunlit bedroom afternoon in Los Angeles, practiced in the dark early hours of the California twilight, recommended listening for dawn or dusk. Recorded by Animal Collective’s Deakin (Josh Dibb), featuring chamber orchestration arranged by Eyvind Kang, musicians Angel Deradoorian and Jessika Kenney, Eucalyptus is an immersive album length electroacoustic movement through leaves, rocks and dust. Double LP packaged in gatefold Stoughton tip-on jacket with download card.

File Under: Indie Rock, Animal Collective
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azymuth

Azymuth: s/t (Farout) LP
Far Out Recordings present a reissue of the seminal debut album from Azymuth, Azimüth, originally released in 1975. Having never seen a vinyl release outside of Brazil, Azimüth is considered a milestone in Brazilian music. Azymuth — Jose Roberto Bertrami, Ivan Conti, and Alex Malheiros, as well as Ariovaldo Contesini — formed in the late ’60s just as Os Mutantes released their debut record (1968). Whilst Mutantes were honing a psychedelic “Amazonian” version of western pop music, Azymuth were creating a futuristic, electric interpretation of US jazz — also driven by the same rootsy Brazilian “swing” that Mutantes had harnessed. Bertrami was the drive behind Azymuth’s sound — a control freak and musical genius obsessed with the latest technology who wanted to use it to push the boundaries of music in a way that no one else in Brazil had done. His use of keyboards has drawn comparisons between Azymuth’s work and Herbie Hancock’s early ’70s output, yet with its Brazilian swing Azymuth’s electric jazz sound is unmistakably their own. Conti is an impulsive and an incredibly energetic drummer. Alex Malheiros, who learned his trade playing from the master of Brazilian swing Ed Lincoln, is one of Brazil’s original groove masters. Bertrami rose to fame as an arranger in the mid-60s, and by the late ’60s he was arranging for the queen of Brazilian music, Elis Regina. Released in summer 1975, the album was a minor commercial success selling 200,000 copies. Opening track “Linha do Horizonte” — a sublime piece of melancholic electronic saudade where deep cinematic synths melt into gently strummed acoustic jazz guitar — was chosen for a TV novella and went on to sell half a million, propelling Azymuth onto the Brazilian music scene. The rest of the album doesn’t disappoint — “Melô Dos Dois Bicudos” sees Azymuth plugging them into the Brazilian national grid for a slice of electrified psyched out samba funk with crashing military drums, shrieking sirens and psych synths. “Brazil” is a lolloping bass led groover with Bertrami’s melody giving the track a charming, innocent naivety, and “Caça A Raposa” is a boogie jazz funk groover. Azimüth is the album that kick-started it all for them, the record that was the blueprint and definition of their “samba doido/crazy samba” sound. Comes in a gatefold sleeve; 180 gram vinyl; Edition of 500.

File Under: Jazz, Latin Funk
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boris

Boris: Dear (Sargent House) LP
“We don’t feel comfortable calling Dear a return to our slow and heavy style,” says Tokyo’s amplifier worshipping experimental metal institution Boris. “We’ve been heavy since day one.” And it’s true. From the droning thunder of their Absolutego debut and through the cinematic crescendo of albums like Flood, the bombastic licks of the Heavy Rocks records, the punk rage of Vein, the bottom-dwelling psychedelia of Akuma no Uta and Pink, and the grimy thump of Attention Please and New Album, Boris has always attempted to search out new ways to level listeners with their sound. In the 25th year of their existence, the trio delivers Dear, an album they describe as “heavenly-far beyond heavy.” Though Boris has traversed a broad swath of sonic territories, they have always been consistent in their embracing of excess, pushing their myriad of approaches and stylistic forays to points of intoxicating absurdity. But a time came in the early years of their third decade where the band wondered if there were any new horizons to explore. Consequently, it was decided that the band would begin jamming on material for what was planned to be a record that served as a formal goodbye to fans. In a strange twist of fate, being unencumbered by expectations and having an open-ended approach to the writing process reinvigorated Boris. The renewed vitality yielded an album that fortifies their monolithic wall of sound while also allowing the individual band members to explore the nuances and intricacies of minimalist riffs played at maximum volume. Songwriting for Dear initially yielded three albums’ worth of material by the end of 2015, but as the band was slated to spend a large chunk of 2016 on their “Performing Pink” worldwide tour, they decided to hold off on releasing any new material. The tour further rekindled their passion, and when the band returned home they wrote several more songs and scaled the three records down to one. “At the very first moment, this album began as some kind of potential farewell note of Boris. However, it became a sincere letter to fans and listeners…you know, like ‘Dear so-and-so, this is the new album from Boris’ or something like that. We feel so grateful we can release this album in our 25th anniversary year.”

File Under: Metal
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castle

Lynn Castle: Rose Colored Corner (Light in the Attic) LP
Though most of the world may not know the songs of Lynn Castle, she is an artist whose work stretches across seven decades. She has created a diverse and vast (albeit mostly unreleased) discography of pop, folk, country, gothic, rock, punk, blues, and children’s songs. Light In The Attic Records is very excited to continue its Lee Hazlewood Archive Series with Rose Colored Corner, a collection of intimate recordings Lynn Castle made with Jack Nitzsche in 1966 and her complete recorded output with Lee Hazlewood on LHI Records. For the first time ever Lynn is sharing recordings from her personal archive and telling her story. In the 1960s Lynn became the first lady barber in LA just as long hair on men became hip. By day she was styling The Monkees, Boyce and Hart, Del Shannon, Sonny & Cher, the Byrds and countless others…by night she was writing songs. Despite lacking the desire to self promote and a crippling insecurity that made it hard to sing in front of anyone, her songs managed to bend the ears of such industry heavyweights as Phil Spector, Jack Nitzsche and Lee Hazlewood. “It was so hard to get me to sing,” explained Castle. “I had buried it so low, I didn’t think I was good at all. Lee heard my songs and thought I was fabulous. He said, ‘Oh my god, you’re really good! Let’s cut a record.’ Her sole 1967 45 “The Lady Barber” b/w “Rose Colored Corner,” released on Lee Hazlewood Industries is a slice of psychedelic pop heaven. A full length album was never completed, but her sparse demos with Jack Nitzsche give the listener a peek of what one might have sounded like. If you are familiar with Nitzsche’s mid-60s work with Tim Buckley, Bob Lind, and Buffalo Springfield…you can squint your ears and imagine her songs bejeweled with lush strings, finger cymbals, and delicate harpsichord. Instead, the songs remained unheard until now. Just because her songs weren’t recognized at the time doesn’t diminish their magic. This music is meant to be found and heard. Though commercial success may remain elusive, sometimes strange premonitions are realized… “When I was young, making music in the ‘60s, I had this strange thought that one day I would be this old woman, and young people would come find me and tell me that my music meant something to them.” – Lynn Castle

File Under: Folk, Country, Psych, Lee Hazlewood
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fife

Timothy Fife: Black Carbon (Death Waltz Originals) LP
Full length 3 Track solo album from Timothy Fife recommended for fans of Tangerine Dream, Vangelis and early Brian Eno. Sydney At Night is a brooding dark synth monster as eerie as it is unsettling, Low Plain Landscape is a hauntingly beautiful 13 minute ambient workout and rounding out the LP is Black Carbon itself, an intense hard edged synth track that bubbles with intensity and heavily processed voices that sounds like an alien radio broadcast.

File Under: Electronic, Ambient
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floating

Floating Points: Reflections: Mojave Desert (Luakabop) LP
Floating Points’ short film and soundtrack – Reflections: Mojave Desert – finds Sam Shepherd and his band in a thrilling sonic exploration of environment under an endless desert sky. It is the first in a planned series of environmental recordings by Floating Points to be filmed and recorded at different locations around the world. Reflections: Mojave Desert was made in 2016, as Floating Points traveled to the Mojave to rehearse in between US touring. Immediately struck by the distinct sonic tapestry created by the rock formations and valleys, they set up a recording operation and filmed this new work at the base of the natural sculptures they encountered. The music of Reflections mirrors the landscape: soaring and vast, dynamic and intimate, centered around two longer works and shorter pieces that create an immersive and seamless 27-minute experience. Reflections begins with chords played on a Rhodes Chroma and recorded with a surround sound microphone. Throughout the filming, microphones were placed throughout the landscape to capture the natural sonic textures of the desert: the undulating sound of wind, a bird call, the rustling of bushes and more created a backdrop on which much of the record rests. The music softly shifts from the Fender Rhodes introduction to “Silurian Blue,” an expansive improvised full band piece that balances refined restraint with explosiveness. In one scene, “Kites,” Floating Points aka Sam Shepherd walks through a valley with a super directional microphone, swinging it back and forth as a synthesizer loop gets faster to showcase the natural reverb and shifting phase of sound waves. “Kelso Dunes” signals the film’s final act: the sky grows dark, lasers flash, the band and rocks gleaming in the pitch black around them. 180g vinyl pressing with accompanying DVD and download code.

File Under: Electronic, Jazz, Rock
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fedup

Fucked Up: Zanzibar (Fucked Up) LP
“Zanzibar” is Fucked Up’s instrumental score to the 1928 silent film “West Of Zanzibar.” First performed in 2010 for Toronto’s Images Festival, this record was recorded in studio over 2011-2013. 2xLP includes digital download.

File Under: Punk, Instrumental
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gaussian

Gaussian Curve: The Distance (Music From Memory) LP
In the spring of 2016, Gigi Masin, Jonny Nash and Marco Sterk got together in the studio for the first time since they recorded Clouds, the critically acclaimed debut album from their Gaussian Curve project. By the time they reconvened in Sterk’s new studio in Amsterdam, a stone’s throw away from the temporary, second-­‐floor space where they recorded Clouds, much had changed. When they first got together in March 2014, it was for a spontaneous, weekend-­‐long exploration of shared musical passions. They were merely three new friends expressing themselves, and having huge amounts of fun in the process. By the time they got together again last year, the album they recorded on that famous weekend had taken on a life of its’ own. To their surprise and delight, Clouds had become one of the most admired ambient albums of the 21st century. They’d initially reconvened in the studio to rehearse for their first live performances. It soon become clear that all three members were brimming with ideas for new Gaussian Curve material. Over the four days that followed, and fuelled by the same spontaneous working method that drove Clouds, a new album began to take shape. Although their methodology remained the same, the inspirations were different. Whereas Clouds was intimate by design, The Distance reflects more on spaciousness, distance and time. It is instantly recognizable as a Gaussian Curve record, but feels different in scope and tone. The Distance is a different musical beast to its’ predecessor, but shares the same timeless, emotion-­‐rich feel that made Clouds such a hit. While the fundamental ingredients remain the same – Masin’s masterly piano and synthesizer work, Nash’s blissful, meandering guitar.

File Under: Ambient, Electronic, New Age
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signal

Wojciech Golczewski: The Signal (Death Waltz Originals) LP
Wojciech Golczewski’s second LP on Death Waltz Originals is actually a prequel to his 2015 debut Reality Check and the second part of a proposed trilogy to be finished in 2018. This time out the emphasis is on super minimal widescreen sci-fi ambience. The record is absolutely epic in scope and features lush synth arrangements with melody lines that bubble just under the surface creating a multi layered listen that is perfect for late nights and dark rooms.

File Under: Electronic, Synth
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mc5

MC5: The Motor City Five (Run Out Groove) LP
The MC5, born out of the ashes of industrial Detroit, recorded only 3 full length albums and lasted less than a decade but left an indelible stain on the world of Rock & Roll both musically and culturally. Like their Detroit brothers The Stooges, they helped lay the initial ground work for the punk movement with a simple, hard driving, high energy, loud and gritty style of Rock that includes elements of garage rock, hard rock, blues and psychedelic rock. Whether proven or otherwise, they influenced a laundry list of hard rockers such as Bad Brains, Black Flag, the Damned, Circle Jerks, Husker Du, The Melvins, The Dead Kennedys, The New York Dolls, Soundgarden, Rage Against the Machine, Pearl Jam, the White Stripes and many more. They are widely considered one of the most important and influential hard rock bands of the era. This limited, numbered, color vinyl, Run Out Groove release is the first legitimate vinyl compilation of the band’s Elektra and Atlantic recordings and belongs on every Rock collector’s shelf, if not for the sonic music assault then the audacious packaging alone. This record provides a killer ensemble of tracks from their halcyon days, including the original uncensored version of “Kick Out the Jams.” Stick alive with the MC5 and f%@! Run Out Groove!

File Under: Rawk, Punk

modern art

Modern Art: Oriental Towers (Lion) LP
Another entry from the darkly enchanting minimal synth-pop and psych-tinged world of The Modern Art. As an introduction to the world of Coil and Current 93 collaborator (and Sun Dial main man) Gary Ramon and his orbiting bandmates, you can’t do better. Formed by Ramon in the early 1980’s, Modern Art released two albums on vinyl, and a significant amount of impossible-to-find cassettes. Some of this material was compiled in a highly regarded 3-LP (sold out) box set, made in 2013 by Vinyl on Demand. This remastered reissue of “Oriental Towers,” their second cassette album, originally released in 1983, also includes three previously unissued tracks from that session. On this album you will find examples of what was going on in England during the pinnacle of the post-punk scene—an inspired time that encouraged young musicians to develop music influenced by the likes of Joy Division, Cabaret Voltaire, Throbbing Gristle and Clock DVA.

File Under: Electronic, Minimal Wave, Industrial
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SP01_Gatefold

Ennio Morricone: Giornata Nera Per L’ariete (Spettro) LP
Fourth and last reissue of this Spettro invasion and, obviously, a tribute to the greatest Italian maestro of original soundtracks, none other than Ennio Morricone himself. Giornata Nera per l’Ariete (The Fifth Cord in english) is a 1971 Italian giallo film directed by Luigi Bazzoni. The Italian title, which in its literal meaning reads “Black Day for the Ram”, in its typical figurative meaning could translate as “A Bad Day for Aries”, reprising Dario Argento’s practice of using animals in the titles of his thriller films. The film is based on a novel with the same name by D.M. Devine, stars Franco Nero as the main charachter and strangely has remained a cult for a few fans despite being a good and weird giallo flick and an amazing photography by Vittorio Storaro. The soundtrack, like many Morricone’s scores of the same period is disturbing and tense, dark and unnerving like his best moments, and it features the legendary Gruppo di Improvvisazione Nuova Consonanza as backing band in several tracks.

File Under: OST, Maestro
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tp0004c_Double_Gate_Cover_only

OST: Evil Dead 2 (Waxwork) LP
Waxwork Records is thrilled to announce the 30th Anniversary soundtrack release of the 1987 horror cult-classic, Evil Dead 2. Directed by Sam Raimi and featuring Bruce Campbell reprising his role as Ash Williams, Evil Dead 2 is known not only as the quintessential entry of the Evil Dead Trilogy, but also of 1980’s cult-classic horror cinema as a whole. Evil Dead 2 remains the outstanding follow up to 1981’s The Evil Dead, picking up where the first film leaves off, with even more blood, possession, dismemberments, deadites, and with generous elements of slapstick comedy. The music by composer Joseph Loduca (The Evil Dead, Army Of Darkness, Ash Vs. Evil Dead) is the sophisticated follow up to the first film’s outstanding soundtrack, engrossing the listener in classic orchestral horror, electronic cues, and haunting lullaby compositions.

File Under: OST, Horror
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fifth element

OST: Fifth Element (Mondo) LP
The Fifth Element is essential Science Fiction cinema. And Eric Serra’s music for for the film goes above and beyond the duties of your average film score. Not only is the soundtrack responsible for a wildly vast tonal spectrum – name another film that bounces from comedic montage, to straight-faced Opera, to action adventure in the span of 15 minutes – but he makes it feel, and sound effortless. It is a truly unique listening experience.

File Under: OST, Sci Fi
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wizards

OST: Wizards (Wyrd War) LP
Wyrd War very proudly presents the original motion picture soundtrack to Ralph Bakshi’s animated masterwork Wizards, on vinyl for the very first time! Ostensibly Bakshi’s “family film,” this almost impossibly PG rated post-apocalyptic “fantasy epic of peace and magic” emerged like a strange fungus through fissures in the Hollywood machine in 1977 to psychedelicize unsuspecting audiences with slouching android assassins, nearly nude fairy wenches, supernatural siblings skirmishing for world domination between slugs of cheap wine, demonic dog soldiers belly-crawling through skeletal landscapes of airbrushed fog, and, perhaps most memorably, terrifying genocidal elfin warfare punctuated with Leni Riefenstahl stock footage, all perfectly choreographed to a beautifully ethereal sci-fi jazz soundtrack seemingly scorched with atomic energy. Such music! Composer Andrew Belling delivered one of the first truly musical scores for a major Hollywood film composed almost entirely for ARP 2500 and ARP 2600 synthesizers. 40 years after its theatrical release, the music of Wizards continues to fascinate, perplex and inspire viewers, like a beautifully handcrafted Rorschach test of the late 20th century’s excesses, hopes and increasingly foreboding anxieties of things to come.

File Under: OST, Animation
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darius

OST: Zuntata Arcade Classics 2: Darius (Ship to Shore) LP
In celebration of the 30th anniversary of the original arcade release, Ship to Shore PhonoCo. is proud to present the vinyl edition of Hisayoshi Ogura’s score to Taito’s Darius. One of the most heralded soundtracks in the expansive Zuntata canon, Darius sounds as fresh and innovative as it did when its sounds filled arcades back in 1987. Ogura’s score combines pulsing rhythms with an experimental, avant-garde bent, giving Darius’ high octane action a unique counterpoint.

File Under: OST, Video Games
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pattern

The Pattern Forms: Peel Away the Ivy (Ghost Box) LP
The debut album from The Pattern Forms, a collaborative project between Ed Macfarlane and Edd Gibson of Friendly Fires and Jon Brooks of The Advisory Circle. Following on from the Other Voices 03 single in 2015, this is an album that perfectly melds blissful pop with more exploratory electronics, its roots lying in the artists’ shared love of soundtracks and electronic library music of the 70s and 80s. It should appeal to fans of both bands.

File Under: Electronic, Pseudo Library
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perrey

Jean-Jacques Perrey: Et son Ondioline (Forgotten Futures) LP
Jean-Jacques Perrey (1929-2016) was a pioneer of electronic pop music celebrated for his uniquely whimsical sampled soundworld, his groundbreaking style of rhythmic tape editing, and his early use of the Moog modular synthesizer. Perrey was also the world’s only virtuoso of the Ondioline, a remarkable French proto-synthesizer from the 1940s. Jean-Jacques Perrey et son Ondioline focusses on this early period of Perrey’s musical life, exploring his intimate relationship with this unusual and expressive instrument. The compilation features never-before-released collaborations with Angelo Badalamenti and Dick Hyman, early arrangements from test pressings of beloved Perrey tunes, and cuts from highly collectible albums of early library music he recorded. Also featured is a rare extended demonstration of the Ondioline, which receives its first commercial release. A must for dedicated fans, and a vibrant introduction for new listeners, this release canvasses Perrey’s unparalleled mastery of the Ondioline, points towards his later sample and Moog work, and illuminates a heretofore little-explored melancholy side to his recorded work. Curated by long-time Perrey fan and recent collaborator Wally De Backer (Gotye), this is the first release on Forgotten Futures, a new record label set up by De Backer to excavate lost works by pioneering producers and musical instrument inventors.

File Under: Early Electronic
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NEW 12"TEMP_4-21-2016

Popol Vuh: Agape-Agape Love-Love (One Way Static) LP
Born as Florian Fricke’s brainchild, Popol Vuh needs little introduction, the band stayed active between the late 1960s & late 1990s (until Florian’s passing in 2001). Regarded as pioneers in avant-garde German electronic music, their early works practically laid down the foundations for ‘Kosmische Muzik’ (Space Music) with the then new sounds of the Moog synthesizer joined with ethnic percussions. Later the group evolved to include all kinds of instruments (both electric and acoustic alike) shrouding their music in a spiritual & introspective mystical aura. Popol Vuh influenced many other European bands with their uniquely soft but elaborate instrumentation, which took inspiration from the music of Tibet, Africa and pre-Columbian America. With music sometimes described as “ethereal”, they created soundscapes through psychedelic walls of sound, and are regarded as precursors of contemporary ‘world music’, as well as of ‘new age’ and ‘ambient’. Popol Vuh regularly contributed soundtracks to the films of Werner Herzog that include classics like ‘Aguirre’, ‘Nosferatu’, ‘Heart Of Glass’ & ‘Cobra Verde’. ‘Agape-Love’ was one of Florian Fricke’s favorites, at a point in his life where he was inspired by 13th century Persian poet Rumi. Still utilizing a choir for Gregorian chant-like ethereal intensity — though they sing in Byzantine scales – the band delves deeply into the drone world of Fricke’s sacred music muse. This is an album of many moods/feelings & is a worthy, devastatingly beautiful outing (both introspective & intense at the same time). Out of print since 1983 and never released outside of Europe, now back available as a gorgeously packaged deluxe vinyl edition. Strictly limited to 700 copies (black vinyl), this release also comes with an exclusive bonus track & an insert with extensive liner notes. Next to the black vinyl pressing, a color vinyl variant (#300 copies) will also be made available exclusively through Light In The Attic & Mondo in North America and through Transmission Records in Europe.

File Under: Electronic, Ambient
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pca

Pye Corner Audio: The Spiral (Death Waltz Originals) 10″
Pye Corner Audio return to Death Waltz Originals with a stunning 7 inch double pack featuring 6 brand new and exclusive tracks featuring his trademark sci-fi electronica. ‘Do You Hear Them’ pulses with a dance floor verve you’ve not yet heard from PCA bouncing along a killer 4/4 beat with a super melodic bass riff on top, ‘The Spiral’ begins with a riff on the classic Axel F bass synth and it’s super hyped drums and refrain could be placed in any classic 80s action movie you already love. The other tracks are more contemplative and will sound familiar to anyone that owns any of the PCA Black Mill Tapes series.

File Under: Electronic
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Precision-12-22-Jacket

Teenanger: Teenager (Telephone Explosion) LP
“Teenager” is many things: The fifth Teenanger album, a collection of thirteen songs, a thinly-veiled investigation into Canada’s Telecom stranglehold and its effect on consumer spending, an ode to simpler and more violent times, proof that climate change exists, a fraudulent scheme to ensure maximum ROI, and more than anything, a gigantic cry for help. Teenanger are musical baristas.They have made you a customized non-dairy Unicorn Frapuccino of a record that combines all of punk’s best sub-genres: art-punk, post-punk, ambient-punk, synth-punk, peace-punk, garage-punk, bunk-punk, punk-core, plaid-punk, nu-punk and of course, punk-punk.

File Under: Punk
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toitoitoi

ToiToiToi: Im Hag (Ghost Box) LP
Im Hag is the debut Ghost Box album for Berlin based Sebastian Counts’ ToiToiToi, following on from his single for the label’s Other Voices series in 2015. It’s very detailed and lovingly produced music, crafted from electronic, synth, sampled and acoustic sources. Its a wunderkammer of an album crammed with original ideas. All at once managing to be witty, spooky, melodic and abstract.

File Under: Electronic, Pseudo Library
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hip

Tragically Hip: In Violet Light (Universal) LP
Tragically Hip: Music at Work (Universal) LP
Tragically Hip: Phantom Power (Universal) LP
In tomorrow…. Phantom Power, Music @ Work, and In Violet Light; available on vinyl for the first time. Re-mastered for vinyl by Bob Ludwig at Gateway Studios.

File Under: Rock

link

Link Wray: Mordicai Jones (Tidal Wave) LP
Fred Lincoln ‘Link’ Wray, Jr. (1929-2005) born of Shawnee Native American parents was an American rock and roll guitarist, songwriter and vocalist who became popular in the late 1950s. Though he began in country music, his musical style went on to consist primarily of rock and roll, rockabilly and instrumental rock. Building on the distorted electric guitar sound of early records, his 1958 instrumental hit “Rumble” (banned in New York and Boston for fear it would incite teenage gang violence) popularized “the power chord” which laid the foundation to modern rock music. Tiring of the corporate music machine, in the 1970s he began recording albums using a three-track studio he converted from an outbuilding on his brother’s property that his father used to raise chickens. This is where the ‘Mordicai Jones’ sessions were recorded in 1971, making it part of what we now know as the ‘Shack Trilogy’ together with the albums ‘Link Wray’ & ‘Beans And Fatback. ‘Mordicai Jones’ is made out of fantastic energetic Americana blended blues, country, gospel, soul and folk-rock. The songs on this album have a tough and heartfelt vibe that sets it apart from the more pastoral country-rock albums of the time. Link Wray leaves a legacy as big as his career: Rolling Stone placed Wray at No. 45 of the 100 greatest guitarists of all time and in 2013 he was a nominee for the Rock and Roll Hall of Fame. Pete Townshend of The Who once said, “If it hadn’t been for Link Wray and ‘Rumble,’ I never would have picked up a guitar.” Other musicians citing him as a major influence are Iggy Pop, Neil Young & Jimmy Page (amongst others).

File Under: Blue, Country, Rock
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afroqon

Various: Afrosonique Vol. 1 (Africa Seven) LP
Launched in early 2015 by a collective of crate diggers, Afro music-heads and vinyl- buying obsessives, Africa Seven’s aim is to spread the love and knowledge for African music in all its forms. In the wake of this effort, Afrosonique Vol.1 is the ideal first installment of a series of compilations bridging African tracks from the 70s and 80s with the most talented artists of today into a remix and re-edit series. Compiled by veteran UK producer Tony Thorpe (Moody Boyz, KLF), one of the most important figures of the UK dance underground movement, the album brings together a rich ensemble of producers and artists from different genres and music scenes. From Warp’s long-time signee Plaid, DJ Food, top DJs John Talabot & Pional to broken beat legend IG Culture, the compilation promises to bring a modern twist to Africa’s most iconic tunes. This selection of artists also includes great names of the likes of Deep Medi’s Silkie and Appleblim from the historical dubstep night FWD>> at Plastic People. A younger generation of talents like Marcel Lune, Jabru, Redpine & Solo and EVM128 has also taken part in this cutting-edge project, bringing its own personal touch to this unique compilation. Using his most famous alias ‘Moody Boyz’, Thorpe himself has added his own artistic signature, remixing the iconic Bunzu Soundz’s Zinabu – a rolling cut of the finest UK Afro-dub house. Africa remains the key theme and unifying principle of this work. With no multi-tracks available, the artists have gone through an incredible work of editing and overdubbing – almost remixing the original works. The result is a frenetic and fresh blend of styles ranging from modern Afro-jazz cuts to heavyweight dancefloor gear, almost spiritual hypnotic club anthems and low-tempo dreamscapes. Originals have been picked up from Africa Seven’s ever-expanding catalogue of reissues from the ‘70s and ’80s hailing from Cameroon, Nigeria and Sierra Leone among other African countries. The selection includes rare tracks such as Bunzu Soundz ’Zinabu’, Manu Dibango ‘Les Cavaliers’ and Afro National’s ‘Jokenge’. In a time in which African music is coming back prominently as one of the primary influences of electronic music, Afrosonique Vol.1 effortlessly goes full circle bringing together the original energy of African classics with the disruptive talent of today’s innovators.

File Under: Electronic, Afrobeat, Funk, Psych
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boombox

Various: Boombox 2 (Soul Jazz) LP
Soul Jazz Records’ Boombox 2 is a new selection of early rap music from the period 1979-83, with barely a household name in sight. Featured here are some the earliest hip-hop records that came out of New York City following the enormous commercial success of the first ever rap record, “Rapper’s Delight” by the Sugarhill Gang, in September 1979. Artists and producers alike tried to jump aboard the new commercial possibilities of hip-hop. By the end of the year there were 30 hip-hop singles, all released by independent New York labels. The following year there were over 100 more, and so on. Boombox 2 tells the story of how hip-hop went from its evolutionary roots in the Bronx through DJs Kool Herc, Grandmaster Flash and Afrika Bambaataa through to this second phase where veteran music producers – Paul Winley, Peter Brown, Joe Robinson and others – all based in Harlem, began to put rap on vinyl for the first time. Harlem is also where the separate worlds of disco and hip-hop met through the styles and influence of earlier ‘uptown’ DJs – DJ Hollywood and Eddie Cheba. In similar fashion these veteran Harlem-based producers instinctively tapped into a long lineage of African-American rhythm and blues, soul and disco. The album features many early and rare cuts from the first generation of early rap artists including Lovebug Starski (as Little Starsky), Busy Bee, Eddie Cheba, Kool DJ AJ as well as many other little known artists. Boombox 2 is a triple-vinyl set plus download code.

File Under: Hip Hop

girls

Various: Marylebone Beat Girls (Ace) LP
This follow-up to our recent “Love Hit Me! Decca Beat Girls” and “Scratch My Back! Pye Beat Girls” releases comprises superior 60s she-pop from the EMI group of record labels – Parlophone, Columbia and HMV – headquartered in Marylebone in the heart of London’s West End. The collection is available in 12-track LP and 24-track CD formats. The LP edition is pressed on 180g orange vinyl in a heavy duty sleeve with comprehensive notes and rare photos on the inner bag. The CD version comes with a bumper booklet featuring expanded notes and extra photos. Most of the female acts signed by EMI were teenagers completely tuned in to the current pop trends. Scottish duo the McKinleys, R&B club habituée Julie Driscoll (cover star of the vinyl version), talent show winner Billie Davis (the CD cover girl) and Midlands pub singer Beverley Jones took original material from London’s Tin Pan Alley and American covers and gave them an abrasive, vigorous kick that made for fabulous 45s. They may not have had quite the polish of their US counterparts, but the rough’n’ready sound of the Marylebone Beat Girl was precisely her appeal. Among the many highlights are ‘Dancing Yet’, a Dobie Gray-style discotheque number by Liza & the Jet Set; ‘Like The Big Man Said’ by Toni Daly, a cover of Italian star Caterina Caselli’s ‘L’uomo D’oro’ with edgy English lyrics by Peter Callander; and Billie Davis’ groovy gender-switched update of Chuck Willis’ R&B nugget ‘Whatcha’ Gonna Do’. Compilation and notes by Ace Records’ in-house girl-pop buffs Mick Patrick and Sheila Burgel.

File Under: Mod, Beat

tumbleweed

Various: Sing it High, Sing it Low: Tumbleweed Records (Light in the Attic) LP
In February of 1971, Larry Ray and Bill Szymczyk fled an earthquake and a debauched L.A. music scene to claim their own slice of utopia in Denver, Colorado. After meeting and bonding at ABC-Dunhill, where Ray landed as general manager, and where Szymczyk had breezed in from New York — fresh off his first real hit as a burgeoning engineer/producer with BB King’s “The Thrill is Gone” — they’d often daydreamed about starting their own label. In Denver, Ray and Szymczyk settled on the name Tumbleweed Records, and through industry connections they secured multi-million-dollar financing from Gulf + Western, whose head honchos believed they were bankrolling the hippie movement’s next big thing. But instead of producing the next Janis Joplin or Jimi Hendrix, Ray and Szymczyk turned their sights on idiosyncratic wunderkinds like Pete McCabe, moody songwriters Robb Kunkel and Danny Holien, psych-folk rocker Arthur Gee, all the while providing a platform for more established musicians like Albert Collins and Dewey Terry (of Don & Dewey fame), while launching the career of Michael Stanley. It was the best of times, it was the worst of times, and, per Szymczyk, it was a “bitchin’ disco time.” Drugs, parties, poetry, celebrities, money—Tumbleweed had it all, except airplay and distribution. Two years after its storied start, the label was finished. Ray would go on to various opportunities, including producing five country albums alongside Bill Halverson, while Szymczyk would soon skyrocket to fame after producing The Eagles’ Hotel California. Yet most of Tumbleweed’s artists have been relegated to thrift store bin obscurity—until now. This landmark release not only showcases Ray’s vision and Szymczyk’s early work, but begins a major reappraisal of Tumbleweed’s catalog by bringing these songs out of the shadow of the Rocky Mountains and back into the spotlight.

File Under: Country, Folk
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…..Restocks…..

Alabama Shakes: Sound & Color (ATO) LP
Arawak: Accade a… (Golden Pavilion) LP
Badbadnotgood: IV (Arts & Crafts) LP
Bon Iver: For Emma, Forever Ago (Jagjaguwar) LP
Bon Iver: s/t (Jagjaguwar) LP
Budos Band: III (Daptone) LP
Sam Cooke: Night Beat (Music on Vinyl) LP
CCR: Chronicle (CCR) LP
Constantine: Day of Light (Constantine) LP
D’Angelo: Voodoo (Modern Classics) LP
Digable Planets: Blowout Comb (Modern Classics) LP
Dur Dur Band: s/t (Awesome Tapes From Africa) LP
Roky Erickson: The Evil One (Light in the Attic) LP
Ex Eye: s/t (Relapse) LP
Focus Group: Stop Motion Happening (Ghost Box) LP
Godspeed You Black Emperor: Lift Your Skinny Fists (Constellation) LP
Nick Hakim: Green Twins (ATO) LP
Lee Hazlewood: Cowboy in Sweden (Light in the Attic) LP
Lee Hazlewood: LHI Years (Light in the Attic) LP
Kendrick Lamar: Good Kid.. (Aftermath) LP
Kendrick Lamar: To Pimp A Butterfly (Aftermath) LP
LCD Soundsystem: Sound of Silver (DFA) LP
Les Amazones d’Afrique: Republique Amazone (Real World) LP
Magnolia Electric Co: Josephine (Secretly Canadian) LP
Magnolia Electric Co: Fading Trails (Secretly Canadian) LP
Magnolia Electric Co: Trials & Errors (Secretly Canadian) LP
Magnolia Electric Co: What Comes After The Blues (Secretly Canadian) LP
Jason Molina: Let Me Go, Let Me go (Secretly Canadian) LP
Jason Molina: Pyramid Electric Co (Secretly Canadian) LP
Morphine: Cure for Pain (Modern Classics) LP
NWA: Straight Outta Compton (Universal) LP
Oasis: (What’s the Story) Morning Glory (Big Brother) LP
Ol’ Dirty Bastard: Return to the 36 Chambers (Get on Down) LP
William Onyeabor: Who Is… (Luakabop) LP
Pye Corner Audio: Stasis (Ghost Box) LP
Rodriguez: Coming From Reality (Light in the Attic) LP
Gil Scott-Heron: The Revolution Will Not Be Televised (BGP) LP
Wayne Shorter: Juju (Blue Note) LP
Songs: Ohia: Didn’t It Rain (Secretly Canadian) LP
Songs: Ohia: Ghost Tropic (Secretly Canadian) LP
Songs: Ohia: s/t (Secretly Canadian) LP
Thin Lizzy: Bad Reputation (Universal) LP
Tops: Sugar at the Gate (Arbutus) LP
Neil Young: Harvest (Reprise) LP
Various: The Drum Library: The Lost Volumes (Super Break) LP

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…..news letter #802 – smoke…..

Yow, the air sure is thick out there. Well, it’s a fairly light week around here as one would expect this time of year. Still, a few nice things in and we’re trying to make some headway though our backlog of used stuff in the back room. If you aren’t away this weekend, be sure to come in for a dig….

Oh, and unfortunately, we have to close up early today, so we’ll be closed at 6. But back to normal hours tomorrow. Sorry for any inconvenience.

…..picks of the week…..

conrad

Tony Conrad: Ten Years Alive on the Infinite Plain (Superior Viaduct) LP
In tomorrow… Ten Years Alive On The Infinite Plain is the quintessential work of artist/filmmaker/composer Tony Conrad. Comprised of both film installation and minimalist score for amplified strings, Ten Years leaps across genre and medium to connect his revolutionary structural filmmaking with the experiments in long-duration sound that Conrad had begun in the 1960s as part of the Theatre of Eternal Music. “Ten Years began with image before sound,” writes Andrew Lampert, “a row of quadruple projections arranged side-by-side, all the shuffling stripes cascading into each other. Over the next two hours the music throbbed and the projectors incrementally shifted inwards, their beams gradually uniting to form one pulsating, overlapping picture.” For its 1972 premiere at New York’s The Kitchen, Ten Years included Conrad on violin as well as Rhys Chatham and Laurie Spiegel performing on instruments of the composer’s own making. Chatham played the Long String Drone – a 6-foot long strip of wood with bass strings, electric pickup, tuning keys, tape, rubber band and metal hardware – while Spiegel carried out an arrhythmic bass pulse throughout. Superior Viaduct is honored to present this previously unreleased recording of Ten Years Alive On The Infinite Plain’s breathtaking premier performance. As Chatham recounts in the liner notes, “When I first listened to this recording after not hearing it for over 40 years, it transported me back to the early Kitchen and the heyday of early minimalism, played outside the Dream Syndicate.”

File Under: Drone, Avant-Garde
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zamrock2Various: Welcome to Zamrock 2 (Now Again) LP/CD
In tomorrow… “By the mid-1970s, the Southern African nation known as the Republic of Zambia had fallen on hard times. Though the country’s first president Kenneth Kaunda had thrown off the yoke of British colonialism, the new federation found itself under his self-imposed, autocratic rule. Conflict loomed on all sides of this landlocked nation. Kaunda protected Zambia from war, but his country descended into isolation and poverty. This is the environment in which the ’70s rock revolution that has come to be known as Zamrock flourished. Fuzz guitars were commonplace, as were driving rhythms as influenced by James Brown’s funk as Jimi Hendrix’s rock predominated. Musical themes, mainly sung in the country’s constitutional language, English, were often bleak. In present day Zambia, Zamrock markers were few. Only a small number of the original Zamrock godfathers that remained in the country survived through the late ’90s. AIDS decimated this country, and uncontrollable inflation forced the Zambian rockers that could afford to flee into something resembling exile. This was not a likely scene to survive — but it did. Welcome To Zamrock!, presented in two volumes, is an overview of its most beloved ensembles, and a trace of its arc from its ascension, to its fall, to its resurgence. Explore Zambia’s liberation and its impact on the country’s rock revolution. The book, written by Eothen Alapatt and Leonard Koloko is the first investigation into the Zamrock scene, and is filled with original record artwork and rarely-seen photos of Zamrock’s best ensembles.”

File Under: Psych, Zamrock
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…..new arrivals…..

benni

Benni: I & II (Goner) LP
In tomorrow… Hailing from an H Class planet far across the cosmic highways, Bênní makes “hi-NRG New Age” music. A pivotal member of bands Wizzard Sleeve / Gary Wrong Group, Heavy Lids, Roman Gabriel Todd’s Beast Rising Up Out Of The Sea, and many more, Bênní was born from Benny Divine’s personal need for new music to listen to while driving his space craft long distances. Tired of Van Halen’s 5150 and Zebra’s self-titled album on his journeys, he began creating sci-fi landscapes and ethereal soundtracks of his own. Often times primitive, the music can go from Vangelis to John Carpenter, to ’80s dungeon electro band Warning and into vintage arcade game circuitry within the blink of an eye. “The thing to me that has always kinda set the Memphis / New Orleans punk scenes apart from other places is that music and musicianship always outweighs high concept or the typical sneering “fuck you” attitude of other places. Benny Divine is a musician with a capitol M and its no accident that within a year of his coming to New Orleans (from less than an hour up the Gulf), he began to influence the local landscape as much as any of us who had been here and doing it for decades. Benny is special, especially for a young dude. He never overplays; he always listens; he’s funky as a church lady; and his memory for parts and complicated song structure is unmatched in anyone I have ever worked with…. Plus he’s chill as fuck. There is a reason that he is in almost every good band in the entire city right now. So yeah… if any of you Memphis bitches get funny ideas about stealing him away from us, there will be a straight-up lazy drunken army riding up the river to forcibly take him back.”

File Under: Electronic, New Age, Punk
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cosmic

Cosmic Dead: Eccie Bam Yas, E? (Monorail Music) LP
In tomorrow… Formed in 2010, The Cosmic Dead are a quartet from Glasgow, Scotland who share their music through good vibes and better vibrations. Known for their improvised, chaos-strewn, Buckfast-smashedagainst-the-wall take on space music, they have roamed from Roadburn to Las Vegas, Dundee to Bangalore. Each album is a document of the time and space the group find themselves in, a tangible artefact hewn from a psychedelic continuum orchestrated by The Cosmic Dead. Eccie Bam Yas, E? began life as a more meditative piece than the rocket-fuelled out-rock the band are more associated with. Spliced and reformed by the band, taken from jams and improvised sets taken from the Rainbowhead recordings in Kyle of Lochalsh, a small village in the North of Scotland near the Isle of Skye. In this remote setting the band recorded a myriad of improvised pieces inspired by their rural surroundings and the material has been scattered across three albums; Easterfaust (2014), Rainbowhead (2016) and Eccie Bam, Yas E? (2017). Beginning with an eldritch drift that roams the stereo field, phasing in an out from another realm, “Smash The Sash” melts into an electronic rock piece powered by keyboardist Lewis Cook’s analog synth sequence and drummer Julian Dicken’s pummelling drum work. The cumulative effect reminds the listener of early Krautrock experiments, like first line-up Tangerine Dream playing Tanzmusik with early, rock-band Kraftwerk while epic show-stealer “Fleein’ From The Polis” brings the stringed instruments centre stage, Bassist Omar Aborida duets with James MacKay’s warped guitar playing to create weaves of sound across a moody rhythm section. Side B opens with “Buckfast Aye,” a brooding exploration with stereo-panned guitars a-flutter before the band take the listener into a slow-paced burner that brings the group’s psychedelic craftsmanship into play. The set ends with a full on trip. “Lynx Africa” builds the group’s sound into a space-rock jam that reminds the listener of classic mid-70s Hawkwind or the more long-form music White Hills built their early career on. What’s without question on Eccie Bam Yas, E? is that the group are telepathic in their playing and psychopathic in their purpose. Monorail Music of Glasgow are proud to announce a new imprint with the intention of documenting our global community and the many forms it takes.

File Under: Psych
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une

Death in June: Symbols & Clouds (Ner) LP
In tomorrow… Finally re-assembled onto 1 single CD and a double LP, the best of 1992’s “But, What Ends When The Symbols Shatter?” and 1995’s “Rose Clouds Of Holocaust” albums plus 2 rare single tracks from the same period, which is generally considered one of the high points in Death In June’s career. (All these songs were previously available on the 2009 limited stone commemorative edition “Symbols And Clouds Euro Cross”.) The Double Vinyl LP comes in a foil-blocked gatefold sleeve and includes a double-sided poster, a choice of colours plus a DIJital download card.

 File Under: Industrial, Neofolk
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fall

The Fall: Perverted By Language (Superior Viaduct) LP
In tomorrow… The Fall returned to Rough Trade in 1983 to release a pair of singles (“The Man Whose Head Expanded” and “Kicker Conspiracy”) and Perverted By Language, their sixth proper studio album. Perverted By Language hints at the band’s shift towards a distinctly pop approach, one that they would perfect via their Beggars Banquet output that immediately followed. Yet again, the force and panic of their initial Rough Trade recordings remains the foundation for much of the album. A transitional recording in the absolute best sense, Perverted By Language is The Fall both as they were and as they would become. The emergence of Brix Smith is often cited as the impetus for The Fall’s move toward outward pop, and she first makes her first appearance with the band on Perverted By Language. Nowhere is her presence felt more than on “Hotel Blöedel,” where she handles lead vocal duties alongside Mark E. Smith whose mangled violin accompaniment roots the song’s cold romanticism in his unmistakable brand of strange. “Garden” provides a new take on The Fall’s stretched-out tendencies—using ringing, clean guitars to build a nearly 10-minute epic more subtly than ever before. The opener, “Eat Y’self Fitter,” is wholly classic Fall: a playfully circular bass line drives the album’s strongest vocal spout, complete with emphatic breaks where Mark E. Smith issues the song’s spiteful decree with equal parts glee and scorn. Superior Viaduct’s edition is the first time that Perverted By Language has been available on vinyl domestically.

File Under: Punk
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focus

The Focus Group: Stop Motion Happening (Ghost Box) LP
The Focus Group return with a dreamlike kaleidoscope. Like the zonked soundtrack to a disorientating Saturday morning kid’s show with strange animations, fun facts, your poetry and all the latest pop-psych sounds. The Focus Group is the work of Ghost Box co-founder Julian House. His graphic design has graced sleeve art by Broadcast, Stereolab, Oasis, Primal Scream, Can and many others. House’s music reflects his collaged design work; it’s woven together from fragments of electronics, heavily processed samples and exotic instrumentation. It’s an uncanny and atmospheric sound that invokes memories of British psychedelia, Italian horror movies and Eastern European animation. The lavish CD and LP packaging is designed by Julian House. The 180gm LP includes a free download card. “…the spirit of a certain experimental, baroque psychedelia is alive in every one of these tunes.” The Quietus “…this is an archaeology of emotion, a philosophically motivated exploration of the power of not just one’s childhood memories, but of the collective unconscious.” The Wire

File Under: Electronic, Pseudo Library
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helio

Heliocentrics: Sunshine Makers OST (Soundway) LP
From the makers of the academy award winning “Searching for Sugarman”. Two warriors for peace, a vat of chemicals and an LSD cookbook. What could possibly go wrong?  Original score by The Heliocentrics, including bonus tracks that were not included in the documentary itself. The Heliocentrics are a group for which genres are meaningless and boundaries invisible. Since first appearing on DJ Shadow’s 2006 album The Outsider the group have gone on to release a string of records that float through jazz, hip-hop, psych, krautrock, and musique concrete whilst collaborating with numerous genre heavyweights from Mulatu Astake to Gaslamp Killer and picking up prestigious fans along the way, such as Madlib and the recently departed David Axelrod.

File Under: Funk, OST
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gaby

Gaby Hernandez: Spirit Reflection (Mr. Bongo) LP
‘Spirit Reflection’ is the third album LP from Los Angeles singer-songwriter Gaby Hernandez. Blissful layers of instrumentation, electronics, vocal harmonies and folkloric percussion intertwine with west coast feel to create a unique, beautiful and multi-layered album. The album features a stellar line-up of LA talent; jazz star Kamasi Washington, Stuart Howard (AKA Lapalux), Kelis and Gaslamp killer collaborator Dexter Story, plus Ninja Tune, Plug Research and Soul Jazz artist Carlos Niño, Miguel Atwood-Ferguson and Gabriel Reyes-Whittaker all accompany Gaby, with stunning results. Even before Spirit Reflection had been finished, the demo mixes caught the ear and gained support from Gilles Peterson, Lefto, Toshio Matsuura (U.F.O.) and JRocc (Beat Junkies). Born, raised and based in Los Angeles and of Chilean descent, Gaby Hernandez has been writing and recording since 2001. She was a founding member of the ‘creative music ensemble’ Build An Ark alongside others including Carlos Niño, Dexter Story and Dwight Trible. Gaby was the only vocalist on Teebs’ debut Brainfeeder release Ardour. She made major contributions to AmmonContact’s Ninja Tune releases New Birth and With Voices, plus The Life Force Trio’s Plug Research album Living Room. She was also the vocalist on Dimlite’s Outernational Duet – released as part of his highly acclaimed Sonar Kollektiv longplayer This Is Embracing. Hernandez was invited by Mia Doi Todd to sing on the Jonathan Wilson produced song Canto de Iemanja, which was included on Todd’s City Zen record Cosmic Ocean Ship and the Red Hot + Rio 2 compilation, which also featured Beck, Seu Jorge, Aloe Blacc, David Byrne and Madlib. Among her main musical comrades is the prolific multi-instrumentalist, composer and producer Dexter Story, for whom Hernandez sang on the track Water Bearer from his LP Seasons, on Kindred Spirits. David and Graham from Mr Bongo met Gaby and Carlos Nino at the end of their hugely successful Arthur Verocai album launch and rare record sale at the RAPPCATS venue in LA. “Gaby and Carlos passed us a copy of ‘Spirit Reflection’.and we put it on the deck. It immediately grabbed us and we couldn’t stop listening to it. When we got back to the UK we got in contact straight away and signed the album. We’re very proud to be releasing it”… “…this is a future classic, an ‘album’ in the truest sense of the word. Brilliant.” says Graham.

File Under: Latin, Funk, Soul
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echo

Lord Echo: Harmonies (Soundway) LP
Harmonies is the new long player from underground super-producer Lord Echo. Hotly anticipated for the last few years by his growing entourage of fans, many were frustrated by his descent into obscurity in the industrial backwaters of New Zealand where he lived alone and went completely insane trying to complete the record. But those frustrations are finally at an end, and the wait was worth it – for fans at least. The new album solidifies his already distinctive mutations of reggae and rock steady with disco, African soul, techno and spiritual jazz. In other words, the Lord has returned from the wilderness with a bounty for his followers. Eat of the bread of life and enjoy access to his crazy World of Sound.

File Under: Jazz, Electronic, Funk
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lowe

Robert Aiki Aubrey Lowe: Two Orb Reel (More Than Human) LP
Brand new full-length by modular synth experimenter Robert Aiki Aubrey Lowe (Kranky/DDS/Type/Holy Mountain), with this one revolving around the concept of a soundtrack for African science-fiction. It’s an alien trek of a record, soundtracking emotions of wonder, fear and transcendence. “Lowe has made some of the most transcendent music of recent times (‘cerebral music in the best sense of the word’)” – Music & Literature. Vinyl limited to 500 copies and packaged in a gatefold sleeve with an insert of original artwork by Robert Lowe.

File Under: Electronic, Ambient
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nance

David Nance: Negative Boogie (Ba Da Bing) LP
In tomorrow… David Nance, Omaha veteran of warble and hiss, returns with Negative Boogie, his new concoction of chug, throb and greasy swagger. On this album, Nance trades in his beaten up Tascam 488 for the bullet-proof, glass walls of A.R.C. Studios. What exactly is the negative boogie? Well, it’s a bit like Canned Heat but with Pere Ubu’s queasy rhythms and someone playing five finger fillet with Swell Maps. Ensconced in his ivory tower and soundproof rooms, Nance reached for unlikely weapons to tear down his own lofty experiment. He had his pick of rare guitars, cowbells, steel drums, vintage amps, Crazy Horse microphones, mellotron, and the restless but indefatigable rhythm section of Kevin Donahue and Tom May. They started at sunrise and recorded fifteen songs by midnight. Maybe it’s his Midwestern work ethic, maybe he’s a sonic cheapskate. Maybe it’s just the sound of negative boogie. These songs stab and flow into one other like a perfectly orchestrated classic. They are drenched with Nance’s most biting and comic lyrics to date, peaking on “D.L.A.T.U.M.F. Blues (Don’t Look At This Ugly Mother Fucker Blues)”. And ripping through the entire thing is the cracked power he yanks out of the guitar, a veritable The Good, The Bad And The Ugly of riffage. This is a departure for Nance. It’s bigger and grander but it’s far from easy music. It’s his Plastic Ono Band, his For Your Pleasure, his fever dream of Rocket from the Tombs. But this of course is only a press release, written by a team of robots using words programmed to seduce you. Did it work?

File Under: Indie Rock
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nilsson

Molly Nilsson: Imaginations (Night School) LP
In tomorrow… That we live in a world changed is beyond question. Since 2015’s Zenith, Berlin-based songwriter Molly Nilsson has surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political landscape and imagining something better. For an artist who has so successfully created her own environment and gradually let in others, her eighth studio album Imaginations directly engages with her surroundings, engendering change and allowing love in. This album dreams big, recasting storming, stadium-sized pop into the internal language of the solo auteur. It’s not escapism, it’s a kaleidoscope and an alternative view, an agent of change. Nilsson’s vision is perhaps more forceful than the emotionally fragile moments of her previous album, exemplified on “Memory Foam,” a bright, driving pop song that belies themes of nostalgia and the past, reminding us that Nilsson alone can make one feel so welcome in loneliness. If there’s overt anger in songs like “Money Never Sleeps,” an anthem for a post-capitalist utopia, seams of optimism are also sewn into the album’s genetic code. Any revolutionary will tell you that anger alone achieves nothing— Nilsson’s mission is to offer some alternatives we can hold close. For example, “Not Today Satan” is a song about accepting love as the agent of change: “Don’t be sad, but do get mad at all the small men who act so tall, in the end they always fall; there ain’t no sin in giving into love, that’s just how we’re winning the fight.” Love can be visceral, a weapon with which to fight the power. Recasting her interior monologue as a prism through which to see the world, Nilsson imagines a means to live differently and to reject the status quo. This is an optimism about the future when one needs it the most. “New boys, new girls… give me your smile and I’ll give you mine.” Clearly, the world is living through a transformation but with alchemists like Molly Nilsson, no one is alone in the process.

File Under: Electronic, Synth Pop
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phoenix

Phoenix: Ti Amo (Glassnote) LP
In tomorrow… Ti Amo is Grammy-winning French act Phoenix’s first album since 2013’s critically lauded Bankrupt! Produced by the band and recorded at La Gaîté Lyrique (Paris) with the help of long time collaborator Pierrick Devin, the band describes Ti Amo as “an album about simple pure emotions: love, desire, lust and innocence, it’s also a record about our European, Latin roots, a fantasized version of Italy: a lost paradise made of eternal Roman summers (hyper-light, hyper-clarity, pistachio gelato), juke-boxes on the beach, Monica Vitti and Marcello Mastroiani, fearless desire and Antique marble statues.” The New York Times calls Ti Amo “the band’s most unabashedly romantic record yet” and it’s ushered in by lead single “J-Boy,” a brilliant, shimmering explosion.

File Under: Indie Rock
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radiohead

Radiohead – Ok Computer OKNOTOK (XL) DLX Box
Rescued from defunct formats, prized from dark cupboards and brought to light after two decades in cold storage… OK Computer: the original twelve track album, three unreleased tracks and eight B-sides, all newly remastered from the original analogue tapes. Inside a black box emblazoned with a dark image of a burned copy of OK Computer are three heavyweight 180 gram black 12″ vinyl records and a hardcover book containing more than 30 artworks, many of which have never been seen before, and full lyrics to all the tracks except the ones that haven’t really got any lyrics. Under this weighty tome are yet more surprises: a notebook containing 104 pages from Thom Yorke’s library of scrawled notes of the time, a sketchbook containing 48 pages of Donwood and Tchock’s ‘preparatory work’ and a C90 cassette mix tape taken from OK Computer session archives and demo tapes.

File Under: Rock, Electronic
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sheer mag

Sheer Mag: Need to Feel Your Love (Wilsuns RC) LP
In tomorrow… A tear in the firmament. Beyond the noxious haze of our national nightmare—as structures of social justice and global progress topple in our midst—there lies a faint but undeniable glow in the distance. What is it? Like so many before us we are drawn to the beacon. But only by the bootstraps of our indignation do we go so boldly into the dark to find it. And so SHEER MAG has let the sparks fly since their outset, with an axe to grind against all that clouds the way. A caustic war cry, seething in solidarity with all those that suffer the brunt of ignorance and injustice in an imbalanced system. Both brazen and discrete, loud yet precise, familiar but never quite like this—SHEER MAG crept up from Philadelphia cloaked in bold insignia to channel our social and political moment with grit and groove. Cautious but full of purpose. What is it? By making a music both painfully urgent and spiritually timeworn, SHEER MAG speak to a modern pain: to a people that too feel their flame on the verge of being extinguished, yet choose to burn a bit brighter in spite of that threat. With their debut LP, the cloak has been lifted. It is time to reclaim something that has been taken from us. Here the band rolls up their sleeves, takes to the streets, and demands recompense for a tradition of inequity that’s poisoned our world. However, it is in our ability to love—our primal human right to give and receive love – that the damage of such toxicity is newly explored. Love is a choice we make. We ought not obscure, neglect, or deny that choice. Through the tumult and the pain, the camaraderie and the cause, the band continues to burn a path into that great beyond. But where are we headed? On Need To Feel Your Love, they make their first full-length declaration of light seen just beyond our darkness. Spoken plainly, without shame: It is love.

File Under: Punk
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torske

Bjorn Torske & Prins Thomas: Square One (Smalltown Supersound) LP
In tomorrow… Norway’s cosmic house forefather Bjorn Torske collaborates with Prins Thomas, a disciple from Torske’s long lineage of inspired Nordic producers, on their first full-length together, Square One.

File Under: Electronic
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waxahatchee

Waxahatchee: Out in the Storm (Merge) LP
Out in the Storm is the blazing result of a woman reawakened. Her most autobiographical and honest album to date, Out in the Storm is a self-reflective anchor in the story of both Katie Cruchfield’s songwriting and her life. The album tells the story of taking control of a volatile situation, embracing flaws, and exploring a new sonic freedom. The album was tracked at Miner Street Recordings in Philadelphia with John Agnello, known for working with some of the most iconic musicians of the last 25 years, including Dinosaur Jr. and Sonic Youth. Agnello and Crutchfield worked together for most of December 2016, along with the band: sister Allison Crutchfield on keyboards and percussion, Katherine Simonetti on bass, and Ashley Arnwine on drums; Katie Harkin, touring guitarist with Sleater-Kinney, also contributed lead guitar. At Agnello’s suggestion, the group recorded most of the music live to enhance their unity in a way that gives the album a fuller sound compared to past releases, resulting in one of Waxahatchee’s most guitar-driven releases to date. Crutchfield’s voice oscillates between effortless grace and commanding righteousness, taking the listener with her on an explicitly personal journey. CD packaged in 4-panel uncoated digipak with foil stamp and printed insert. Regular LP version in uncoated jackets with foil stamp, black dust sleeve, a poster and download. Deluxe LP version in uncoated gatefold jackets with silver foil detail, black dust sleeve, full fold-out poster, downlaod and a bonus ten track disc pressed on white vinyl.

File Under: Indie Rock
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…..Restocks…..

Alabama Shakes: Sound & Color (ATO) LP
Captain Beefheart: Safe As Milk (Buddha) LP
Death: For the Whole World to See (Drag City) LP
Jacques Dutronc: L’opportuniste (Sony) LP
Bill Evans Trio: Waltz for Debby (Original Jazz Classics) LP
Bill Evans: Undercurrents (Waxtime) LP
Full of Hell: Rudiments of Mutilation (A389) LP
Herbie Hancock: Empyrean Isles (Blue Note) LP
Herbie Hancock: Maiden Voyage (Blue Note) LP
Herbie Hancock: Speak Like a Child (Blue Note) LP
Herbie Hancock: Thrust (Music on vinyl) LP
Fela Kuti: Zombie (Knitting Factory) LP
Kyuss: And the Circus Leaves Town (Elektra) LP
MF Doom: Mmm.. Food (Rhymesayers) LP
Lee ‘Scratch’ Perry: Return of the Super Ape (VP) LP
Queens of the Stone Age: …Like Clockwork (Matador) LP
Run DMC: Raising Hell (Get on Down) LP
Raymond Scott: Soothing Sounds for Baby (Music on Vinyl) 3LP
Sigur Ros: ( ) (Krunk) LP
Snoop Doggy Dogg: Doggy Style (Death Row) LP
Television: Marquee Moon (
White Zombie: La Sexorcisto (Music on Vinyl) LP
White Zombie: Astro-Creep 2000 (Music on Vinyl) LP

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…..news letter #801 – heat…..

Apparently any minute the skies will open and start throwing baseball sized hail, but for now, it’s just hot as hell out, and this week, there’s a lot of head hitting the bins as well! As always, some KILLER reissues, but also some big new releases, namely DAMN… how long have you been waiting for that one? Don’t sleep, who knows when we’ll see more…

…..picks of the week…..

musciRoberto Musci: The Loa of Music (Soave) LP
In tomorrow… Soave present the first vinyl reissue of Roberto Musci’s The Loa Of Music, originally released in 1984. The Loa Of Music is the debut recording project of Milanese composer and musician Roberto Musci, inspired by voodoo religion, Vever (the magical voodoo paintings), and Loas, the dark and magic spirits. The deep charm of non-western music led Musci to travel for many years across Africa, India, and Asia, studying rhythms, scales, performance, and interpretation of the most varied traditional and indigenous music. He made many field recordings and collected ethnic instruments that would then be combined with synthesizers and electronics in The Loa Of Music. Recorded in 1983, the project originally had 80 minutes of music, but only half was released on the original LP. For the first time, Soave have pressed the complete recording sessions from the original tapes of this phenomenally ambitious masterpiece that entirely refuses the well-trod path — distilling a remarkable range of sonic reference and reality. A work of field recording, musique concrète, electronics, synthesis, and instrumentation, pulling from countless musics from across the globe, the result is nothing short of brilliant and stunningly beautiful. A near perfect work — an egoless gesture, which rather than attempting to find consensus, offers every voice equity and cohabitation — harnessing the history music, with all of its cultural diversity, as a vision for a more ideal future. Geographies and their sounds intertwine, while Musci’s interventions and instrumentation thread a path. Ambiences ripple, sounds and voices converse in a vision of unity that may only exist within sonic realms. Unquestionably seminal, and one of the most important works to emerge from Italy in the last 50 years. Never before issued on vinyl since its original release, this will surely not to be around for long.

File Under: Ambient, Field Recording, Ethnographic
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ghostKenji Kawai: Ghost in the Shell OST (WRWTFWW) LP+7″
In tomorrow… Limited edition LP version. Regular LP in soon. Includes 7″ and extensive 24-page liner notes; Japanese obi; Sleeve with silver gilt printing. We Release Whatever The Fuck We Want Records present the first ever official vinyl pressing of the soundtrack for Mamoru Oshii’s critically acclaimed and all around legendary science fiction anime film Ghost In The Shell (1995), adapted from Masamune Shirow’s groundbreaking manga series of the same name. The haunting score is composed by Kenji Kawai, one of Japan’s most celebrated soundtrack composers alongside Joe Hisaishi and Ryuichi Sakamoto, whose work includes Hideo Nakata’s Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai’s compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme “Making Of Cyborg”, Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film’s musings on the nature of humanity in a technologically advanced world. Ghost In The Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron’s Avatar (2009), the Wachowskis’s The Matrix (1999), and Steven Spielberg’s AI: Artificial Intelligence (2001). For fans of anime, manga, movie soundtracks, science fiction, ambient, folklore, Japan, Akira (1988), artificial intelligence, Midori Takada. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes in two versions: a standard LP and a limited collector’s edition which comes housed in a sleeve with silver gilt printing and includes the LP, a bonus 7″, Japanese obi, and extensive 24-page liner notes.

File Under: OST, Anime, Japanese
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…..new arrivals…..

atobe

Shinichi Atobe: From the Heart, It’s a Start, A Work of Art (Demdike Stare) LP
In tomorrow… From The Heart, It’s A Start, A Work Of Art has its origins in early 2000, before Chain Reaction released the legendary Ship-Scope 12″. Three of the tracks here are taken from an acetate cut at Dubplates & Mastering at that time, but which wouldn’t see the light of day until now, including another batch of tracks taken from original masters. Only five copies of that acetate were ever made, so this is the first time any of these tracks are available for public consumption, and they rank among the finest and most distinctive in either the Chain Reaction or Shinichi Atobe’s vaults. The material is effectively some of the Japanese producer’s earliest work, showcasing the sort of tender, feminine pressure that would bubble up on the Ship-Scope EP and later be revealed in his new productions, Butterfly Effect and World yet, for many reasons, they would lay sunk in his archive for the next 17 years. The tracks taken from that acetate are labeled “First Plate 1-3” and really are quite remarkable, having taken on so much character and added weight over the years that the incidental crackle of surface noise imbues proceedings with an added dimension that’s hard to fathom. It basically sounds like a lost transmission making its way from Paul-Lincke-Ufer at the turn of the millennium to a new, completely changed world all these years later. The patina of crackle lends a mist-on-bare skin feeling akin to summer garden parties at Berghain in the stepping “First Plate 1”, and gives a foggier sort of depth perception to the hydraulic, Maurizian heft of “First Plate 2”, but it’s the submerged euphoria of “First Plate 3” that hits the hardest; a heady, bittersweet reminder of days gone by. The other four tracks are crisply transferred from master tapes, relinquishing a sublime, impossible to categorize house variant that recalls everything from DJ Sprinkles to Ron Trent, yet with that weird, timeless production tick that by now has become something of a signature for this most distinctive and hard to categorize producer. Buoyant dub house and techno with lush, gaseous synths and keys. Remastered by Matt Colton from original tapes and worn actetates — grit included; Limited copies.

File Under: Electronic, Techno, Chain Reaction
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baroncini

Angelo Baroncini & Bruno Battisti D’Amario: Music For Movement (Sonor Music) LP
In tomorrow… Sonor Music Editions present a reissue Angelo Baroncini and Bruno Battisti D’amario’s Music For Movement, originally released in 1969. Another terrific jam and a very obscure Italian library record, originally released on Roman Record Company label, the label responsible for Droga (1972), Traffico (1972), and the Viaggio Attraverso I Problemi Dell’Uomo series. The music is signed by the great guitar players and composers Angelo Baroncini and Bruno Battisti D’Amario, D’Amario being the unmissable guitar man of maestro Ennio Morricone. Crazy early fuzz beats with fast western swings, experimental rock distractions, rhythmic movements, with totally insane acid guitar and sitar riffs and a huge underground psychedelic mood. A truly inspired and deep session recorded for some impossible TV synchronization purpose. Holy grail alert. Original sleazy stereo recording restored sound. Edition of 500.

File Under: Library, Psych
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braen

Braen & Raskovich: Drammatico (Sonor Music) LP
In tomorrow… Sonor Music Editions present a reissue Drammatico, originally released in the early ’70s. An absolute Italian library holy grail and maybe the most desired item of the genre, originally released on Panda Records. This totally insane library album conceived by maestro Alessandro Alessandroni and Giuliano Sorgini, under their pseudonyms Braen and Raskovich respectively, is surely their highest point of collaboration. This is a concept album where the music is just out-of-this-world and way ahead of its time, nothing is quite comparable. War-themed and dramatic music, ranging from the most evil electronics to dark fuzz distortions and huge hip hop beats, all driven by a mental, psychedelic madness. A record coming from hell — an unbelievable session remastered from the original master tapes. Enjoy the trip! Remastered from the original Panda Records master tape; Exclusive liner notes by Marsellus Wallace; Revised by Alfonso Carrillo (RendezVous, LA); Edition of 500.

 File Under: Library, Psych
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cosmic jokers

Cosmic Jokers: Galactic Supermarket (Victory) LP
In tomorrow… Victory present a reissue of The Cosmic Jokers’ Galactic Supermarket, originally released on Komische Musik in 1974. Julian Cope’s review of the album on Head Heritage: “Starting with a heavy piano-drums groove like John Cale and Terry Riley’s ‘The Protégé’ from their classic LP Church Of Anthrax, The Cosmic Jokers return to their trip with an un-cosmic dub beginning, melodicas and guitars spinning off all over the place. Gille Letmann says a couple of words before the breakdown into Clangerland, a place where goofy synthesizers call to each other over exquisite mellotrons and tinkling spacey grand piano. Again, it’s just two huge tracks — this time the ever shifting ‘Kinder Des Als’ and the title track ‘Galactic Supermarket’. The female voices take a while to assimilate after the austerity of the first Cosmic Jokers LP, and the opening track wanders around for a while before ascending to its righteous groove. The women scream ‘Schnell Schnell!’ and the helicopter drums of Harald Grosskopf propel us once more into a hectic frantic major-chord trance out. It’s the sheer unbalance that makes this record such a delight. At times, Klaus Schulze’s synthesizer is so loud that it swamps everything in its path. The title track ‘Galactic Supermarket’ begins like one of Van Der Graaf Generator’s greatest and most drawn out riffs. A slow 6/4 bass licks over ominous Pawn Hearts style shifting chords. Again, the piece is slow to begin, as though they are searching for harmony but each musician is confused and solitary. Manuel Göttsching freaks out in a fury of wah-guitar madness, forcing the others awake, but this really is a down-in-the-mouth scene and the whole Trip descends further and further until… an inevitable slow burning groove gets itself together and the scene whips itself up into a Shake Appeal Flip Out. The LP takes a little longer to get into than The Cosmic Jokers, but give it time and it’s in your head forever. Those piercingly loud Klaus Schulze synthesizers which sound so bizarre the first time… You’ll be waking up with them in your head, whistling them in the street, people will think you’ve lost your fucking mind. Right On.”

File Under: Krautrock, Kosmiche, Psych
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dead mauriacs

Dead Mauriacs: Beaute Des Mirages (Discrepant) LP
In tomorrow… Mysterious French outfit The Dead Mauriacs return to Discrepant in full exotic wind force after their sell-out cassette, Cocktails Pour La Fin Des Temps (2016). Beauté Des Mirages picks up on the same themes of frantic, abstract exotica and concrete cocktails the French act is known for. Running for two, long 18-minute sides full of fake(?) vintage atmospheres and armchair jungle hallucinations, Beauté Des Mirages is an abstract journey into a beautiful (and sometimes scary) world of mirages. All perfectly illustrated by yet another mesmerizing artwork collage by US artist Evan Crankshaw.

File Under: Exotica, Collage
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ditmas

Bruce Ditmas: Visioni Sconvolgenti (Dead-Cert) 10″
In tomorrow… With roots in the early developments of modular synthesis and free jazz and revered amongst the most discerning collectors of international jazz, electronic music, and American avant-garde, the experimental drummer known as Bruce Ditmas occupies a firm branch on contemporary experimental music’s family tree. As the one time romantic partner (and artistic collaborator) of sound poet Joan La Barbara (later to be Miss Morton Subotnik) and the stand-out session drummer for both Robert Mason’s mutant synth Stardrive project and Gil Evan’s legendary Jimi Hendrix tribute band, Ditmas is best savored as the first recorded solo artist to utilize Robert Moog’s lesser-known Moog Drum controller — an instrument which over the course of two 1977 independent LPs (Aeray Dust and Yellow) would become synonymous with his blooming reputation. Raised in Miami, nurtured in New York City, and willingly exploited internationally, Bruce’s public life as a child prodigy-cum-world jazz crusader (drawing similarities with the likes of France’s Jacques Thollot) has seen him spread his select discography over many imprints, including Joan La Barbara’s own Wizard Label, Enja, and ECM — socializing with sound designers like Suzanne Ciani and collaborating on projects penned by Annette Peacock, Paul Bley, and his long running collaborator Enrico Rava. Spending the last thirty years travelling between America and Italy as a full-time jazz musician whilst working with inter-communal music initiatives, film directors, and theater groups, Bruce has retained the same maverick passion and macabre creative influences channeling brutalism, futurism, science fiction, and psychological horror through his percussive mantra and avant-garde approach to instrument manipulation and recontextualization. The selected titles on Visioni Sconvolgenti are extracted from various recordings made over the last three decades, comprising field recording techniques and percussive manipulation resulting in gritty tonal soundscapes and angular sonic sculptures, while drawing theoretical comparisons with European proto-industrial units like Germany’s Faust, Swiss electronic jazz pioneer Bruno Spoerri, Czech sonic illustrator Milan Grygar, and sprawling generation of Parisian musique concrète informed anti-melodic luminaries. Reflecting a lifelong career in active melodic drum exploration and vivid existential sound design, Visioni Sconvolgenti provides an alternative, darker, meditative, glimpse into the work of a proactive composer at his non-conformist best in the uninhibited confides of his own home analog studio. Artwork by Andy Votel. Cut at Dubplates & Mastering; Edition of 500.

File Under: Electronic, Experimental
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ocora

Charles Duvelle & Hisham Mayet: Photographs of Charles Duvelle: Disques Ocora & Collection Prophet (Sublime Frequencies) 2CD+Book
In tomorrow… Disques Ocora, a French label dedicated to capturing and publishing the sounds of folkloric culture from around the world, is held in the highest possible regard in the realms of professional and amateur ethnomusicology. Instigated in 1958 by Pierre Schaeffer, the founder of musique concrète, Disques Ocora’s sterling reputation is largely built on composer and musicologist Charles Duvelle’s pioneering field recordings, as well as his now-iconic photographs and graphic design. Charles Duvelle’s work is indisputably one of the most important contributions to the human understanding of the rich biodiversity of our planet’s music and language. In 1977, his field recordings from Benin were selected by Carl Sagan for inclusion on the Voyager Golden Records, which were carried into outer space by the Voyager spacecraft to stand as an example of humanity’s highest musical expressions for the universe’s unknown listeners. Sublime Frequencies’ most ambitious project to date, this 296-page fine-art photography book comprises an exhaustive collection of Charles Duvelle’s field photography from 1959 to 1978 (188 black-and-white and 58 color photographs), demonstrating that this master musicologist had an equally unerring eye for photography; Includes a photo index listing the details of each photograph. It also contains an exhaustive interview with Charles Duvelle by Hisham Mayet, detailing the history of the label and offering Duvelle’s unique insights into the discipline of field recording (French and English facing text). The package includes two full-length CDs of archival recordings (some of which have never been published) selected, compiled, and fully annotated by Duvelle himself. Most of the tracks on CD one (Africa) are complete versions of truncated tracks from OOP Ocora LPs. CD two, which includes performances by Sohan Lal, Kheo Oudon, and Madurai Ramaswami Gautam, is focused on material from Asia (music from India and Laos), with two long tracks that have never been released (a third track is a complete unedited version). The material focuses on the five regions surveyed during his time with Ocora: West Africa, Central Africa, Indian Ocean, Pacific Islands, and SouthEast Asia. It includes “Disques Ocora / Charles Duvelle Discography, 1959-1974”, a complete overview illustrated with 94 full-color album thumbnails, “The Prophet Collection, 1999-2004” a discography of Duvelle’s post-Ocora label illustrated with 41 full-color album thumbnails, “Eastern Music in Black Africa”, a 17-page report prepared by Charles Duvelle at the request of UNESCO (February 1970), and a review of the Ocora catalogues (1964-1973). In a tribute to Disques Ocora’s exquisite design sensibility, the book is printed on 170 gsm Lumisilk matte art paper and bound in grey buckram with gold foil stamping on the cover and spine. The front cover includes a tipped-on glossy photograph by Charles Duvelle. Hardcover book; 10″x10″; 296 pages; 4.5 lbs. Produced and edited by Hisham Mayet.

File Under: World, Books

ersen

Ersen: Dunden Bugune (Pharaway) LP
In tomorrow… Pharaway Sounds present a reissue of Ersen’s debut album Dünden Bugüne, originally released in 1977. Ersen is one of Anatolian rock’s most sheerly talented vocalists. Ersen spent time in Moğollar, 3 Hür-El, and Cem Karaca’s Kardaşlar before cementing his reputation as the front man of Dadaşlar. His voice can range from one that has a soft edge (where he swallows his notes a bit, like a muezzin would), to growling belt-outs that could have fronted any ’80s metal act. Ersen and his ever-changing backup band wore Slade haircuts and loud jackets with rainbow pants or silver platform shoes, and they grew their moustaches just as long as the Beatle-bangs of their western counterparts. Synth-wizz, funk breaks, and fuzzed-out prog riffage back one of Anatolian rock’s best vocalists — Turkish psych-rock with some amazing funk drums and fuzzed-out guitars. Comes in gatefold sleeve with original artwork; Includes insert with liner notes by Angela Sawyer (Weirdo Records); Remastered sound.

File Under: Turkish, Psych
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ersen1

Ersen: Ersen 2: Omur Biter Yollar Bitmez (Pharaway Sounds) LP
In tomorrow… Pharaway Sounds present a reissue of Ersen’s second album Ersen 2 – Ömür Biter Yollar Bitmez, originally released in 1978. Go back to Anatolia once more and hear the unhinged guitar and electric baglama behind Turkish psychedelia’s charismatic singer Ersen. He was discovered by Cem Karaca, was connected to Moğollar and 3 Hür-El, and even switched backing bands with Cem before finally hitting the charts with his own group Dadaşlar. There are loads of B sides and burly moves on these ’70s singles which make up his second LP. Wicked funk drums, fuzzy guitars, organs, and the powerful voice of Ersen. Includes “Zalim”, the killer psych-funk track made famous by Gaslamp Killer’s edit. Ersen’s very last name, Dinleten, means “listen”, and that’s exactly what you should do. Original artwork; Includes insert with liner notes by Angela Sawyer (Weirdo Records).

File Under: Turkish, Psych
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gunnvile

Steve Gunn/Kurt Vile: Gunn Vile (3Lobed) LP
Kurt Vile and Steve Gunn collaborated on record in 2015 for their contributions to Three Lobed Recording’s Parallelogram series. That previously ornate and limited title is now released in a non limited format standing along and outside of that prior collection. The two artists, originally connected by mutual friends and geographic proximity, have long pushed the other’s continued artistic development. Despite sharing many live stages over the years, this collaborative album represents the first time that the two have worked together in the studio. Vile’s side sees him recast tracks by John Prine (“Way Back When”) and Randy Newman (“Pretty Boy,” featuring some truly electric guitar flourishes from Gunn) as if they were KV originals. The theme of reinvention continues with Vile tearing through a solo banjo rendition of his “Red Apples” (originally from his God Is Saying This To You… LP), retitled here as “Red Apples For Tom Scharpling.” Gunn takes on a late period Nico track, “60/40,” and pulls a lysergic rocker out of the track’s goth-ish roots. The bulk of Gunn’s contribution is the epically winding “Spring Garden,” a track in the vein of some of his other longform guitar excursions. Featuring signature contributions from Vile and Mary Lattimore, this hypnotizing cut is unmistakably a new classic in Gunn’s catalog.

File Under: Indie Rock, Folk
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happy meals

Happy Meals: Full Ashram Devotional Ceremony Volume IV – VI (So Low) LP
In tomorrow… Optimo Music presents a new offshoot label, So Low, named after the night of the same name in Glasgow, run by Becky Marshall, Iona McHale, JD Twitch, and Katie Shambles. The label’s inaugural release is from Glasgow’s much-loved Happy Meals, a duo comprised of Suzanne Rodden and Lewis Cook. Full Ashram Devotional Ceremony Volumes IV-VI is the duo’s second album release, following 2014’s acclaimed Apero on Glasgow’s Night School label. Full Ashram is the name of Happy Meals’ recording studio. The Devotional Ceremony is Happy Meals connecting with their cosmic inner selves. They realize their Full Ashram Devotional Ceremony as banishing demons, devils, and ill will. Devote your soul to the positive forces before the misguided, suffering spirits pull you down and wipe you out. While the album is comprised of individual tracks segueing into each other, for full salvation, it is recommended to be listened to as one continuous piece.

File Under: Ambient, New Age
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hoyoux

Jean Hoyoux: Planetes (Cortizona) LP
Deluxe reissue on vinyl of this much sought after release by Jean Hoyoux including 8 (!) inserts. This 1982 Belgian ‘Kosmisch’ stunner was originally issued by ‘CRETS’ or Centre de Recherche et d’Etudes. The seven extended pieces form a course of ‘sound therapy’ similar in tone to Angel Rada’s ‘hand played’ explorations in rubato-rooted forms. The largely tonal pieces – recorded using string and choir synthesizers, vocoders, drum machines, etc. along with a heavy battery of phasing and time-based effects-lands somewhere between a ‘library music’-styled mood excursion and a genuinely transformative mind melter that ranks as one of the more obscure entrants into the…obscure electronic music canon. (Keith Fullerton Whitman)

File Under: Ambient, Electronic, New Age, Kosmisch
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johnson

Ragnar Johnson: Ethiopian Urban & Tribal Music (Sub Rosa) LP
In tomorrow… Sub Rosa present a reissue of volume one (Mindanoo Mistiru) and two (Gold From Wax) of Ethiopian Urban And Tribal Music, both originally released as two distinct LPs on Lyrichord in 1972. Mindanoo Mistiru and Gold From Wax were recorded by Ragnar Johnson. Ethiopia contains many diverse peoples and many styles of music. It was still an empire in July and August of 1971 when these recordings were made. Over 70 languages and 200 dialects are spoken in Ethiopia. In much of the music, lyrics are more important than instrumentation, and the transmission is oral. The urban musicians, the bagana, and Mary Armeede, were recorded in Addis Ababa. Ethiopian urban musicians come from many parts of the country and are familiar with, and adapt to, styles of regions other than their own. The Afar divination chants and flutes were recorded in the Danakil desert. The Anuak toum and Nuer harp, lament and dance were recorded near the Sudan border. The Konso dance and the Gidole Fila flute dance were recorded near the Kenya border. Mindanoo Mistiru means “What is the Unknown?”. Gold From Wax refers to the two layers of meaning in Amharic poetry. File under: Le Coeur du Monde.

File Under: Field Recording, Ethnographic

kirby

Leyland Kirby: Memories Live Longer Than Dreams (HAFTW) LP
In tomorrow… 2017 repress; Originally released in 2009. The third of the three 2LP editions in James Leyland Kirby’s When We Parted My Heart Wanted To Die series. The synthetic luster of Memories Live Longer Than Dreams already appeared cracked and damaged the first time around, and in 2017 its phosphorescent glow remains a beacon of shelter for contemplation and secluded mind-drift, offering a surreal, nostalgic night-light to the gloomy and confused world it diagnosed and predicted nearly ten years ago. Written during James Leyland Kirby’s forlorn purgatorial years spent in Berlin during the period which shaped the modern world as we know it — a time when global financial institutions collapsed, YouTube’s all-encompassing archive was beginning to spill over, and Facebook and Twitter were starting to enmesh the entire planet — this final instalment finds Kirby channeling osmotically absorbed visions of the future, as spelt out by Vangelis, Lynch and Badalamenti, Eno, and Kirby’s own The Caretaker alter ego, into a waking dream sequence of quietly anguished sound poems for the contemporary echo chamber, relinquishing a traversal of the hive mind’s private fears and shared nightmares rendered in ghostly scrolls of synth noise and sweepingly emotive cinematic gestures. It effectively diagnoses a sort of cultural malaise that was perhaps embryonic in 2009, as the golden age of dance/pop form and optimism which resulted in radical acts such as V/Vm and the Ccru was now left shimmering in the rearview, with the momentous energy of its accumulated, independent scenes being diffused into institutions or calcifying into hyper commercialism, leaving little or no room for ambiguity, irony or subversively socialist thought within its increasingly binary wake; a wake which has now bifurcated into extreme left and right-leaning politics with a gulf of misunderstanding in between. Keening and reeling away his own thoughts on the matter in that inter-zone of negative space, Kirby draws on ever tightening coils of cultural feedback loops and the infidelity of memory to parse, process, and secrete a slow, plasmic ooze of melancholic musical form that perhaps best represents the feelings of our age; of our shared future occluded by an inglorious or illusive past that promised much, yet never paid up.

File Under: Ambient
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lamar

Kendrick Lamar: Damn (Aftermath) LP
In tomorrow… In five whirlwind years, Kendrick Lamar has gone from being hip-hop’s hottest rising star to one of the most important voices of his generation. And as his latest album, DAMN., proves, he shows no signs of stopping. His third No. 1 in a row, the hotly anticipated release sees Lamar make another about-turn after the fearlessly creative excursions of 2015’s To Pimp A Butterfly. If DAMN. is a more stripped-back, direct album, it’s also another utterly compelling one. With his laidback flow and thought-provoking lyrics, it finds Kendrick at the very top of his game, making the personal political – and vice versa – and ensuring that he leads the charge, at a time when the world very much needs a voice like his.

File Under: Hip Hop
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melvins

Melvins: A Walk with Love & Death (Ipecac) LP
Legendary rock outfit the Melvins return with a double album, A Walk With Love and Death. The dual release, finds the trio of Buzz Osborne, Dale Crover and Steve McDonald showcasing two distinct sides of the band’s music: Death, a proper Melvins’ release, and Love, the score to the Jesse Nieminen directed, self-produced short also titled A Walk With Love and Death. “This was a huge undertaking,” explained band ringleader Buzz Osborne. “All three things: the album, the soundtrack and the film are benchmarks for us.” Drummer Dale Crover adds, “A Walk With Love and Death is one giant, dark, moody, psychotic head trip! Not for the faint of heart. You’ll sleep with the lights on after listening.” The albums, which include guests Joey Santiago (The Pixies), Teri Gender Bender (Le Butcherettes, Crystal Fairy) and Anna Waronker (That Dog), were self-produced by the band with engineer Toshi Kosai.

File Under: Metal
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orcutt

Bill Orcutt: s/t (Palilalia) LP
In tomorrow… For those not following Bill Orcutt’s drift into increasingly ear-friendly orbits in his recent live sets, Bill Orcutt — his first solo electric studio album — shocks with its space and sensitivity. On this eponymous record, Orcutt mines the expansiveness and sustain possible on the electric guitar, letting notes spin out and decay at the edge of feedback. His pachinko-parlor pacing, marked by unraveling clockspring accelerandos crashing into unexpectedly suspended tones, is still in evidence. But here, his developing melodicism maps a near-contemplative mental realm, orbiting St. Joan-era Loren Connors more than the cascading treble clatter of his duo LPs with Chris Corsano and others. From the first notes of Ornette Coleman’s “Lonely Woman”, there’s a lucidity and slow-burning lyricism that make Orcutt’s plunges into barbed-wire fingerpicking all the more striking. While no one’s about to mistake Orcutt for Jim Hall, you could probably play this for your jazzbo friends (should you be unlucky enough to have them) without raising any eyebrows. Orcutt’s track selection mirrors his obsession with American popular song in its most banal manifestations, as radically reimagined via acoustic guitar on a variety of releases, including 2013’s exhaustive Twenty Five Songs 7″ box set, and the Editions Mego album A History of Every One. Many of the songs from those two releases are here — but stretched into new arrangements that explore the upper regions of the guitar neck (hitherto unexplorable on his shakily-intonated acoustic Kay), and lighting up new corners of each arrangement with a sensitivity born from years of reinterpretation. The result is a languid, freeform drift through Orcutt’s internal cosmos into galaxies unknown to their original interpreters — and occasionally, Orcutt himself. Most striking is “White Christmas”, its careening low-register melodies crashing into complex chords that transcend Orcutt’s primitive four-string fretboard. Orcutt’s original compositions are equally striking. One of them — “The World Without Me” — is unique to this album, and notable for its trebly flurry of Clapton-esque 12th-fret drizzle. “O Platitudes!” by contrast, spins ever-faster in the cadence of a hand-cranked music box, before grinding to a near halt, its higher-key electricity standing in for the moaning vocalizations on Orcutt’s acoustic rendition as heard on his 2014 VDSQ LP. With its deep-space beauty, harmonic complexity, and dark dissonance, Bill Orcutt is a stunning landmark in Orcutt’s form-destroying trajectory.

File Under: Guitar, Blues, Lo-Fi
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decline

OST: Decline of Western Civilization (Fanclub) LP
In tomorrow… Music taken from the soundtrack of the 1981 documentary The Decline Of Western Civilization by Penelope Spheeris about the LA punk scene at the end of the ’70s and in the very early ’80s. Features: Black Flag, Germs, Catholic Discipline, X, Circle Jerks, Alice Bag Band, and Fear. Replica edition; Edition of 500.

File Under: Punk

pacific

Pacific Express: Black Fire (Matsuli) LP
In tomorrow… “Militant jazz, fusion, funk and soul from mid-seventies Manenberg, outside Cape Town, with a set of roots in club dance traditions like ballroom (‘langarm’), Khoisan hop-step and the whirling ‘tickey draai’ (‘spin on a sixpence’) of the mine camps; others in jazz-rock and the New Thing, from Santana and Chicago to Shepp and Coltrane.”

File Under: Jazz, Funk, Soul

payne

Maggi Payne: Crystal (Aguirre) LP
In tomorrow… Aguirre Records present a reissue of Maggi Payne’s challenging electronic album Crystal, originally released in 1986. Maggi Payne is an American composer, flutist, video artist, and co-director of the Center for Contemporary Music, Mills College where she teaches recording engineering, composition, and electronic music. Her work involves electroacoustic, instrumental, and vocal works along with works involving visuals, including dancers outfitted with electroluminescent wire and videos she creates using images ranging from nature to the abstract. She has composed music for dance, theatre, and video. Crystal was first released in 1986 on the Lovely Music label. Home to experimental musicians such as Robert Ashley, David Behrman, Pauline Oliveros, and Alvin Lucier. On Crystal, flute, spoken voice, sonifications, and synthesizers are processed to create dense and massive structures. Maggi Payne’s musical imagination is vivid: she is interested in the surreal, the inward, the micro, and the accumulation of physical and psychological tension. Periods of silence gently evolve into flowing drones of complex resonances. Oozing drones evolve into dense and powerful peaks of short duration. The compositions and sounds on Crystal have incredible depth, a profound logic and, though not “pretty”, an irresistible beauty. 180 gram vinyl; Remastered and cut at 45rpm by Rashad Becker; Gatefold sleeve with liner notes by the artist; Artwork by Atelier Brenda. Maggi Payne on Crystal: “I create immersive environments, inviting listeners/participants to enter the sound and be carried with it, experiencing it from the inside out in intimate detail. The sounds are almost tactile, visible, tangible. A narrative of the imagination exists, allowing each person experiencing the work to thread their own paths through their mind’s imagination and their body’s physical engagement. Each sound slowly unfolds, revealing intricacies and complexity. Each grows and evolves like crystals forming under the microscope. . . . I visualize the sound as originating from, for instance, a point source below where one is standing, then it swirls outward and upward in an ever-expanding spiral until it disappears high over the listener’s head, morphing as it travels. Spatialization is not imposed when mixing, but is instead created in the original recording by increasing the amplitude of the sound on one track then decreasing its amplitude as the identical frequency is matched on the next track while it is increasing its amplitude, dovetailing the tracks across the space. Using extensive multi-tracking, the spatialization is retained, architecting and sculpting the aural space so that multiple perspectives and trajectories coexist.”

File Under: Electronic, Ambient, Industrial
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peaking lights

Peaking Lights: The Fifth State of Consciousness (Two Flowers) LP
In tomorrow… Peaking Lights’ fifth album, titled The Fifth State Of Consciousness, was produced in their Dreamfuzz studio over two years. It’s both a departure from the new and a return to the old with a whole new twist on the psychedelic dub-pop they’ve become known for. Sonically the album shifts through many states from beginning to end, resonating deep, like a drive through foreign landscapes where you’re glued to the window, as everything slowly changes around you. The flow and pacing of songs has a sense of wonderment, and each time you play it, there’s a whole new batch of lovely sounds and eccentricities within each of the players. While bringing together their love of psychedelic music, house, electronic, and reggae, each song manages to live its own life and yet still there is some magical thread that binds them together. Produced by Aaron Coyes, the whole creative process was filled with nerdy gadgetry, playful experimentation, and deep alchemical soul searching for a musical medicine. Aaron describes Dreamfuzz as “a small junkyard with many happy mistakes.” Using tape machines, writing melodies backwards then playing them in reverse, layering sound upon sound to create “pads”, literally breaking electronics to get sounds, and a strict motto of “anything goes, pure creativity.” Most sounds were run through Peaking Lights’ 1976 16/8 Soundcraft Series Two mixing console (the same type of board used by Lee “Scratch” Perry at Black Ark, and at the infamous Cargo Studios where many of the early Factory Records bands were recorded) to add some “mojo”. It’s an album that is sure to be a creeper, even if you don’t fall in love on the first date.

File Under: Electronic, Pop, Dub
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ferret

Performing Ferret Band: s/t (Beat Generation) LP
In tomorrow… Alehop! and Beat Generation present a reissue of Performing Ferret Band’s self-titled album, originally released in 1981. Hailing from Maidstone (Kent), Performing Ferret Band got together in 1978 and with their amateur take on music, they wrote a small but great chapter of the emergence born out of punk, when the proliferation of small labels and self-releases invaded the record shops and created a scene which developed one of the golden and most creative periods of music, despite the participants’ technical limitations. Later based in Manchester and inspired by comedians such as Monty Python and musicians like Captain Beefheart, The Velvet Underground, or The Fall, the Ferrets developed a personal style very close to Television Personalities, Swell Maps, or The Desperate Bicycles, all bands of questionable virtuosity. That didn’t stop the Ferrets from releasing two cassettes, a 7″, and an LP during their short life until 1982. Their only LP, originally released in 1981 on the band’s own Pig Production label as a 300-copies pressing, is reissued here in a limited edition. It’s a compendium of absurdity, genius, humor, and that naive spirit which makes humanity more believable. Includes an insert with the band’s story, photos, and memorabilia; Edition of 500.

File Under: Post Punk, Indie Rock

praed

Praed: Fabrication of Silver Dreams (Discrepant) LP
In tomorrow… Founded by Lebanese visual artist and musician Raed Yassin and Swiss musician Paed Conca in 2006, Praed is a band whose music can be described as a mixture of Arabic popular music, free jazz, and electronics. Over the years, the duo has collaborated with renowned musicians from across the globe. Praed explore the terrain of shaabi (Arabic popular music) and its interconnectedness with other hypnotic music genres. Through their research and thanks to numerous concerts in various Egyptian cities, Conca and Yassin discovered a strong cultural connection between shaabi sounds and the mouled music played in religious trance ceremonies. The hypnotizing psychedelic effect embedded in this genre incited Praed to explore other popular music from around the world that also employs forms of sonic delirium — free jazz, space jazz, and psychedelic rock, among others — and incorporate these in their own musical concoctions. This is the duo’s fourth album. File under: dabke, shaabi, Arabic, free jazz. RIYL: Rizan Said, Omar Souleyman.

File Under: Dabke, Arabic
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shab1

Shabazz Palaces: Quazarz Vs. The Jealous Machines (Sub Pop) LP
In tomorrow… Shabazz Palaces present Quazarz vs. The Jealous Machines, the group’s fourth album and extra-spatial twin to Quazarz: Born on a Gangster Star. The album, featuring highlights “30 Clip Extension,” “Julian’s Dream (odeto a bad)” and “Effeminence” includes guest appearances from Fly Guy Dai of Chimurenga Renaissance, Amir Yaghamai, John Carroll Kirby, Thaddillac, Morgan Henderson, The Shogun Shot, Laz, and Purple Tape Nate. Quazarz vs. The Jealous Machines is a second, fully-realized album of new material that expands the Quazarz universe, and tells the tales of Quazarz, that sent sentient from some elsewhere. A wave warrior wielding his sonic sword. Posted to the turnt-up states of Amurderca here on the Gangster Star to chronicle, explore and enjoy as a musical emissary. He discovers a world where humankind’s relationship with their tech-devices has become weirdly sensual, seducing a sedentary seamlessness with humans, while capturing and incarcerating the results of their imagination. Quazarz vs The Jealous Machines finds our protagonist with his dazzling cohorts rising a collective Nah to the device and the guilds that proliferate them. Quazarz vs. The Jealous Machines was produced by the Palaceer Lazaro and Sunny Levine, recorded in Seattle at Protect and Exalt Labs: A Black Space and in Marina Del Rey at Dror Lord Studios, and mixed by Levine and Kamal Humphrey at Kamal’s House Studio.

File Under: Hip Hop, Digable Planets
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shab2

Shabazz Palaces: Quazarz: Born on a Gangster Star (Sub Pop) LP
In tomorrow… Born on a Gangster Star came into the world in a big damn hurry, like nightfall on an island. You can see it happening, but then again it’s so gradual that the next thing you know – it’s dark. Imbued with the energy and ideas from all the creative embers floating in the atmosphere like fireflies, Shabazz Palaces recorded this entire album over the course of two weeks with Blood in Seattle. New gear and new equipment disintegrated comfort zones into dust and a new path appeared in the rubble. Herein the Palaceer continues the tale of Quazar, a sentient being from somewhere else, an observer sent here to Amurderca to chronicle and explore as a musical emissary. What he finds in our world is a cutthroat place, a landscape where someone like him could never quite feel comfortable amidst all the brutality and alternative facts and death masquerading as connectivity. Inspired by days on end spent in the waves – water and light, both – of Southern California, the work came to the Palaceer in a flash, like being picked up by something and carried. Always dribbling with his head up, he can see what’s going on around him and react to it, rather than starting in a certain direction and hoping to achieve something upon arrival. Born on a Gangster Star flirts with a pop sensibility, but through the prism of Shabazz Palaces’s fire and fury. For the Palaceer, that sense is all about how the groove is moving, and the supernatural telepathy that occurs amongst his cohort. Appearing here, in body or in spirit, are Julian Casablancas, Thundercat, Darrius Willrich, Gamble and Huff, Loud Eyes Lou, Thaddillac, Ahmir, Jon Kirby, Sunny Levine, and Blood. The story belongs to Quazarz, but the air and darkness belong to us.

File Under: Hip Hop, Digable Planets
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sinigaglia

Riccardo Sinigaglia: Riflessi (Soave) LP
In tomorrow… Soave present the first vinyl reissue of Riccardo Sinigaglia’s Riflessi, originally released in 1986. Riccardo Sinigaglia, along with Gabin Dabiré and Walter Maioli, was a part of Futuro Antico — one of the most important collaborations to emerge from the 1970s and ’80s Italian avant-garde. The project, whose name literally translates to “ancient future”, joined traditional sounds and instrumental from around world, with electronic music — the sonic past, present, and future as one. Recorded shortly after the collective’s most prolific period and released in 1986, while more singular and more idiosyncratic, Sinigaglia’s Riflessi caries these very concerns at its core. Built from field recordings, collaged samples, synthesis, and unique instrumentations, and shifting from hypnotic rhythm to radical and displacing structures, Riflessi establishes a remarkable link between ancient and non-western musics and efforts emerging from studios like Groupe de Recherches Musicales. A work of staggering rhythm, texture, and beauty, Riflessi builds a world with almost no parallel — imbuing electronic music with touch, tactility, and humanity, while sacrificing none of its challenges and intellectual heights. Rattling sonorous wonder, emerging for the first time on any format since its original pressing, before us is a historic moment — a lost piece of the puzzle of the wondrous Italian avant-garde.

File Under: Electronic, Ambient, Modern Classical
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split

Split Decision Band: s/t (Now Again) LP
In tomorrow… Now-Again Reserve Edition gatefold jacket; Hand-numbered edition of 1000; 160 gram vinyl from Quality Record Production; OBI strip and resealable “Japanese-style” plastic sleeve; Download card for WAV files of the album; Contains booklet with the story of this mysterious band, told for the first time, and many unpublished photos. “They have been known to deep soul, funk and disco collectors for decades for their sought after 7″ ‘Watching Out/Dazed,’ long thought to be the band’s only recordings. Egon tracked down Split Decision Band’s vocalist and songwriter Gordon Starr Flipping in the hopes of more and got it — with Split Decision Band, Now-Again presents a never-before-released album of devastatingly good disco and boogie from the unlikely city of Des Moines, Iowa. Flipping’s collaborations with Prince’s stable made him a Midwestern legend, but his band’s music is more than an urban tall tale — this album finally proves to the world their merits.”

File Under: Funk, Soul, Disco
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sprenger

Konrad Sprenger: Stack Music (Pan) LP
In tomorrow… Having felt restrained by the limits of traditional instruments and the techniques tied to them, composer, music producer, and artist Konrad Sprenger (b. Joerg Hiller), spent years developing various algorithms and custom instruments to realize his work. His recent focus has been on rhythmic patterns based on the Euclidean algorithm, using a computer-controlled multi-channel electric guitar. The unique system can create complex rhythmical patterns whilst tuning the strings during performance — sounding at once like an electronic instrument, a drum computer, a guitar, a harpsichord, even at times as a full orchestra. Hiller has long collaborated and performed with minimalist Arnold Dreyblatt, and musician/instrument builder Ellen Fullman amongst others, and first built primitive acoustic mechanical instruments, gradually developing a more complex, digitally-controlled system. “My guitar gives me the possibility to discover almost every aspect of the sound produced by the excitation of the string — as if scientifically under a magnifying glass,” he says. “I can control such parameters as the speed and time, length of the attack, the intensity, the pitch (allowing the use of different tuning systems), and the location of each string in space by the use of six speakers.” Early on, Hiller realized that the harmonically complex sound of strings are impossible to reproduce digitally, and therefore became interested in the development of mechanical instruments, visiting European collections of pianolas and orchestrions in Belgium and Holland. Within his live performances and on this new recording, his music is influenced by the insistent rhythms from minimalism, krautrock, and techno, and their shared focus on transcendence through a propulsive, full-spectrum sound. Informed by early American folk music and its descendants (John Fahey et al.), his new album Stack Music presents a selection of recordings over the years from residencies and live performances, such as “Opening”, an early live performance of the digital guitar system recorded in New York and composed at Phill Niblock’s Intermedia Foundation Loft, whilst “Rondo” consists of recordings of the guitar played by a motor with shoelace exciters, horns, and piano harp. In “Largo”, he utilizes the software Melodyne to generate midi notes from an original guitar system recording. Mastered by Rashad Becker at Dubplates & Mastering; Artwork by Bill Kouligas.

File Under: Electronic, Ambient, Abstract
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squadra

Squadra Omega: Materia Oscura (Grandangolo) LP
In tomorrow… Squadra Omega represents the vast spectrum of the Italian underground. Psychedelic, avant-garde, jazz-rock, improvisation, kraut-rock, rock in opposition, and ethno-tribalism blend seamlessly into the work of a collective that moves and expands, depending on the urgency of the moment, focused around a core that rotates around the two members OmegaMatt and OmegaG8. In the band’s wide discography, you’ll find compositional freedom, improvised jam-sessions, and an amplitude of references, all of which move between different spaces and times. Materia Oscura (“dark matter”) offers a glimpse at the same time the soil of the “rock” matter as well as the alien, seen from multiple points of view, neighbors, and materials, distant and mysterious. Three tracks that stretch their eyes at the Orient or Africa, as well as into the depths of the cosmos, landing on the side of the art-rock of the ’70s and towards some psychedelic, visionary, cinematic drives that explode into a real ecstatic trip. Inputs from Coltrane, Canterburian jazz-rock, Grateful Dead, and synthy-space views are melted into free-form landings until they discover their own personal form of prog. Different universes collide and coexist in the band in a constant mutation, maintaining faith in one single ideal: “music for the third eye”. The album comes in a thick carton cover with a central hole.

File Under: Electronic, Psych, Krautrock
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sunkil

Sun Kil Moon: Common As Light And Love Are Red Valleys of Blood (Caldo Verte) 4LP
Common As Light And Love Are Red Valleys of Blood is the new release by Mark Kozelek’s Sun Kil Moon. The epic 4LP-set was recorded with former Sonic Youth drummer Steve Shelley in San Francisco, CA and Hoboken, NJ and for the most part captures events from January to August of 2016 and how the mercurial singer/songwriter processed it all while traveling. A disenfranchised Kozelek laments the Nice, France terror attack and Orlando nightclub shooting on “Bastille Day” and “Bergen to Trondheim” respectively and condemns Trump’s election and tech culture on “Lone Star.” “Most of the songs were cut out of improv sessions where Steve played drums and I played instruments that don’t come naturally to me – like synthesizer and bass guitar and even a baritone uke. With Nathan, my engineer, we are able to find the interesting parts and build off of them. That’s the same way we did Universal Themes – everything cut from improv. The vocals were added as we edited along.” – Mark Kozelek “The [album’s] 16 long, long songs are all darting and painstakingly detailed lectures about personal experiences, good friends past and present, the socio-political state of things, major news events – including the Orlando and Paris shootings, the Bastille Day truck attack, the Brussels bombing, the deaths of David Bowie, Prince and Muhammad Ali, the El Chapo story, the Syrian chlorine gas attacks – and basically anything else that crossed his mind on a given day. He somehow manages to weave together stray observances and unpoetic references, wry comedy sketches and meditations on topics of great significance.” – Adam Feibel, Exclaim

File Under: Indie Rock

voigt

Voigt/465: Slights Still Unspoken (Mental Experience) LP
In tomorrow… Mental Experience present an expanded reissue of Voigt/465’s 1979 album Slights Spoken, titled Slights Still Unspoken (1978-1979). Formed in Sydney in 1976, Voigt/465 was a truly unique band from the exciting days of the Australian post-punk scene. Heavily influenced by such luminaries as the Velvets, Stooges, Syd Barrett, Pere Ubu, Can, Faust, Henry Cow, Slapp Happy, and Eno’s Roxy Music, they created an abrasive sound in which krautrock, DIY, avant-garage, post-punk, psych, art-rock, and free improv-noise combined to form a sound unlike any other. In 1978, they released one of the first DIY 45s from Australia, State/A Secret West, which showed their “pop-psych” side and was played by John Peel in the UK. The following year, their bass player Lindsay O’Meara decided to leave the band and join Crime & The City Solution in Melbourne. Before parting ways, Voigt/465 decided to record one last album as a testament. Slights Spoken saw the light in 1979 and it’s without doubt one of the most fascinating albums from the post-punk/DIY era. The entire album is featured here, including the two tracks from their first 45. Includes download coupon which features three live tracks from ’78-79, including killer covers of Faust, Can, and Roxy Music. RIYL: Can, Faust, Pere Ubu, Roxy Music, Family Fodder, The Homosexuals, Slapp Happy, This Heat, Pop Group, Primitive Calculators. Remastered sound; Insert with rare photos and liner notes by band member Phil Turnbull.

File Under: Post Punk, , DIY, Australia
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whitehosre

Whitehorse: Panther in a Dollhouse (Six Shooter) LP
In tomorrow… On this new album, Whitehorse takes a place of wholesome, conventional life and sets loose a wild animal to stalk, shred and smash its way through ideals of adult life and social conditioning. Whitehorse turns a microscope on domestic life to reveal a writhing, tangled biota of dreams and desire, despair and degradation. With Panther In The Dollhouse, the duo’s songwriting makes a clean break from autobiography to fully embrace cinematic fiction in sleek, stylized collages of neo-noir drama and high-gloss showmanship. From the grindhouse ballad of “Die Alone” to the peroxide burn of “Trophy Wife,” the new songs are full of flawed characters, foiled plans and anti-fairytales. To make this record, Whitehorse expanded their studio team with the addition of Likeminds, a pair of hip-hop/R&B producers and musicians. The beat-makers joined the returning crew of Gus Van Go and Werner F, who produced the band’s previous album, Leave No Bridge Unburned. The results bring vintage drum machines, samplers and analog synths into the duo’s space twang sound.

File Under: Indie Folk
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xordox

Xordox: Neospection (Editions Mego) LP
In tomorrow… Editions Mego present the first release of a brand new project from JG Thirlwell. Recorded at Self Immolation studios in Brooklyn. This is Xordox. Xordox orbits a universe inhabited by darkness, wit, mystery adventure, and experimentation. The cinematic quality that exudes from Thirlwell’s bent being presents itself in Neospection; Unlike Thirlwell’s other works, this is predominantly a synthesizer record, including recording sessions from his residency at the legendary EMS studios in Stockholm, employing Buchla and Serge synthesizers. Sarah Lipstate (aka Noveller) plays her super-processed soundscape guitar on three of the tracks on the album, and additional mixing took place at Lazer Sound studios with Al Carlson (who works extensively with Oneohtrix Point Never). Xordox. Diamond circulating swells; Sequenced stealth sci-fi; Malleable membrane matters; Wild fabric electronic; Heart eaten beat; Fruits of fear and exhilaration. Neospection is neon noir. Neospection is ere 4 yor. Xordox arrives as unexpected and remote as any alien encounter but security lies in the cosmic drama and dark shadows that seep throughout Thirlwell’s soul. In this, 2017 the listener once again enters the mind and world of one man who refuses to play along with anyone’s game but the idiosyncratic one of his own devising. Tech and engineering at EMS by Jonas Broberg and Daniel Araya; Mastered by Scott Hull at Masterdisk; Artwork by JG Thirlwell; Space Shuttle cockpit photo by Ben Cooper; Space photos courtesy of NASA.

File Under: Electronic, Experimental
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crazy

Various: The Crazy Rhythms of Mata Hari (Stag-o-Lee) LP
In tomorrow… Rolling rockabilly, hot and cool hillbilly-country, wild western swing, sleazy-listening, surf-strip-popcorn-trash, sinuous soul and slinky r n’ b deep in the Mississippi delta lie the roots of blues and soul. In Memphis, Tennessee – a mysterious place for all music lovers – the cradle of rock n´ roll is rocking to the rhythm of the “muddy old river”. Right there in the south of “eerie America”, in New Orleans and further upstream in Memphis you can find the legendary places where musical history was made, and where the genesis of rock n’ roll and rockabilly (a combination of country and hillbilly) took place. The journey continues further north to Nashville, to Texas or to Chicago… The legendary pulp-country deejay-team and the Mata Hari-Bar (Nuremberg) melt into the Memphis Music Club: an exciting cooperation of two entities, passionate about and in love with these sounds. They aim to honor this kind of music and to inspire their guests. Welcome! Come on in! This angel heart jukebox is filled with tunes that carry the rhythm and spirit of the South! Features: Jimmy Spellman, Tommy Collins, Hawkshaw Hawkins, Hayden Thompson, Charlie Feathers, Ronnie Hayward, Hank Thomson, Johnny Horton, Bill Haley & His Saddlemen, The Swanks, Al Casey, Mad Man Jones, Jimmy Oliver Orchestra, Joe Johnson, Little Esther, Dave Bartholomew, The Delta Rhythm Boys, Buddy & Ella Johnson, Louis Jordan, Johnny Williams, Mike Robinson, Willie Jones, Bobby King, Bunker Hill, Big Mama Thornton, Billy Hamlin, Gus Jenkins Orchestra, Ernie Washington, Les Brown Jr., Jim Tyler, and Red Sovine.

File Under: R’N’B, Exotica

britx

Various: Strictly Britxotica! Palais Pop & Locarno Latin (Trunk) LP
In tomorrow… Another superb adventure in the Britxotica! series, looking into rare and amazing exotic British recordings. For this exciting installment, Trunk waltzes to the British ballrooms for charismatic cha cha chas, magical mambos, and a whole set of floor-filling fun! Britxotica! (pronounced “Britzotica”) neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers, as well as unknown singers and bandleaders, threw convention on holiday and went wild. Put together by Jonny Trunk with DJ/tastemaker and smashing nightclub legend Martin Green, these groundbreaking compilations shine new light on lost and forgotten corners of British culture and sound. For Strictly Britxotica! Palais Pop And Locarno Latin, part four of Trunk’s planned Britxotica! series, they head to the now defunct British ballrooms for a set of dynamic and often extraordinary dance numbers — charming cha cha chas (including “Cha Cha Pop Pop”), lively Latin, and some fabulously freaky foot tappers, including a classic version of “Cerveza”. Composers and artists include ballroom band legends such as Edmundo Ros, Ted Heath, and Stanley Black, but Trunk have also found work by lost geniuses such as John Graven and John Warren who are very much worthy of reappraisal. In short, this is another crazy and charismatic compilation of British music so obscure and rare that only Trunk Records could find and package it so superbly, and with such effortless and comedic style. Also features: Boyer And Ravel, Joe Loss, Johnston Brothers, Tony Scott, Tony Crombie, John Warren Orchestra, Martinas And His Music, Phil Tate, Dave Lee, John Graven Quintet, Don Carlos, Chaquito, Jack Parnell, Eddie Calvert, and Victor Silvester. All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle.

File Under: Latin, Exotica

early

Various: Early Traditional Instruments in Asia (Shiok) LP
In tomorrow… From the metal chimes of the gamelan, to the Burmese harp, passing through the Chinese Hu Ch’in, a traditional and ancient chordophone-bowed lute, Early Traditional Instruments In Asia is a sheer historical document that represents some of the most ancient instruments known to mankind. 45rpm audiophile vinyl; Limited edition of 300.

File Under: Gamelan, World, Ethnographic

innerpeace

Various: Inner Peace: Rare Spiritual Funk & Jazz (Wewant Sound) LP
In tomorrow… Wewantsounds are back with a superb selection of spiritual jazz and funk grooves from legendary producer Bob Shad’s Mainstream Records catalogue. Bob Shad was one of the greatest music producers of the 20th century, having worked with all the music giants, from Charlie Parker and Dizzy Gillespie to Sarah Vaughan, Lightnin’ Hopkins, The Platters, and Janis Joplin to name just a few. “Bobby Shad was a legend in our family” says his grandson Judd Apatow who, together with his sister Mia, looks after Shad’s back catalogue, Mainstream Records. Like his peers, jazz producers Creed Taylor and Bob Thiele, Shad went independent in the ’60s, and by the early ’70s, he was producing a string of superb albums mixing spiritual jazz with funk and soul. These albums are now being rediscovered by new generation of soul and jazz lovers hooked on the music of Kamasi Washington and Shabaka Hutchings. Recorded between 1971 and ’73, the Fender-Rhodes-drenched tracks on Inner Peace showcase Shad’s unique deep jazz sound. They feature such revered musicians as Harold Land, Roy Haynes, and Frank Foster, together with a younger generation of talented musicians led by Buddy Terry, Dave Hubbard, and LaMont Johnson. Here they are accompanied by the cream of ’70s jazz session musicians including Bernard Purdie, Buster Williams, Eddie Henderson, James Mtume, Stanley Clarke, and Cecil Bridgewater. The Mainstream catalogue has been sampled by a long list of revered DJs and hip hop producers over the years. Roy Haynes’s “Senyah” was sampled by De La Soul on “Pony Ride” and Shelly Manne’s short outro “Infinity” forms the unmissable backbone of Jeru The Damaja’s all-time hip hop classic, “Come Clean”. A fitting tribute to the supreme sound of producer Bob Shad. Wewantsounds will start a reissue program of original Mainstream albums with bonus material and rare photos from the vaults. Also features: Charles Williams, Hadley Caliman, Pete Yellin, and Sonny Red.

File Under: Jazz, Funk, Spiritual

spirit of

Various: The Spirit of Indonesia (Shiok) LP
In tomorrow… The Spirit Of Indonesia is a newly curated collection of traditional tunes from various regions and ethnic groups of the South East Asian archipelago. These historic live recordings are as “first-take” as it gets, conveying the true soul and spirit of this wonderful region, through discrete pieces coming from very different heritages. 45rpm audiophile vinyl; Limited edition of 300.

File Under: Ethnographic

too slow

Various: Too Slow to Disco 3 (How Do You Are) LP
In tomorrow… How Do You Are? Recordings present Too Slow to Disco 3, another incredible collection of songs that gleam with the high definition gloss of big-studio, bigger-budget production. TSTD 3 is another excursion into those late 1970s west coast delusions of grandeur, but in the company of songs that are also brimming over with soul, wit, and passion. Killer tunes, penned and played by virtuosic instrumentalists, backroom gals and guys who were often also Grammy-winners in their own right. All the elements that have made Too Slow to Disco volumes one and two, and The Ladies of edition, so beloved are back for another round of near-danceable lushness. This smooth wave continues to ripple round today’s music world too: Think of Thundercat’s single with Kenny Loggins and Michael McDonald (2017), or even The XX’s sample of the Alessi Brothers’ “Do You Feel It” (featured on TSTD 1) on “Say Something Loving” (2016). DJ Supermarkt has somehow prized open another box of obscure gems, selected and sequenced to bring out the mood of the era. Lyrically the focus remains on slightly difficult love affairs backed by grooves gentle enough to mix cocktails to. There’s an accidental pop hit crossover from none-more-fusion jazz guitarist Lee Ritenour along with a dab of Christian funk from Archie Cavanaugh and his troupe. There’s even a bizarrely funky and commercial sounding Grateful Dead laying down the chart-bothering beat of “Shakedown Street”. Elsewhere Steely Dan’s go-to sax man, Cornelius Bumpus makes an appearance with some angular funk (with his quartet), while Larry Carlton turns up the guitar-drenched white soul on “Where Did You Come From?”. And the compilation goes beyond LA this time. The first non-English sung TSTD track comes in the shape of legendary Canadian songwriter Dwight Druick’s slice of Montreal disco-funk. Then there’s the groovesome Stars ‘N’ Bars from Sweden, and two acts from the UK, Vapour Trails and Billy Mernit. Also features: Bob Welch, Pratt & McClain, David Gates, Weldon Irvine, The Markley Band, Vapour Trails, The Fifth Avenue Band, Mark Capanni, Archie James Cavanaugh, Rob Mehl, and Jeremy Spencer Band.

File Under: Disco

…..Restocks…..

All Them Witches: Sleeping Through The War (New West) LP
Beck: Morning Phase (Universal) LP
Charles Bradley: Victim of Love (Daptone) LP
Chemical Brothers: Dig Your Own Hole (Astralwerks) LP
Cigarettes After Sex: s/t (Partisan) LP
John Coltrane: Ascension (Impulse) LP
CCR: Cosmos Factory (Fantasy) LP
Daft Punk: Discovery (EMI) LP
Daft Punk: Homework (EMI) LP
Mac Demarco: Salad Days (Captured Tracks) LP
Mac Demarco: This Old Dog (Royal Mountain) LP
Endless Boogie: Vibe Killer (No Quarter) LP
Forest Swords: Compassion (Ninja Tune) LP
Nils Frahm: Felt (Erased Tapes) LP
Nils Frahm: Solo (Erased Tapes) LP
Hawkwind: Warrior on the Edge of Time (Sony) LP
How to Destroy Angels: s/t (Columbia) LP
Jan Jelinek: Loop Finding Jazz (Faitiche) LP
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) LP
King Gizzard & The Lizard Wizard: Paper Mache Dream Balloon (ATO) LP
Oasis: (What’s the Story) Morning Glory (Big Brother) LP
Oasis: Definitely Maybe (Big Brother) LP
Of Montreal: Hissing Fauna… (Polyvinyl) LP
Os Mutantes: Everything is Possible (Luaka Bop) LP
Pink Floyd: Animals (Pink Floyd) LP
Gusto Pio: Motore Immobile (Soave) LP
Iggy Pop: The Idiot (Universal) LP
Iggy Pop: Lust for Life (Universal) LP
Run The Jewels: 2 (Mass Appeal) LP
The Sadies: Northern Passage (YepRock) LP
Six Organs of Admittance/William Tyler: Parallelogram (3 Lobed) LP
Sleep: The Clarity (Southern Lord) LP
Sufjan Stevens: Carrie & Lowell (Asthmatic Kitty) LP
Thundercat: Drunk (Brainfeeder) 4×10″
X-TG: Desert Shore/Final Report (Industrial) LP
Various: African Scream Contest (Analog Africa) LP
Various: Legends of Benin (Analog Africa) LP
Various: Studio One Kings (Soul Jazz) LP

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…..news letter #800 – landmark…..

800 of these things! That means every Thursday for the last 15+ years I’ve been sitting here putting these lists together! Crazy! Thankfully this one is a short one as this heat has made me lazy today. So enjoy!

…..pick of the week…..

frostBen Frost: Threshold of Faith (Mute) 12″
Not a whole lot of info on this new Ben Frost 12″ (I can’t even find you a track!) but it’s 7 new tracks and it’s awesome, so you should buy it! Frost, a native Australian currently living in Reykjavik, Iceland was chosen in 2010 by Brian Eno as part of the Rolex Mentor and Protégé program for a year of collaboration. Frost regularly collaborates with other musicians, artists, and choreographers and directors to produce original scores, including recent work on Richard Mosse’s The Enclave. These various collaborations and alliances underline Frost’s continuing fascination with finding ways of juxtaposing music, rhythm, technology, the body, performance, text, art, beauty and violence. Ben Frost is highly critically acclaimed as a sound experimentalist – his music sits both within and without the electronic, ambient, drone, noise, minimalist, avant-garde and post-rock genres.

File Under: Electronic, Ambient

…..new arrivals…..

lips

Black Lips: Satan’s Graffiti or God’s Art? (Vice) LP
Atlanta, GA flower punk pioneers Black Lips return with their first album in three years, Satan’s graffiti or God’s art? Produced by Sean Lennon at his studio compound in upstate New York throughout 2016, the album is the group’s most musically evolved to date, while still staying true to their original blistering take on fuzzy, dirty rock n’ roll. During the recording the band isolated themselves from the outside world, infusing the album with a focused liveliness similar to the spirit that brought them together in the first place. On Satan’s graffiti or God’s art? founding members Cole Alexander and Jared Swilley teamed with former guitarist Jack Hines (who played in the group from 2002-2004) and recent additions Oakley Munson on drums and Zumi Rosow on saxophone. The album also features contributions by Saul Adamczewski of Fat White Family and guest vocals by Yoko Ono. Black Lips were born of DIY ethic, working their way from sweaty basement shows in Georgia to huge crowds at international music festivals (including a performance at Fun Fun Fun Fest that appears in Terrence Malick’s forthcoming film Song to Song) to tours in such far flung locales as India, Jordan, Cyprus, Egypt, Lebanon, Iraqi Kurdistan, the United Arab Emirates, and many more. Satan’s graffiti or God’s art? vindicates Black Lips for sticking it out through many years of shifting trends and buzz bands; a sonically captivating document that is as creatively unhinged as it is precisely executed, one of the rawest and most expansive albums in the band’s storied history.

File Under: Punk, Garage
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broken

Broken Social Scene: Hug of Thunder (Arts & Crafts) LP
Hug Of Thunder marks the fifth studio album from Canadian alt-rock supergroup Broken Social Scene, their first in seven years. Founded in ‘99 by Kevin Drew and Brendan Canning, the new album features 15 players including original members Emily Haines and Jimmy Shaw of Metric, Amy Millan and Evan Cranley of Stars, Charles Spearin and Ohad Benchetrit of Do Make Say Think, and Grammy-nominated Leslie Feist. Hug Of Thunder is everything BSS fans love from the Canadian collective and then some, an album overflowing with glorious open chords, multi-voice harmonies, spacious psychedelia-tinted breakdowns, and more. It is a panoramic, expansive album that manages to be both epic and intimate; and like all things BSS, in troubled times, it offers a serotonin rush of positivity. Since their inception in the early Aughts, BSS have always pushed sonic boundaries while remaining reverent of a perfect chorus; almost twenty years down the line, Hug Of Thunder sharpens that balance and then some. The record’s twelve songs refract the band’s varying emotions, methods, and techniques in ways that not only reference their other albums, but surpass them. Hug Of Thunder is righteous but warm, angry but loving, melodic but uncompromising. And if you’ve ever fallen in love with Broken Social Scene – as many of us have – it is a perfect return that was truly worth the wait.

File Under: Indie Rock, CanCon
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cure

The Cure: Greatest Hits (Elektra) LP
Originally a postpunk outfit with gothic leanings, The Cure evolved into one of the most visionary, creatively satisfying and influential groups to come of age in the 1980’s. From dreamy pop to moody expressionism, their signature sound is adventurous, hypnotic, and rich with texture. Curated and remastered by Robert Smith and now available on vinyl for the first time, this 2001 Greatest Hits package collects 16 of the band’s finest from their then 25-year history like “Just Like Heaven,” “Love Song,” “Boys Don’t Cry,” and “Friday I’m In Love” plus the two new tracks “Cut Here” and “Just Say Yes.”

 File Under: Post-Punk, Goth, Pop, Rock

cure12

The Cure: Acoustic Hits (Elektra) LP
Originally a postpunk outfit with gothic leanings, The Cure evolved into one of the most visionary, creatively satisfying and influential groups to come of age in the 1980’s. From dreamy pop to moody expressionism, their signature sound is adventurous, hypnotic, and rich with texture. Curated and remastered by Robert Smith and now available on vinyl for the first time, Acoustic Hits was issued in 2001 as the second disc of the Greatest Hits 2CD edition and features stripped-down versions of all the of the band’s finest from their then 25-year history like “Just Like Heaven,” “Love Song,” “Boys Don’t Cry,” and “Friday I’m In Love” plus the two new tracks “Cut Here” and “Just Say Yes.” “We wanted to do it to make the ‘hits’ package more special,” explained Smith. “This collection contains the songs that are sung with a smile – the Cure’s ‘lighter side.”

File Under: Post-Punk, Goth, Pop, Rock

laurel-halo-dust

Laurel Halo: Dust (Hyperdub) LP
Laurel Halo returns to Hyperdub for her third LP with a fresh approach and a new sound. Routed out of the electronic abstraction of 2015’s In Situ – but with clear reference to 2012’s sleeper-hit Quarantine – Dust is an album revolving around loose and languid songs; warped, sun-filled, melted and at times, heavy-hearted and obscure. Recorded over a period of two years, the writing process began at EMPAC in upstate New York in January 2015. With access to microphones, percussion, keys and a wide range of routings, Laurel spent days alone in the cavernous space, later inviting musicians Eli Keszler and Lafawndah to join her there. Those sessions would eventually become this album: a collection of breezy, broken songs, based on woody instrumentation, sub bass and restless, intricate electronics. Earnest songwriting meets with modal cut-up strategies, improvisational playing with higrade digital dust. Tactile and fibrous throughout the record, the vocals and percussion coalesce and breathe life into each other. Swung grooves eddy and collapse; acoustic drums are warped into sensual, febrile melodies. The lyrics are themselves bricolage, without a specific narrator or place in time. In line with the album’s sound, Dust is ‘Laurel Halo’ as a flexible cast of characters. Filled with dialogue, the album helms an interchangeable ensemble of vocalists and musicians, featuring vocals from Klein, Lafawndah, and Michael Salu, as well as musicians such as Eli Keszler, Craig Clouse ($hit and $hine), Julia Holter, Max D, Michael Beharie and Diamond Terrifier. Laurel’s omnivorous influences play out in mutated fashion – coalesced, unfettered and inclusive – a broad musical palette free from entrenched modes, catalysed by digital production that could only happen in 2017.

File Under: Electronic, Synth Pop
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radflowers

Hawkeyes/Radiation Flowers: split (Cardinal Fuzz/Sunmask) LP
Hawkeyes are a 6 piece instrumental heavy psychedelic space rock band from Kitchener Ontario. Their claustrophobic wall of sound flows from heavy, dark, and monolithic rock towards more spacious soundscapes and textured ambience that always worships at the altar of Pompeii. The band formed out of sheer boredom in 2012 after several previous bands stopped making music. The debut full length ‘Poison Slows You Down’ was recorded and initially self-released on cassette in 2013 and was picked up and given a vinyl release on Helmet Lady Records in 2015. Several compilation appearances followed and a split 12″ with like-minded friends Shooting Guns was released a few months later. And now on the new shared split LP from Sunmask and Cardinal Fuzz, Hawkeyes rock out, space out and pound away with nods to classic acid rock, krautrock, ambient and beyond. Saskatoons The Radiation Flowers revisit classic shoegaze and 4AD sound with a heavier guitar driven edge. Dark, smoky ambience with floating vocals play off against analog fuzz guitars and a solid low end. Since releasing their 2015 self-titled album they have toured across Canada and played several festivals with Canadian tour dates this summer. They have recorded and released a split-7” with Swedish band The Orange Revival and also have a new full length LP out on Sunmask/Cardinal Fuzz out in July. Three new tracks with a driving space rock instrumental, some beautiful, spacious psychedelic shoegaze and a cover of the always perfect psychrock band Sun Dial. 350 copies on eco colour vinyl with full colour printed inner sleeve. Limited CDr release in vinyl replica jacket.

File Under: Psych, Rock, Cancon
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kraftwerk

Kraftwerk: 3-D: The Catalog (Parlophone) LP
Released to coincide with Kraftwerk’s June 2017 tour – their first UK dates since the breathtaking shows witnessed at the Tate Modern in 2013 – is Kraftwerk 3-D The Catalogue. This is the ground-breaking 3-D Kraftwerk Concert brought thrillingly to life, developed using high definition 3-D visuals, with Dolby Atmos surround sound and presented to the technological and audio standards one would associate and indeed come to expect from the pioneering Germans led by founder Ralf Hütter. For the very first time, every Kraftwerk fan can now experience a “Gesamtkunstwerk – a total work of art” in the comfort of their own home. 3-D The Catalogue features new recordings of Kraftwerk’s 8 classic albums performed/filmed at various locations around the world between 2012-2016 and mixed at the band’s own state-of-the-art, Kling Klang Studio, Düsseldorf. 3-D The Catalogue is released across a number of formats including this 77 minute (abridged) version of the full-length release containing music from all 8 albums on double heavyweight 180g vinyl plus download card. The abridged version is culled from the 8 albums Autobahn (1974), Radio-Activity (1975), Trans Europe Express (1977), The Man-Machine (1978), Computer World (1981), Techno Pop (1986), The Mix (1991) and Tour De France (2003).

File Under: Electronic, Krautrock
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radf

Radiation Flowers: Summer Loop (Cardinal Fuzz/Sunmask) LP
Since releasing their 2015 self-titled album, Saskatoon space-rock dreamers The Radiation Flowers have toured across Canada (with shows from Vancouver to Ottawa, and festival dates at Levitation Vancouver and Sled Island in Calgary), they have recorded and released a split-7” with Swedish band The Orange Revival, and have recorded an EP entitled Summer Loop, set to be released on July 7, 2017. After mixing the mastering the album for a run of promo CDs, the band teamed up with Canadian analog label Sunmask and venerable UK label Cardinal Fuzz to get Summer Loop remixed and remastered for vinyl, shaking up the track listing and adding bonus track, “Colours.” Continuing with the softly heavy, brightly dark sounds they’ve come to be known for, Summer Loop takes on a noisier, guitar-ier edge. With the departure of their keyboardist after the release of their self-titled album, the full and textured guitar sounds of Shelby Gaudet and Christopher Laramee took an even more prominent role in band’s sound, with drummer Amber Ross and bassist Jay Allen continuing to provide the rhythm and backbeat of the band. New keyboardist Lucas Goetz added some Hammond organ to songs “Just Go Away” and “Walking Down The Street” just in time for the vinyl release of Summer Loop.

File Under: Psych, CanCon
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heron

Gil Scott-Heron: The Revolution Will Not Be Televised (BPG) LP
A compilation of Gil Scott-Heron’s best-known works for the Flying Dutchman label on CD and LP. Originally released to capitalise on the success of Scott-Heron’s then-current hit ‘The Bottle’ and his subsequent signing to Arista, this 1974 compilation has since become the definitive distillation of his early work. Contained within the original 11-track selection were the title track, ‘Whitey On The Moon’, ‘Home Is Where The Hatred Is’ plus eight more. . Replicating the original 11-track running order and packaged in a heavy duty sleeve, the vinyl reissue features the original LP’s inner gatefold artwork on the inner bag.

File Under: Funk, Soul
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shbakey

Shakey Graves: And The Horse He Rode In On (Dualtone) LP
After years of fan requests, Shakey Graves will officially release two EPs from his collection of rarities and early home recordings – Nobody’s Fool and Donor Blues as the gatefold colored 180g 2LP package Shakey Graves and the Horse He Road In On courtesy of Dualtone Records. Donor Blues is currently available digitally only via Bandcamp and Nobody’s Fool is even harder to find, passed around as an online bootleg by fans. The vinyl also comes with a download card for the entire double-album.

File Under: Folk, Country
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swans

Swans: The Great Annihilator (Young God) LP
The Great Annihilator, originally released in 1995, will be released on double vinyl – the album’s first release on vinyl for decades – and as a 2CD set. Both the vinyl (in the form of a download code) and CD will feature Drainland, Michael Gira’s debut solo album recorded at the same time as The Great Annihilator. “I have long been uneasy with the sound of the mastered version of The Great Annihilator (and it’s companion, contemporaneous solo album, Drainland, included here in this new release). For whatever reason things drifted out of hand at the time, and there was never enough time or money to untangle the sonic knots created by the original unsatisfactory mastering that took place until now. It was with the utmost alacrity that I received the news recently from my friend Bill Rieflin that he had discovered the original (after much digging), unmastered mixes for both albums in his archives. We were able to proceed now with lovingly mastering both Great Annihilator and Drainland from these virgin sources, with our right hand mastering man Doug Henderson in Berlin, Germany. I have to say I’m rather pleased with the result. It’s one of those instances where it’s like hearing the thing for the first time again. I hope you enjoy the experience. – Drainland is a 1995 obscure solo album by me, co-produced by the lovely Bill Rieflin and myself, with musical contributions from Bill and Jarboe. Mostly featuring spare arrangements, it was recorded in Bill’s living room. Some of this is pretty damn good. Some of it isn’t! In all modesty, I think the good outweighs the bad. It was recorded immediately after the recording of GA. ” – M. Gira 2017

File Under: Rock, Industrial
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toro

Toro Y Moi: Boo Boo (Carpark) LP
Limited edition (indie-store-only) blue and white marble-colored vinyl. Includes download. “By the time I felt ready to begin working on a new record, I knew that this idea of space within music would be something that propelled my new work forward. The artists that were influencing what I was making included everyone from Travis Scott to Daft Punk, Frank Ocean to Oneohtrix Point Never, Kashif and Gigi Masin. I recognized that the common thread between these artists was their attention to a feeling of space, or lack thereof. I decided that I wanted to make a Pop record with these ideas in mind. That idea for a record is what eventually became Boo Boo.”

File Under: Soul, Funk, Synth Pop
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verocai

Arthur Verocai: Encore (Far Out) LP
Far Out Recordings present the ten-year anniversary of Arthur Verocai’s Encore, originally released in 2007. Encore features 11 original compositions from Arthur Verocai with guest musicians including Azymuth, Ivan Lins, and a nine-piece string section. The highly anticipated follow-up to Arthur’s eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combines Brazilian influences with his take on American soul and cinematic experimentation, and shows that Arthur’s sound is as poignant as it ever was. In the mid-2000s, following on from Marcos Valle, Joyce, and of course Azymuth, Arthur Verocai joined the long-line of Brazilian musicians whose music was to be introduced to a whole new legion of fans by Far Out Recordings. The story of Encore begins with Joe Davis, Far Out Recordings’ head honcho who stumbled upon Arthur’s debut in a dusty record store in downtown Rio in the late ’80s. At the time of its release in 1972, critics panned Arthur’s debut and both the album and artist subsequently vanished into obscurity. Fast forward to winter 2004 and Joe’s at the studio of Far Out Recording artists Harmonic 313 — aka production duo Mark “Troubleman” Pritchard and Dave Brinkworth — playing them some of his favorite Brazilian albums. Dave recalls the moment Joe put on Arthur’s debut, “As soon as the needle hit the record and we heard the fantastic arrangements, songs and sounds, Arthur completely blew our minds.” Three months later and Dave was in Brazil with Arthur Verocai, and the plans for what was to become Encore were being laid down. Produced by Dave, Encore sees Arthur on incredible form, the 35 plus years between the recording of his debut and this the follow-up just melting away as Arthur picked up the (conductor’s) baton once again to create 11 epic tracks of stirring samba-soul and experimental cinematic movements that sees him creating a record to rival his debut.

File Under: Brazil, Bossanova, Soul, Funk
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yacht

Various: Seafaring Strangers: Private Yacht (Numero) LP
The Numero Group’s dive into the deep end of America’s private press continues. Having battled the witches and wizards of Darkscorch, the outlaws of Cosmic Americana, and traveled alongside Ladies From the Canyon and their Lonesome Heroes, it’s time to take it easy. With pop music’s volume knob adjusted for deflation in the early ‘70s, softness begat smoothness. Crewmen arrived from the worlds of jazz, folk, rock, and soul, all peddling a product that was sincere, leisurely, and lofty. A sound that was buoyant, crisp, defined. Sometimes classified as West Coast—and, later, Yacht Rock—the compass points of our Private Yacht expedition are the blue-eyed harmonies of Hall and Oates, the cocaine-dusted Fender Rhodes of Michael McDonald, and the combover strums of James Taylor. Here, at the glassy apex of rock’s softer side, 20 strong swimmers are gathered together. An album for both relaxation and reflection, where listeners can enjoy the present, a cool breeze, and a taste of the good life.

File Under: Yacht Rock

…..restocks…..

Aphex Twin: Syro (Warp) LP
Avalanches: Since I Left You (Astralwerks) LP
David Bowie: Hunky Dory (RCA) LP
Vic Chesnut: Silver Lake (New West) LP
Sam  Cooke: Night Beat (Music on Vinyl) LP
Danzig: Skeletons (Sony) LP
J Dilla: Donut (Stones Throw) LP
El Michel’s Affair: Return to the 37th Chamber (Big Crown) LP
Full Of Hell: Roots of Earth Are Consuming My Home (A389) LP
Full Of Hell: Trumpting Ecstasy (Profound Lore) LP
Kendrick Lamar: To Pimp A Butterfly (Aftermath) LP
Nirvana: Unplugged in New York (Geffen) LP
Nirvana: Nevermind (Geffen) LP
Sam & Dave: Soul Men (Rhino) LP
Seeds: s/t (GNP) 2LP
Slayer: Reign in Blood (Universal) LP
Slayer: Seasons in the Abyss (Universal) LP
Talking Heads: Speaking in Tongues (Rhino) LP

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…..news letter #799 – lagged…..

Well, I’m back, and the jet lag is catching up with me. There isn’t a ton in this week, but I’m a little out of practice, so this isn’t the BEST news letter i’ve ever put together. But there’s some sweet stuff, and even more so, there’s sweet stuff in the bins. The gang priced up lots of good used stuff while I was away as well, so get on down for a dig.

Much like the rest of the world, we’ll be taking a short day on Monday for Canada Day, we’ll just be open 12-5.

…..pick of the week…..

radiophonicRadiophonic Worshop: Burials in Several Earths
(Room 13) 4×10″ Box

In tomorrow… Burials In Several Earths is a brand new work by the legendary Radiophonic Workshop, the soundtrack architects behind classic British TV music such as Doctor Who and The Hitchhiker’s Guide to the Galaxy. An evocative suite of synth improvisations, Burials In Several Earths evokes the haunting qualities of their classic work whilst exploring fresh new vistas of sound. Conjuring up atmospheric, immersive textures that mix tried-and-trusted analogue techniques and leading edge digital technologies, the release connects the dots between the work of pioneering British electronic composers such as Delia Derbyshire and artists whose work bares the unmistakable genetic footprint of the Radiophonic Workshop: the likes of Cavern Of Anti-Matter, Pye Corner Audio and Children Of Alice. Features guest appearances from Martyn Ware (The Human League, Heaven 17) and Steve ‘Dub’ Jones (Grammy-award winning mixing engineer for The Chemical Brothers, UNKLE, and New Order). The vinyl edition is a deluxe quadruple 10″ boxset (including fold-out double-sided poster and download card) featuring edits of the tracks unique to this edition, and an alternate mix that does not appear on the CD and digital versions. The formatting is a subtle nod to the retrospective 4 x 10″ set the Aphex Twin’s Rephlex label put out in 2003. Burials In Several Earths was designed by David Chatton Barker, founder of the acclaimed Folklore Tapes label. The titling of the album and individual tracks were inspired by Francis Bacon’s incomplete 1627 literary work New Atlantis, previously used by one of the founders of the Workshop, Daphne Oram, as a manifesto for the original sound sorcery they famously produced in room 13 of the BBC Maida Vale studio complex in London. Room 13 is also the name of the Workshop’s newly minted label!

File Under: Electronic, Radiophonic, Experimental, Library
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…..new arrivals…..

ashley

Greg Ashley: Pictures of Saint Street (Trouble In Mind) LP
Greg Ashley has been a fixture on the underground music scene since the late-90s while strafing eardrums as a teenager in Houston in garage-punk band The Strate-Coats. Since then he’s proven himself not only as a songwriter, singer and guitar player in bands like The Mirrors and The Gris-Gris, but also as a producer/sound engineer via his Oakland-based Creamery Studio. His career as a solo artist is vast and varied, spanning the gamut between fried and beautiful psychedelia, gorgeous and cathartic symphonic suites and gentle, damaged folk music, beginning with 2003’s Medicine Fuck Dream and last leaving us with 2014’s Another Generation of Slaves. His latest, Pictures of Saint Paul Street carries forward that album’s musical palette (a rootsy amalgam of tortured, Cohen-esque folk tinged with the beer soaked recklessness of a West Texas honky-tonk). The songs are lush and beautiful autopsies of society’s underbelly, with stark and brutally honest ruminations on humanity. Tracks like “A Sea of Suckers” and “Pursue The Nightlife” pull no punches, while “Jailbirds & Vagabonds” and “Blues For A Pecan Tree” carouse on a more abstract, human (almost romantic) level. By the time you’ve hit the album’s centerpiece; “Bullshit Society,” Ashley’s songs move from ballads of hopeless misery to rallying anthems for the dispossessed. Pictures of Saint Paul Street isn’t always an easy listen, but that’s the point; the journey to salvation isn’t easy or pretty. The protagonist in many of Ashley’s songs may be Ashley himself – a true artist willing to admit he’s nowhere near perfect, and honest enough to document his sunrises & sunsets no matter if they occur in his own backyard, or on a barroom floor.

File Under: Indie Rock, Folk
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beachhouse

Beach House: B-Sides & Rarities (Sub Pop) LP
In tomorrow… “When we announced that we were releasing a B-sides and rarities album, someone on Twitter asked, “B-sides record? Why would Beach House put out a B-sides record? Their A-sides are like B-sides.” This random person has a point. Our goal has never been to make music that is explicitly commercial. Over the years, as we have worked on our 6 LPs, it wasn’t the “best” or most catchy songs that made the records, just the ones that fit together to make a cohesive work. “Accordingly, our B-sides are not songs that we didn’t like as much, just ones that didn’t have a place on the records we were making. The oldest song is “Rain in Numbers” and was recorded in 2005, during the summer when we formed the band. We didn’t have a piano, so we asked our friend if we could use his, which was pretty out of tune. We used the mic that was on the four-track machine to record the piano and vocals. It was originally the secret song on our self-titled debut. The next couple of songs are from late 2008. We were so excited about “Used to Be” that we quickly recorded it and put it on a 7″ for our fall tour with the Baltimore Round Robin. “The same session begat our cover of Queen’s “Play the Game” for a charity compilation benefiting AIDS research; we will continue to donate all profits from the song to that charity. As fans of Queen, we thought it would be fun and ridiculous to try to adapt their high-powered pop song into our realm. These songs were recorded at the same studio where we made Devotion. There are a bunch of songs written and recorded in the 2009-2010 window. “Baby” was written and recorded in October 2009 with our friend Jason Quever. “10 Mile Stereo” was recorded during the Teen Dream session in July 2009. Since we used tape, we often slowed the tape way down to create effects while recording, which led to “10 Mile Stereo (Cough Syrup Remix).” “”White Moon” and “The Arrangement” were both songs that we didn’t believe fit on Teen Dream. “White Moon” originally appeared on our iTunes live session. Since that was recorded and mixed very hastily, we have remixed it to better match our current aesthetics. We have also remixed and included the version of “Norway” we did at that same session. We wrote and recorded “I Do Not Care for the Winter Sun” during a break between tours and released it on the internet for free, unmastered. Well, it’s finally been mastered…” – Beach House

File Under: Indie Rock, Pop
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carter

Carter Family: American Epic (Third Man) LP
American Epic represents a 10-year odyssey undertaken by director Bernard MacMahon and producers Allison McGourty and Duke Erikson, and audio engineer Nicholas Bergh that involved tracking down countless long forgotten musicians, restoring the music that they recorded and reassembling the technology that created it. Along the way they brought some of the most important figures in contemporary culture to help them on their quest. Executive Producers Jack White, T Bone Burnett and Robert Redford have lent their support to what Redford calls “America’s greatest untold story.” In addition to American Epic: The Sessions soundtrack, Third Man Records is slated to release 180 gram 12″ audiophile vinyl versions of American Epic: The Carter Family, American Epic: Memphis Jug Band, American Epic: Mississippi John Hurt, American Epic: Blind Willie Johnson and American Epic: Lead Belly plus thematic collections including American Epic: Blues and American Epic: Country.  The Carter Family, a family vocal group from Appalachian Virginia, were the most impactful discovery of talent scout Ralph Peer and the first vocal group to become country music stars. Apart from the beautiful harmonies that can only come from kin, Mother Maybelle Carter pioneered “scratch” style guitar picking, a clever synthesis of autoharp, banjo and guitar picking, and for years served as a matriarchal figure in the Grand Ole Opry. Single LP with single pocket tip-on jacket with soft touch finish.

File Under: Country, Folk

Evan-Dando-Baby-Im-Bored-cover

Evan Dando: Baby I’m Bored (Fire) LP
Yellow vinyl LP, single sleeve, printed inners. 2CD Book-back with 24 page book. Emerging after The Lemonheads disbanded ‘Baby I’m Bored’ is a stellar record that stripped Dando of his grunge label. At the time of recording, he was without the band which saw him lean more to-wards an achingly melodic alt-country rock sound. Self-deprecating, these are songs of de-cline and coming back from that. The record includes “Hard Drive” and “All My Life” two tracks penned by Ben Lee and features contributions from producer/composer Jon Brion, producer Bryce Goggin, Tom Morgan, Giant Sand’s Howe Gelb, Calexico’s John Convertino and Joey Burns, ex-Spacehog frontman Royston Langdon, Come’s Chris Brokaw and Arthur Johnson.

File Under: Indie Rock
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d&v

Death & Vanilla: To Where the Wild Things Are (Fire) LP
Formed in Malmö, Sweden by Marleen Nilsson and Anders Hansson, Death and Vanilla utilize vintage musical equipment such as vibraphone, organ, mellotron, tremolo guitar and moog, to emulate the sounds of 60s/70s soundtracks, library music, German Krautrock, French Ye-ye pop and 60s psych. They revel in the warmth of older analogue instruments to create a more organic sound, each loose wire and off-kilter noise adding to the rich atmosphere. After a handful of successful releases including a debut EP in 2010, their self-titled LP in 2012 – which sold out on pre-order – and a beautifully designed 7″ single, the experimental pop duo were invited to compose a live soundtrack for the classic horror film, Vampyr (1932), for the Lund Fantastisk Film festival in Lund. Now, newly signed to Fire, the band return with To Where The Wild Things Are. Named after the Maurice Sendak children’s book, the album is comprised of pop music with a wild, dreamy and experimental edge, celebrating imagination and the ability to travel to stranger recesses of the mind. Where the Wild Things Are starts off with some of the most “pop” songs they’ve ever recorded, typified in the sweet and melodramatic “Arcana,” and the classic pop inspired “Time Travel.” Like Sendak’s book of the same name, the album then proceeds into stranger and stranger territory, resulting in some of the most experimental material Death and Vanilla have produced, such as the six minute “Something Unknown You Need to Know” and the machine-like, surf-guitar track “The Hidden Reverse.” The band recorded the new album themselves in their rehearsal space, using just one microphone – a 70’s Sennheiser – which they bought at a flea market for a tenner. It is this unconventional recording process that gives Death and Vanilla their unique personality; using a trial and error approach to recording has rewarded the album with a strangeness that would not have otherwise been achievable. Creating deliciously enticing soundscapes, full of moody moogs, swirling melodies and breathless vocals, their influences on To Where the Wild Things Are are apparent and diverse, ranging from Ennio Morricone to Scott Walker, Tom Dissevelt to Norman Whitfield, The Zombies to Sun Ra, and Bo Hansson to The BBC Radiophonic Workshop.

File Under: Electronic, Psych, Experimental
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demen

Demen: Nektyr (Kranky) LP
A few years ago Kranky received an anonymous email with a link to three tracks and a simple message: “Hi, maybe you would be interested in this music.” The songs were instantly striking: extraordinarily slow, somber, and spacious, each vaulted cathedral chord reverberating poetically into the distance, the melodies rolling out like fog across a cemetery. Captivated, they requested more, receiving a single word in response: “Yes.” Then, nothing. Eventually, 3 months later, another email with slightly more information was received: a name (Irma Orm), a location (Stockholm), and a bit of context (she worked alone, and progress on music was slow but steady ).Fast-forward to mid-2016: the album is complete: Nektyr, by Demen, and it is breathtaking. Hermetic gothic swan songs conjured from funereal piano, twilit ambience, minimalist percussion, and spellbinding vocals. The mood is lulling and lush but lost in sorrow, stark grey structures looming in the night. Majestic open spaces between notes heighten the melancholic grandeur of Orm’s arrangements, blurring the line between lament and lullaby. The songs don’t end so much as ebb away, succumbing to their own downcast beauty.

File Under: Ambient, Electronic, Folk
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hurt

Mississippi John Hurt: American Epic (Third Man) LP
American Epic represents a 10-year odyssey undertaken by director Bernard MacMahon and producers Allison McGourty and Duke Erikson, and audio engineer Nicholas Bergh that involved tracking down countless long forgotten musicians, restoring the music that they recorded and reassembling the technology that created it. Along the way they brought some of the most important figures in contemporary culture to help them on their quest. Executive Producers Jack White, T Bone Burnett and Robert Redford have lent their support to what Redford calls “America’s greatest untold story.” In addition to American Epic: The Sessions soundtrack, Third Man Records is slated to release 180 gram 12″ audiophile vinyl versions of American Epic: The Carter Family, American Epic: Memphis Jug Band, American Epic: Mississippi John Hurt, American Epic: Blind Willie Johnson and American Epic: Lead Belly plus thematic collections including American Epic: Blues and American Epic: Country. Blues fingerpicking guitarist, singer and sharecropper Mississippi John Hurt was born in the heart of Mississippi Hill Country, along the veiny tributaries of the great American river. His moving renditions of “Frankie” and “Spike Driver Blues” were included in Harry Smith’s American Anthology of Folk Music in 1952 and were vitally influential on the Greenwich Village folk music revival of the 1960s as well as John Fahey’s development of the American Primitive Guitar genre. Single LP with single pocket tip-on jacket with soft touch finish.

File Under: Blues

johnson

Blind Willie Johnson: American Epic (Third Man) LP
American Epic represents a 10-year odyssey undertaken by director Bernard MacMahon and producers Allison McGourty and Duke Erikson, and audio engineer Nicholas Bergh that involved tracking down countless long forgotten musicians, restoring the music that they recorded and reassembling the technology that created it. Along the way they brought some of the most important figures in contemporary culture to help them on their quest. Executive Producers Jack White, T Bone Burnett and Robert Redford have lent their support to what Redford calls “America’s greatest untold story.” In addition to American Epic: The Sessions soundtrack, Third Man Records is slated to release 180 gram 12″ audiophile vinyl versions of American Epic: The Carter Family, American Epic: Memphis Jug Band, American Epic: Mississippi John Hurt, American Epic: Blind Willie Johnson and American Epic: Lead Belly plus thematic collections including American Epic: Blues and American Epic: Country. Texas slide guitarist and gospel bluesman Blind Willie Johnson recorded only 30 songs over the course of his life as a preacher and street performer. Even so, the savvy combination of his gritty and powerful “chest voice” singing style coupled with his mastery of slide guitar (some report he regularly used a knife as a slide) has given him a notably influential legacy, specifically with later bluesmen Howlin’ Wolf and Robert Johnson. His tune “Dark Was the Night, Cold Was the Ground” was selected for Carl Sagan’s Voyager probe Golden Record, the Library of Congress as well as the National Recording Registry. Single LP with single pocket tip-on jacket with soft touch finish

File Under: Blues

leadbelly

Lead Belly: American Epic (Third Man) LP
American Epic represents a 10-year odyssey undertaken by director Bernard MacMahon and producers Allison McGourty and Duke Erikson, and audio engineer Nicholas Bergh that involved tracking down countless long forgotten musicians, restoring the music that they recorded and reassembling the technology that created it. Along the way they brought some of the most important figures in contemporary culture to help them on their quest. Executive Producers Jack White, T Bone Burnett and Robert Redford have lent their support to what Redford calls “America’s greatest untold story.” In addition to American Epic: The Sessions soundtrack, Third Man Records is slated to release 180 gram 12″ audiophile vinyl versions of American Epic: The Carter Family, American Epic: Memphis Jug Band, American Epic: Mississippi John Hurt, American Epic: Blind Willie Johnson and American Epic: Lead Belly plus thematic collections including American Epic: Blues and American Epic: Country. Louisiana delta native Huddie “Lead Belly” Ledbetter is the master of 12-string blues guitar. His story is one of high-highs and low-lows, from serving stints in prison after killing a man in a fight for a woman’s heart, but then eventually earning early release by entertaining his fellow prison-mates and penning a song for the governor, thus cementing his reputation of singing his way out of prison. Folklorists John and Alan Lomax were early supporters that brought Lead Belly to the attention of Ivy Leaguers as well as a European audience. His songs have been widely covered by artists such as Elvis, Nirvana, Johnny Cash, and the Grateful Dead. Single LP with single pocket tip-on jacket with soft touch finish.

File Under: Blues

memphis

Memphis Jug Band: American Epic (Third Man) LP
American Epic represents a 10-year odyssey undertaken by director Bernard MacMahon and producers Allison McGourty and Duke Erikson, and audio engineer Nicholas Bergh that involved tracking down countless long forgotten musicians, restoring the music that they recorded and reassembling the technology that created it. Along the way they brought some of the most important figures in contemporary culture to help them on their quest. Executive Producers Jack White, T Bone Burnett and Robert Redford have lent their support to what Redford calls “America’s greatest untold story.” In addition to American Epic: The Sessions soundtrack, Third Man Records is slated to release 180 gram 12″ audiophile vinyl versions of American Epic: The Carter Family, American Epic: Memphis Jug Band, American Epic: Mississippi John Hurt, American Epic: Blind Willie Johnson and American Epic: Lead Belly plus thematic collections including American Epic: Blues and American Epic: Country. The Memphis Jug Band, most active from 1926 into the 1950s, revolved around guitarist, harmonica player and singer Will Shade and featured a wide variety of instrumentation including harmonica, kazoo, fiddle, mandolin, guitar, piano, washboard and, of course, jug. They recorded more songs than any pre-war jug band and as a result, were key in developing the jug band tradition and format. Single LP with single pocket tip-on jacket with soft touch finish.

File Under: Blues, Jug Band

mulaney

John Mulaney: The Comeback Kid (Drag City) LP
John Mulaney has performed standup comedy on stages around the world, written for such shows as Saturday Night Live and Documentary, Now!, and starred in his very own cancelled sitcom. If all that isn’t enough, his dog is a viral sensation on Instagram. Mulaney’s Emmy-nominated 2015 comedy special The Comeback Kid was recorded live at the Chicago Theatre and is issued here on vinyl courtesy of Drag City. Armed with boyish charm and a sharp wit, Mulaney offers sly takes on marriage, his beef with babies and the time he met Bill Clinton.

File Under: Comedy

needles

Needles//Pins: Good Night Tomorrow (Mint) LP
Vancouver power-trash trio Needles//Pins began in 2009 as an excuse for three friends to hang out. Two LPs and a handful of 7 inch singles later the band has come a long way but are still, at their core, a few friends having fun. 2017 sees the band set to release their 3rd LP Good Night, Tomorrow on Mint Records. The record is a progression both musically and lyrically from their older material while still maintaining the hook-centric philosophy of their previous releases. The band has become legendary in Vancouver for wild shows and gruff but catchy punk rock melodies. They draw from classic punk roots like the wiry pop of The Buzzcocks and the gravely anthems of Stiff Little Fingers, but have a unique West Coast approach that would align them with the catchiest of the Lookout! or Dirtnap Records catalog. Though none of the band’s songs overstay their welcome, you’ll find yourself humming one of their hooks days after seeing them play or hearing the record. Recorded with Jesse Gander (Japandroids, White Lung) in Vancouver at Rain City Recorders, the record shows an organic growth from the power pop of their previous two albums. Guitarist and singer Adam Solomonian’s voice is gruffer from playing hundreds of shows, and you can see a richer appreciation of the group’s influences such as Jawbreaker and the Replacements at play in the song writing. Tony Dubroy’s solid bass lines and Macey Budgell’s heavy drumming combine to form a powerful rhythm section that perfectly complement Solomonian’s simple-but-pointed guitar playing.

File Under: Punk
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baby-driver

OST: Baby Driver (Sony) LP
The soundtrack for Edgar Wright’s music laden film Baby Driver features gems from almost every musical genre and spans across multiple decades. The movie tells the story of Baby, a talented, young getaway driver (Ansel Elgort) who relies on the beat of his personal soundtrack to be the best in the game. When he meets the girl of his dreams (Lily James), Baby sees a chance to ditch his criminal life and make a clean getaway. But after being coerced into working for a crime boss (Kevin Spacey), he must face the music when a doomed heist threatens his life, love and freedom. Includes music from the Jon Spencer Blues Explosion, Jonathan Richman & The Modern Lovers, The Beach Boys, Dave Brubeck, The Damned, The Commodores, Martha & The Vandellas, Sam & Dave, Blur, Golden Earring, Barry White, Young MC, Queen, Sky Ferreira, Simon & Garfunkel and Koala Kid among others.

File Under: OST

eraserhead

OST: Eraserhead (Sacred Bones) LP
Pressed on Silver Vinyl exclusively for the 10th Anniversary of Sacred Bones Records. Comes with deluxe 16-page book, three 11″x11″ prints, and a silver vinyl 7″ featuring Peter Ivers’ “In Heaven (Lady in the Radiator Song)” b/w “Pete’s Boogie.” Limited edition of 1000. It is with great pride that Sacred Bones Records present its official, expanded, re-release of the soundtrack to David Lynch’s landmark 1977 film, Eraserhead. The bonus song “Pete’s Boogie” is a newly discovered Peter Ivers recording taken from the original audio tapes and mixed by Lynch himself. It was previously only available on the long out of print limited edition LP.

File Under: OST, Industrial, Ambient
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labrrinth

OST: Labyrinth (Universal) LP
In Tomorrow… An enchanting fantasy classic that has mesmerized fans for generations, 1986’s Labyrinth was directed by Jim Henson (The Muppets) and produced by the master of myth George Lucas (Star Wars, Indiana Jones). It also happens to feature the one and only David Bowie in the cast as well as several of his original songs on the soundtrack, his second motion picture to feature both his name and Jim Henson’s in the credits. “I’d always wanted to be involved in the music-writing aspect of a movie that would appeal to children of all ages, as well as everyone else, and I must say that Jim gave me a completely free hand with it,” explained Bowie. “The script itself was terribly amusing without being vicious or spiteful or bloody, and it had a lot more heart in it than many other special effects movies. So I was pretty hooked from the beginning.” As both a film and a soundtrack, Labyrinth ended up as far more of a cult classic than a full-fledged smash, but it nonetheless has a substantial fanbase, thanks to decades of the film being aired on various cable networks. And standout numbers from its soundtrack like “Magic Dance,” “As the World Falls Down,” “Within You,” and “Underground” are still beloved to this day.

File Under: OST, Rock

pop1

Iggy Pop: The Idiot (Virgin) LP
Iggy Pop is one of music’s genuine iconoclasts, a walking embodiment of all that is risky and dangerous about rock ‘n’ roll. He’s also an artist of considerable depth, and the creator of a diverse body of work that demonstrates his uncanny ability to defy expectations and explore uncharted creative territory. The Idiot, Lust for Life and TV Eye Live, originally released between 1977 and 1978, marked Iggy’s surprise rebirth as a solo artist after the dissolution of his pioneering protopunk band The Stooges. They also marked a timely collaboration between Iggy and longtime admirer David Bowie, then at the peak of his cultural influence. Bowie produced, co-wrote and played on The Idiot and Lust for Life, and plays keyboards on TV Eye Live. The three albums form a trilogy that remains a cornerstone of Iggy’s album catalog. On The Idiot, such standout tunes as “Nightclubbing,” “Funtime,” “Dum Dum Boys” and the original version of “China Girl” (later an ’80s hit for Bowie) introduced listeners to a more cerebral, introspective Iggy, often substituting an understated sense of unease for The Stooges’ raw aural assault.

File Under: Rock

lust

Iggy Pop: Lust for Life (Virgin) LP
Iggy Pop is one of music’s genuine iconoclasts, a walking embodiment of all that is risky and dangerous about rock ‘n’ roll. He’s also an artist of considerable depth, and the creator of a diverse body of work that demonstrates his uncanny ability to defy expectations and explore uncharted creative territory. The Idiot, Lust for Life and TV Eye Live, originally released between 1977 and 1978, marked Iggy’s surprise rebirth as a solo artist after the dissolution of his pioneering protopunk band The Stooges. They also marked a timely collaboration between Iggy and longtime admirer David Bowie, then at the peak of his cultural influence. Bowie produced, co-wrote and played on The Idiot and Lust for Life, and plays keyboards on TV Eye Live. The three albums form a trilogy that remains a cornerstone of Iggy’s album catalog. Iggy’s smiling face on the front cover of Lust for Life signals the album’s more upbeat vibe than its predecessor, with such numbers as “The Passenger,” “Success,” “Tonight” and the anthemic title track embodying the album’s swaggering essence and Iggy’s reenergized creative vision.

File Under: Rock

ride

Ride: Weather Diaries (Domino) LP
Ride’s first album in over 20 years was produced by legendary DJ, producer and remixer Erol Alkan, and is packed with all the classic elements that made Ride one of the defining bands of the early-90s. Trembling distortion, beautiful harmonies, pounding rhythms, shimmering soundscapes and great songwriting all combine to make an album that’s ambitious in scope, timeless and thoroughly addictive. Weather Diaries will be released through Wichita Recordings and sees the band reunited with label co-founders Mark Bowen and Dick Green, who worked with Ride during the band’s early years on Creation Records. It also brings the band back together with mixer Alan Moulder (Arctic Monkeys, Smashing Pumpkins, The Killers) who mixed their seminal 1990 album Nowhere and produced its follow up Going Blank Again.

File Under: Indie Rock, Shoe Gaze

soulwax

Soul Wax: From DeeWee (Sony) LP
A brand new Soulwax album, the first studio effort from the indie dance luminaries in 12 years! After a period of extensive rehearsals and a level of planning to befit such a huge feat, From Deewee was recorded with the full touring band in one take at the Dewaele brother’s Deewee Studio in Ghent, Belgium in February 2017. Based on the Transient Program For Drums and Machinery which began touring in the summer of 2016, they set out to record these songs live with the exact same setup, machines and musicians as they had on the road. Playing on this record are Stephen and David Dewaele, Stefaan Van Leuven, Iggor Cavalera, Victoria Smith, Blake Davies and Laima Leyton. The instruments used are two Staccato drumkits, one clear crystalline Meazzi Wooding drumkit, one set of Rototoms, various Hofner bass guitars, a Macbeth M5n, an Oberheim Two-Voice Pro, a Two Thousand Six Hundred copy built by The Human Comparator, one Oberheim OB-Mx, an EMS Synthi AKS, an Arp Odyssey, a TB-303 clone, a Mellotron M4000D, a Sequential Prophet 6, a Waldorf Streichfett, a Burns Sonic guitar, a Vox Phantom guitar, one Syncussion clone built by Loudestwarning, various solid state Roland, Peavey and Acoustic amplifiers and a wide range of effects, all going through three Trident Fleximix consoles, straight into Pro Tools.

File Under: Electronic, Dance
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white hills

White Hills: Stop Mute Defeat (Thrill Jockey) LP
The dismal realities, political or otherwise, that are part of our modern world naturally influence our creative voices. It is in this context that White Hills re-evaluated their approach to creating a new album. Having continually refined their sound, pushing the boundaries of psychedelic music, White Hills flipped the script on Stop Mute Defeat. Dave W. and Ego Sensation have brazenly produced an industrially-charged record that pulsates unlike anything they’ve released before. Hard-line, gritty, and intellectually engaged, Stop Mute Defeat is a New York record through and through. With this in mind, White Hills drafted Martin Bisi (Sonic Youth, Brian Eno, Afrika Bambaataa) to mix. White Hills recorded with Bisi on two of their previous releases, Frying On This Rock in 2012 and its follow-up So You Are…So You’ll Be, however Stop Mute Defeat is the first time they worked with Martin “The Beast” Bisi in control of the mixing board. A native New Yorker who made his name in the city’s early hip-hop and no-wave scenes, Bisi was attracted to White Hills’ new material for its distinct early-80s Mudd Club feel. A dance hall, drug den, and bar, the Mudd Club was one of New York’s legendary haunts in the late 1970’s. As a center of a distinct art scene the club served as a major influence for White Hills and Stop Mute Defeat’s sound. Following similar techniques to those propagated by William S. Burroughs (a regular at Mudd Club), Stop Mute Defeat sees White Hills break free from the guitar-driven structure of their earlier releases. Reassigning William Burroughs’ word “cut-up” technique to music, Dave W. and Ego Sensation deconstruct sound clips to create minimalist but rhythmically complex phrases. Title track “Stop Mute Defeat” layers turbocharged bass loops with squalling guitar samples, to create a sound that calls to mind Xtrmntr-era Primal Scream. “If… 1… 2” goes even further down the rabbit hole, oscillating into the experimental electro-sound of early 80s Sheffield, UK band Cabaret Voltaire. Meanwhile the taut brawny grind of “Attack Mode” industrially hardens White Hills’ rock boundaries to tribal densities. Appalled by the rampant consumerism and the proliferation of ‘post-truth’ mythology, White Hills’ defiant lyricism is at their most philosophically scathing. Condemning doublespeak as “Subliminal seduction…a serenade with a grenade,” the song “Overlord” laments political and economic opportunism, where “In travesty, [there’s always] another dollar to be made.” On “Attack Mode” meanwhile, a clenched-jawed Dave W. channels the perverse cynicism of Throbbing Gristle, throwing scorn on “societies where misogyny leads and the objectification of young girls runs free.” Exposing Western vulgarity in bright light, Stop Mute Defeat is a fearless and necessary denunciation of the political and economic powers that be.

File Under: Psych, Rock

blues

Various: American Epic: The Best of the Blues (Third Man) LP
American Epic represents a 10-year odyssey undertaken by director Bernard MacMahon and producers Allison McGourty and Duke Erikson, and audio engineer Nicholas Bergh that involved tracking down countless long forgotten musicians, restoring the music that they recorded and reassembling the technology that created it. Along the way they brought some of the most important figures in contemporary culture to help them on their quest. Executive Producers Jack White, T Bone Burnett and Robert Redford have lent their support to what Redford calls “America’s greatest untold story.” In addition to American Epic: The Sessions soundtrack, Third Man Records is slated to release 180 gram 12″ audiophile vinyl versions of American Epic: The Carter Family, American Epic: Memphis Jug Band, American Epic: Mississippi John Hurt, American Epic: Blind Willie Johnson and American Epic: Lead Belly plus thematic collections including American Epic: Blues and American Epic: Country. Early geniuses of Delta Blues – Robert Johnson, Geeshie Wiley & Elvie Thomas, Son House, Charley Patton and many more have been painstakingly remastered using a mix of analog and digital technology for a hybrid sound that is simultaneously contemporary, immediate but still completely true-to-form. Single LP with single pocket tip-on jacket with soft touch finish.

File Under: Blues

country

Various: American Epic: The Best of the Country (Third Man) LP
American Epic represents a 10-year odyssey undertaken by director Bernard MacMahon and producers Allison McGourty and Duke Erikson, and audio engineer Nicholas Bergh that involved tracking down countless long forgotten musicians, restoring the music that they recorded and reassembling the technology that created it. Along the way they brought some of the most important figures in contemporary culture to help them on their quest. Executive Producers Jack White, T Bone Burnett and Robert Redford have lent their support to what Redford calls “America’s greatest untold story.” In addition to American Epic: The Sessions soundtrack, Third Man Records is slated to release 180 gram 12″ audiophile vinyl versions of American Epic: The Carter Family, American Epic: Memphis Jug Band, American Epic: Mississippi John Hurt, American Epic: Blind Willie Johnson and American Epic: Lead Belly plus thematic collections including American Epic: Blues and American Epic: Country. Early champions of Country Music – The Carter Family, Uncle Dave Macon, the Massey Family, Jimmie Rodgers and many more – have been painstakingly remastered using a mix of analog and digital technology for a hybrid sound that is simultaneously contemporary, immediate but still completely true-to-form. Single LP with single pocket tip-on jacket with soft touch finish.

File Under: Country

 

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…..news letter #798 – land…..

If you’ve been in the shop this week you may have noticed two things. One, there’s a load of great new stuff in this week. And two, I’m not around! I’m putting this list together on Monday, and all of this stuff should be in by the time you read this. Hell, there’s probably even more than this. So I’ll update you on that next week when I’m back. Anyway, go visit Stefan and Bailey at the shop, they’ll be more than happy to sell you this stuff, or some of the killer used goodies we priced up before I left too…. go!

…..picks of the week…..

haino

Keiji Haino: Watashi Dake? (Black Editions) LP
Black Editions present the first vinyl reissue of Keiji Haino’s stunning debut album Watashi Dake?, originally released in 1981. This first ever edition released outside of Japan features the artist’s originally intended metallic gold and silver jacket artwork. Over the last fifty years few musicians or performers have created as monumental and uncompromising a body of work as that of Keiji Haino. Through a vast number of recordings and performances, Haino has staked out a ground all his own, creating a language of unparalleled intensity that defies any simple classification. For all this, his 1981 debut album Watashi Dake? has remained enigmatic. Originally released in a small edition by the legendary Pinakotheca label, the album was heard by only a select few in Japan and far fewer overseas. Original vinyl copies became impossibly rare and highly sought after the world over. Watashi Dake? presents a haunting vision — stark vocals, whispered and screamed, punctuate dark silences. Intricate and sharp guitar figures interweave, repeat, and stretch, trance-like, emerging from dark recesses. Written and composed on the spot — Haino’s vision is one of deep spiritual depths that distantly evokes 1920s blues and medieval music — yet is unlike anything ever committed to record before or since. Produced in close cooperation with Keiji Haino and legendary photographer Gin Satoh. Coupled with starkly minimal packaging, featuring the now iconic cover photographs by Gin Satoh, the album is a startling and fully realized artistic statement. Housed in custom printed deluxe Stoughton tip-on jackets, including black on black inserts, extras, and hand-colored finishes; Remastered by Elysian Masters and cut by Bernie Grundman Mastering; Pressed to high quality vinyl at RTI; Includes download code.

File Under: Experimental, Japanese, Psych
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zamrokVarious: Welcome to Zamrock! Vol. 1 (Now Again) LP
Includes download card. Featuring Nogzi Family, Witch, Musi-O-Tunya, Chrissy Zebby Tembo, Amanaz, Blackfoot, “and every important Zamrock band.” “Explore Zambia’s liberation and its impact on the country’s rock revolution. By the mid-1970s, the Southern African nation known as the Republic of Zambia had fallen on hard times. Though the country’s first president Kenneth Kaunda had thrown off the yoke of British colonialism, the new federation found itself under his self-imposed, autocratic rule. Conflict loomed on all sides of this landlocked nation. Kaunda protected Zambia from war, but his country descended into isolation and poverty. This is the environment in which the ’70s rock revolution that has come to be known as Zamrock flourished. Fuzz guitars were commonplace, as were driving rhythms as influenced by James Brown’s funk as Jimi Hendrix’s rock predominated. Musical themes, mainly sung in the country’s constitutional language, English, were often bleak. In present day Zambia, Zamrock markers were few. Only a small number of the original Zamrock godfathers that remained in the country survived through the late ’90s. AIDS decimated this country, and uncontrollable inflation forced the Zambian rockers that could afford to flee into something resembling exile. This was not a likely scene to survive — but it did. Welcome To Zamrock!, presented in two volumes, is an overview of its most beloved ensembles, and a trace of its arc from its ascension, to its fall, to its resurgence.”

File Under: Psych, Fuzz, Africa
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circleCircle: Terminal (Southern Lord) LP
Circle is the very definition of genre-defying; a rare feat for any band, but effortlessly achieved by this prolific Finnish collective. Circle’s latest album Terminal, issued on Southern Lord, is pure hedonistic pleasure. Never content on staying the same, Circle has created an idiosyncratic cocktail of sonic fusions, conjuring an impulsive, dizzying energy that stirs a spirit of curiosity within the listener, and possesses all who encounter the band. Whilst many would run out of creative steam after more than thirty albums, Circle continue to boldly explore sonic soundscapes, venturing curiously into terrains of Stooges-esque swagger, trance-inducing kraut rock mantras, beautiful electronic ambience, psychedelic rock noodling, arena storming AOR weirdness, ’70s prog rock extravagance, glam pop pomp, and of course their core sound, heavy metal, not to mention other peculiar and daring sounds that simply cannot be pigeonholed. Circle’s Terminal is gloriously fruitful in tones, shapes, colors, and sounds. Eccentric, accessible, delightful and thrilling.

File Under: Metal, Hard Rock, Krautrock
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…..new arrivals…..

algiers

Algers: Underside of Power (Matador) LP
This is the musical response that dark times demand, one that not only shakes its fist but deploys it. Locally-informed global citizens, Algiers refuse to sit idly by while most contemporary artists appear perfectly content to sit out the revolution. Not only do Algiers harbor a purposeful sense of obligation in what they do on their latest resistance record The Underside Of Power, but they recognize the roots and thorns of precedent in said resistance. Beyond the technical necessities living their respective lives both in and outside of music, Algiers’ continued deviation from a more traditional band approach created a more versatile sound, one that better incorporates a collective and respective panoply of influences and styles. Some of this is informed by their choice of collaborators in this process, a crew that includes Adrian Utley [Portishead], Ben Greenberg [Uniform, The Men], Randall Dunn [Sunn 0)))], among others. Pick any track off The Underside of Power and the reference points expand exponentially, a dizzying and thrilling Recommended-If-You-Like list that would consume a series of afternoons. Poke at the seasoned members’ bruised flesh, and outcome wafting touchpoints as disparate and intriguing as Big Black, Wendy Carlos, John Carpenter, Cybotron, The Four Tops, Portishead, Public Image Limited, Steve Reich, and Nina Simone, to name but a few. Deep echoes of Black Lives Matter and its 20th century forbears gather, surge, and subside in their often soulful work, a form of principled, acute dissent more interested in learning from the past than in evoking nostalgia.
File Under: Indie Rock, Post Punk, Experimental
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canCan: The Singles (Mute) 3LP

Can The Singles, a brand new collection of all of the band’s single releases, on triple vinyl. This unique document is the first time the singles have been presented together and shows the breadth of their influential career, from well loved tracks like “Halleluwah,” “Vitamin C” and “I Want More” to more obscure and sought after singles such as “Silent Night” and “Turtles Have Short Legs.” The tracks are all presented in their original single version, many of which have been unavailable for many years and not presented outside of the original 7″ release. The triple vinyl edition comes packaged in a trifold sleeve and is decorated with a beautiful spot gloss lamination and is designed by the award winning Julian House from Intro, a long time design collaborator of Can’s.
File Under: Krautrock
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casas
Carlos Casas: Pyramid of Skulls (Discrepant) LP
Inspired by the common task and the people of Pamir in Tajikistan, filmmaker and sound artist Carlos Casas deconstructs far-away sights and sounds to create a unique field recording experiment that equally worships past, present, and future traditions. Nikolai Fedorov thought the Pamir to be the cradle of humanity, the hidden and forgotten nest, a pyramid of skulls that held the secrets of past human kinship. He believed that most of Asian myths of human origin pointed the Pamir region as their inception. For the Chinese, Indian, and Semitic myths, the mountainous region of Central Asia, often referred to as “the roof of the world”, was the key to understand his resurrection plan.
File Under: Experimental, Field Recordings
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chiltonAlex Chilton: Take Me Home and Make Me Like It (Munster) LP

Take Me Home And Make Me Like It comprises unrehearsed, first-take recordings by Alex Chilton, recorded in 1975. Notes by Alex Chilton and producer Jon Tiven; 180 gram vinyl. “This is music performed with some of the most callous abandon ever to have been allowed in a recording studio. Many of these tracks have a raw cinéma vérité atmosphere applied to recorded rock and roll. My own performances seem to be either obnoxious or attempting an insufferable cuteness, but often they achieve a compelling electricity in their spontaneous excitement. We recorded over a few days in the fall of 1975. I was very into a loose, unrehearsed first take sort of approach to recording music. I learned from producer Jim Dickinson the method of throwing a very impromptu rendering of a song onto tape. . . . This method gives a fresh, sometimes anarchistic quality to the performances. The first day of the sessions was approached in this way. The second day went according to the producer’s more conservative method of planning and rehearsal. All in all there is some hot, untamed rock and roll on this disc.” –Alex Chilton, 1992. “This record is meant as an addendum to Singer Not The Song (1977) / Bach’s Bottom (1981) and not a substitution. The idea that somebody would be interested in anything beyond what had already been released is lunacy considering the underwhelming reaction the record industry had to it at the time. When Munster asked if I’d like to take a look at releasing anything that wasn’t out previously, I had to say yes. Now you have it, all the contents of the first crazy night of recording, plus some new ways to look at some of the other material. . . . It’s sort of similar (not musically, but in terms of the producer/artist relationship) to the Blowin’ Your Mind! album by Van Morrison (1967) — you can sense the underlying tension, and not every track is a ‘success’, but it is mighty powerful. . . . Alex was not about melody at the time, he wanted to repudiate his Big Star work and make a sinister record that threatened people. Without half trying, Singer Not The Song did accomplish that. It became one of the first punk rock/new wave records, the very first EP for the genre.” –Jon Tiven, Jan 2017
File Under: Rock, Big Star

fedrigotti

Michele Fedrigotti/Danilo Lorenzini: I Fiori Del Sole (Song Cycle) LP
Song Cycle Records present a reissue of Michele Fedrigotti and Danilo Lorenzini’s I Fiori Del Sole, originally released on Cramps Records in 1979. I Fiori Del Sole is a composition for organ and piano by the Italian duo of Michele Fedrigotti and Danilo Lorenzini. The encounter between minimalist aesthetic and evocative religious atmospheres make this album one of the most interesting and obscure treasures of Italian minimalism. The album was produced by the legendary Franco Battiato with whom the duo Fedrigotti-Lorenzini collaborated the same year for L’Era Del Cinghiale Bianco.

File Under: Electronic, Ambient, Classical
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fleet

Fleet Foxes: Crack-Up (Nonesuch) LP
Crack-Up is the long-awaited and highly anticipated third album from Northwest indie-folk act Fleet Foxes. The Nonesuch Records release comes six years after the 2011 release of Helplessness Blues and nearly a decade since the band’s breakout 2008 self-titled debut. All 11 songs on Crack-Up were written by Robin Pecknold who also co-produced the album with longtime bandmate and close collaborator Skyler Skjelset. The album comes preceded by “Third of May / Ōdaigahara,” a nearly nine-minute epic powered by piano and electric twelve-string guitar, string quartet, and the group’s trademark sparkling harmonies. Crack-Up was recorded at various locations across the United States between July 2016 and January 2017: at Electric Lady Studios, Sear Sound, The Void, Rare Book Room, Avast, and The Unknown. Phil Ek mixed the album, at Sear Sound, and it was mastered by Greg Calbi at Sterling Sound. Fleet Foxes is Robin Pecknold (vocals, multi-instrumentalist), Skyler Skjelset (multi-instrumentalist, vocals), Casey Wescott (multi-instrumentalist, vocals), Christian Wargo (multi-instrumentalist, vocals), and Morgan Henderson (multi-instrumentalist).

File Under: Indie Rock
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hallaisPhilippe Hallais: An American Hero (Modern Love) LP

Philippe Hallais returns to Modern Love with An American Hero, the first album under his own name. It follows his label debut as Low Jack with Lighthouse Stories in early 2016. An American Hero is by some distance his most important work to date, setting aside the squashed dancefloor productions of his Low Jack alias for an album of emotive, indefinable ambient pieces. After working through different subcultural musical languages as Low Jack, with An American Hero, Philippe takes inspiration from the TV biopics of high-performance athletes for an album of exceptional emotive impact; somewhere between pastiche, tragedy, and electronic futurism. Fascinated by the sports documentaries mass-produced by the US TV channel ESPN, Hallais transcribed and amplified its dramatic recipes. These form the material of tearful soap operas which develop the same narrative ad nauseam; the rise to the top, the betrayal, decline, salvation, comeback, and ultimately, nostalgia and regret. The TV formatting reduces the life of these high-level athletes to a generic tale, transforming them into impersonators of their own lives through extreme use of editing, slow motion, and musical themes. Acting as a Greek tragedy, An American Hero delves into the dislocations of the mythology of sports and its achievement in mass entertainment; whereby the hero becomes a dispensable and mimetic body. Hallais delves into this unusual portrayal of triviality and disaster, naivety and cynicism that make the real life and ordeals of the hero indistinguishable from their scripted form on TV. This obsession with storytelling and the creation of bigger-than-life characters forms the narrative of An American Hero, a parable for our times. RIYL: James Ferraro, Yves Tumor, Hype Williams, My Bloody Valentine, Leyland Kirby. Artwork and photography by Ethan Assouline; Mastered and cut by Matt Colton.
File Under: Electronic, Ambient
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ding

Aldous Harding: Party (4AD) LP

Finally, some copies for the shelf! Aldous Harding returns with her second album, Party, produced with the award-winning John Parish (PJ Harvey, Sparklehorse) in Bristol, a world away from her New Zealand home. As well as contributions from Parish, Perfume Genius’s Mike Hadreas lends vocals on lover’s call to arms “Imagining My Man” and “Swell Does The Skull.” Igniting interest with her eponymous debut issued just two years ago, Harding is known for her sinister torch songs, gentle laments and eerie odes delivered with a charismatic combination of hubris, shrewd wit and quiet horror. Party introduces a new talent to the stark and unpopulated dramatic realm where Kate Bush and Scott Walker reside.
File Under: Indie Rock
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henriksenArve Henriksen: Towards Language (Rune Grammofon) LP

With Towards Language, trumpeter Arve Henriksen is back with his trusted long-time musical partners Jan Bang and Erik Honoré. Also, an important part of the line-up is Eivind Aarset, the ECM associated guitarist extraordinaire. Towards Language is Arve’s ninth album (eight on Rune Grammofon and one on ECM) under his own name. Asked to comment on his new album, and its title, here’s what he has to say: “To express something on your own can be quite challenging at times. I have, for years, been in creative collaborations with musicians and producers that have encouraged and inspired me. Music that has a connection to ‘Places of Worship’, but this time recorded ‘live’ in the studio in a chamber music like approach inspired by contemporary elements from composers like Toru Takemitsu and Manuel de Falla, to traditional organ music, and at the end of the album bringing in a traditional ‘kven’ (ancient Nordic song tradition) theme from the roots of my family from the North of Norway, sung by Anna Maria Friman of Trio Mediaeval.”

File Under: Jazz, Electronic
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henriksen1

Arve Henriksen: Chiaroscuro (Rune Grammofon) LP
First time on vinyl for Arve Henriksen’s heart-wrenching 2004 album, Chiaroscuro. Chiaroscuro was the follow-up to this fantastic trumpet player’s debut album, the much acclaimed Sakuteiki from 2001. BBC Online called Sakuteiki “a thing of rare and compelling beauty…. music making as natural and essential as breathing.” This time he is joined by drummer Audun Kleive and sound artist Jan Bang to create some very beautiful musical soundscapes where the trumpet is the natural point of focus. There’s also more room for Arve’s wordless singing, sometimes used to stunning effect with Supersilent.
File Under: Electronic, Jazz
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Noyes_The_Holy_Shroud_Ghost_Repeaters_Jacket

Holy Shroud: Ghost Repeaters (Noyes) LP
The Holy Shroud were a Canadian supergroup featuring members of North of America and Wintersleep. Here, for the first time on vinyl, is their Ghost Repeaters LP. This set was originally released in 2005 on the influential Level Plane label. The record has been remastered and includes never before seen photos and a retrospective essay by founding member Michael Bigelow. This is a ferocious and crucial record. Limited to 300 on white vinyl.
File Under: Indie Rock, Math Rock
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kinggiz

King Gizzard & The Lizard Wizard: Murder of the Universe (ATO) LP
Melbourne’s King Gizzard and the Lizard Wizard are a once-in-a-generation group playing a heady combination of psychedelia, prog rock, freakbeat, jazz, heavy metal and Krautrock at a breathless punk pace. A concept album to end all concepts, their new record Murder Of The Universe is a face-melting musical assault concerned with the downfall of man and the death of the planet. Lit by thunderclaps and lightning, MOTU inhabits a sonic landscape of death, decay, ossification, fossilization, rebirth. It is a place occupied by wandering shape-shifting beasts, bleeding skies, pools of blood, great fires and mushroom clouds; a planet rent asunder by conflict. Like in the band’s frenzied live show, snippets of their breakthrough records I’m In Your Mind Fuzz and Nonagon Infinity resurface throughout the new album to haunt their latest sound. “We’re living in dystopian times that are pretty scary and it’s hard not to reflect that in our music,” says frontman Stu Mackenzie. “It’s almost unavoidable. Some scientists predict that the downfall of humanity is just as likely to come at the hands of Artificial Intelligence, as it is war or viruses or climate change. But these are fascinating times too. Human beings are visual creatures – vision is our primary instinct, and this is very much a visual, descriptive, bleak record. While the tone is definitely apocalyptic, it is not necessarily purely a mirror of the current state of humanity. It’s about new non-linear narratives.”
File Under: Garage, Psych
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kirby1

Leyland Kirby: When We Parted My Heart Wanted to Die (HAFTW) LP
2017 repress. Originally released in 2009. It’s a prescient hauntological elegy somewhere between Vangelis’ Bladerunner OST (1982), Lynch and Badalamenti’s Twin Peaks score, Erik Satie’s solo Piano works, William Basinski’s gradual tape decompositions, and James Ferraro’s washed out visions. Back in 2009, James Leyland Kirby explained: “Here we stand, twenty years on from the first CD, and our optimism has been gradually eroded away collectively. ‘Tomorrows World’ never came. We are lost and isolated, many of us living our lives through social networks as we try to make sense of it all, becoming voyeurs not active participants. Documenting everything. No Mystery. Everything laid bare for all to see.” A decade later, it could hardly have been more prescient. It’s with this pessimistic sense of being that Kirby constructed these incredible pieces, creating a sequence of music designed to overwhelm and absorb, affecting our sense of time and place by tracing and retracing musical steps into a blur, re-using the same motifs with incremental differences, trapped in our own feedback loops of lost emotion. On this long double album, James Leyland Kirby once again acts as a spiritual bridge, holding fast against the perceived current of time and culture in order to afford a slow, lingering gaze on its ambiguous, ever-shifting ripples and eddies. Like staring at a body of gently moving water, the effect is strangely soothing and meditative, encouraging immersed reflection and dilated focus…
File Under: Ambient, The Shining
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kirby2

Leyland Kirby: Sadly, The Future is no Longer What it Was (HAFTW) LP
2017 repress; Originally released in 2009. The second part of Leyland Kirby’s uniquely prescient dark ambient masterstroke, Sadly, The Future Is No Longer What It Was (2009) finds the listener returning to Kirby’s draughty corridors of processed 78s and midnight keyboard meditations is a sublime, haunting experience like no other. The listener can read his melancholic diagnosis of capitalist malaise, deferred futurism and thwarted social utopianism as a genuinely uncanny foresight of what has played out in contemporary society, in an age when Facebook and Twitter have become an all-encompassing filter for daily life and effectively assuaged the rich analog ambiguity of collectivism in favor of cold, hard, binary politics and reflexive, unthinking emotional responses. Especially in the wake of Mark Fisher’s tragic passing earlier in 2017, Kirby’s hauntological sentiments, embedded quite literally in titles such as “When Did Our Dreams And Futures Drift So Far Apart”, and figuratively perfused through its stark negative space, now feel to resonate stronger than ever; using shared echoes of the hive mind such as classic film scores from Vangelis and Lynch/Badalmenti — both quite literally omnipresent in imminent sequels right now — as cues for sorrowful elegies and meditations which aesthetically resonate as much with Deathprod’s liminal scapes, as a sort of mildewed modern classical flocking to Satie’s tasteful ambient wallpaper. Yet it’s not all doom and gloom. There’s a sense of underlying sense of resilience, of resistance to Kirby’s hushed, ribboning expressions which flows with a considerate pathos and open-ended emotional curiosity which belies the narcissistic reaffirmations of social media’s echo chambers and dialectic cul-de-sacs, quietly striving to wrench something beautiful and affective from the clutches of a manipulative mainstream.
File Under: Ambient, The Shining

kohn

Kohn: Kreis Plon (Kraak) LP
Almost 20 years ago, Jürgen De Blonde debuted on Kraak with the nowadays unfindable and almost visionary album 1 (1998). It was the starting point for a vital and wondrous exploration that lead him over paths of glitch, idm, shoe gaze, hypnagogic pop, improvised music, straight forward synth music, field recordings, and kraut… In the middle of this ungraspable adventure through contemporary electronic music, Köhn stands as a genuine artist that stayed true to the curious spirit of the DIY knob twiddling and boggling boy he once was. Kraak present his seventh album on the label, Kreis Plön, which documents and envisions 20 years of exploring. It’s an album that is about a fusion of the past and the future, of separation and reconfiguration, of mourning and rejoicing, of noise and peace. Kreis Plön is about geolocation. It’s about probable fiction and looking for bits of different puzzles that fit together. It’s an exercise in linear and perpendicular coherence devoid of any objective logic. In the middle of the album an artist is envisioning his place in the now, questioning how or when he got there, as he links memories to imaginary places, and real places, to imaginary histories. Kreis Plön stands as such a masterpiece that bluntly envisions the future of electronic music. Mastered by Karel De Backer; Recorded and produced by Jürgen De Blonde; Artwork and design by Ruttens-Wille.
File Under: Electronic, Krautrock, Kosmische
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kronos

Kronos Quartet: Folk Songs (Nonesuch) LP
When Nonesuch Records celebrated its 50th anniversary in 2014, with festivals at London’s Barbican Centre and New York’s Brooklyn Academy of Music (BAM), Kronos Quartet joined forces with four labelmates – Sam Amidon, Olivia Chaney, Rhiannon Giddens and Natalie Merchant – to perform a concert entitled Folk Songs. The group later recorded the songs, most of which are traditional with contemporary arrangements, with Doug Petty as the album’s producer. In addition, the album includes the instrumental “Last Kind Words” by Geeshie Wiley. For more than 40 years, San Francisco’s Kronos Quartet – David Harrington and John Sherba (violins), Hank Dutt (viola), and Sunny Yang (cello) – has combined a spirit of fearless exploration with a commitment to continually re-imagine the string quartet experience. In the process, Kronos has become one of the world’s most celebrated and influential ensembles, performing thousands of concerts, releasing more than sixty recordings, collaborating with many of the world’s most eclectic composers and performers, and commissioning more than 900 works and arrangements for string quartet.
File Under: Classical, World
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radiohead

Radiohead: OK Computer OKNOTOK (XL) 3LP
LIMITED INDIE STORE ONLY BLUE VINYL... Rescued from defunct formats, prized from dark cupboards and brought to light after two decades in cold storage… OKNOTOK will be issued June 23 on XL Recordings, coinciding (roughly) with the original 1997 release date(s) of Radiohead’s landmark third album, OK COMPUTER. OKNOTOK features the original OK COMPUTER twelve track album, eight B-sides, and the Radiohead completist’s dream: “I Promise,” “Lift,” and “Man Of War.” The original studio recordings of these three previously unreleased and long sought after OK COMPUTER era tracks finally receive their first official issue on OKNOTOK. All material on OKNOTOK is newly remastered from the original analogue tapes. OK COMPUTER was originally released on various dates ranging from May to July 1997. Produced by the band and Nigel Godrich, the album is widely cited as one of the greatest works of Radiohead’s–or any artist’s–catalogue and was the first Radiohead record to reach #1 in the UK and to be nominated for the Album of the Year GRAMMY. The album features singles “Paranoid Android,” “Karma Police,” “Lucky” and “No Surprises. In 2015, The National Recording Registry selected OK COMPUTER to be preserved in the Library of Congress as a recording that has proven “culturally, historically, or aesthetically significant.” The Library of Congress wrote of OK Computer, “On their third album, Radiohead create an information-age dystopia characterized by psychopaths, corrupt politicians, ill-behaved consumers, tyrannical robots, airline disasters, car crashes and failed safety protocols. For the album, the band had mostly stripped away such alt-rock signposts as personalized lyrics, sinus-clearing guitars and thunderous bass and drums. The ghosts of the Pixies and Nirvana have been decisively exorcised. The presence of fin de siècle electronic dance music, jazz, 20th-century classical and dub are all palpable”.
File Under: Rock, Electronic
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riley

Terry Riley: Persian Surgery Dervishes (Aguirre) LP
The classic minimal music album is now available again on vinyl for the first time since the ’70s. During the 1970s, Californian composer Terry Riley concentrated on solo keyboard performances, continuing to make music yet writing down almost nothing. Riley selected a mode, chose a few motifs or basic patterns and then, seated on the floor in front of his audience, improvised on electronic keyboard. The electric organ, superseded at later concerts by a synthesizer, was portable and consistent. By the early ’70s, Riley had come to feel that scores were a distraction. Faithful interpretation of an already written piece was a deviation from the true purpose of making music, which was spiritual quest. Fortunately, some of those live performances were captured on tape. Persian Surgery Dervishes, issued initially on the French label Shandar in 1972, features two such concerts for electric organ and reel-to-reel delay, one recorded in Los Angeles on April 18th, 1971, the other in Paris on May 24th, 1972. At the start of that decade, Riley became a dedicated student of the great Hindustani singer Pandit Pran Nath. Looking into North Indian classical tradition, he found correspondences to modal and cyclic ideas that he was already working on. In 1971, Riley started teaching Indian music at Mills College, in Oakland. That experience fed directly into his solo keyboard performances, but other influences were also shaping his music. Personal research into ancient Persian culture and the poetry of Rumi lit up his imagination, while the repetitive swirling of Sufi devotional music from North Africa and jazz, an enduring source of inspiration, reverberate through these performances. The Californian version of Persian Surgery Dervishes starts with low dark tones, dense and brooding like a huddled human figure, deep in introspection. But as the improvisation unfolds Riley’s buoyant spirit asserts itself, spiraling out in ecstatic coils. The Parisian concert conveys a different mood, brighter and more open in texture, more relaxed from the outset and breathing with greater freedom as it takes flight. Persian Surgery Dervishes is a mesmerizing record of a vital stage in Riley’s ongoing quest for connection with the universal mind and sublime music. “Music is my spiritual path. It’s my way of finding out who I am.” –Terry Riley, 1976 Includes insert with liner notes by Julian Cowley; Lacquer cut by Rashad Becker; Layout by Jeroen Wille; Remastered by Equusl; Licensed from FGL Productions; Edition of 1000.
File Under: Ambient, Drone, Minimalism
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tweedy

Tweedy: Together At Last (Anti) LP
Together At Last is a new album by songwriter and guitarist Jeff Tweedy. It features the Wilco bandleader performing eleven of his own songs, culled from the Wilco catalog as well as from side-projects Loose Fur and Golden Smog, in a solo acoustic setting. Co-produced by Tweedy and Tom Schick (who also engineered and mixed the collection) and recorded in January 2016 at Tweedy’s Chicago recording studio The Loft, Together At Last showcases Tweedy’s accomplished and intricate guitar playing and his expressive, plaintive voice, and while audiences have experienced Tweedy live onstage as a solo performer for years, this is the first studio recording of its kind for the acclaimed musician. Mastered by Bob Ludwig at Gateway Mastering (Portland, ME).
File Under: Folk, Wilco
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makossa

Various: Pop Makossa: The Invasive Beat of Cameroon (Analog Africa) LP
The Pop Makossa adventure started in 2009, when Analog Africa founder Samy Ben Redjeb first travelled to Cameroon to make an initial assessment of the country’s musical situation. He returned with enough tracks for an explosive compilation highlighting the period when funk and disco sounds began to infiltrate the makossa style popular throughout Cameroon. From the very beginning, there were several mysteries hanging over Pop Makossa. It was not until DJ and music producer Déni Shain was dispatched to Cameroon to finalize the project, license the songs, scan photographs, and interview the artists that some of the biggest question marks began to disappear. His journey from the port city of Douala to the capital of Yaoundé brought him in contact with the lives and stories of many of the musicians who had shaped the sound of Cameroon’s dance music in its most fertile decade. The beat that holds everything together has its origins in the rhythms of the Sawa people: ambassey, bolobo, assiko and essewé, a traditional funeral dance. But it wasn’t until these rhythms arrived in the cities of Cameroon and collided with merengue, high-life, Congolese rumba, and, later, funk and disco, that modern makossa was born. Makossa managed to unify the whole of Cameroon, and it was successful in part because it was so adaptable. Some of the greatest makossa hits incorporated the electrifying guitars and tight grooves of funk, while others were laced with cosmic flourishes made possible by the advent of the synthesizer. However much came down to the bass; and from the rubbery hustle underpinning Mystic Djim’s “Yaoundé Girls” to the luminous liquid disco lines which propel Pasteur Lappé’s “Sekele Movement”, Pop Makossa demonstrates why Cameroonian bass players are some of the most revered in the world. “Pop Makossa Invasion”, an obscure tune recorded for Radio Buea makes its debut here and joins the pantheon of extraordinary songs that plugged Cameroon’s makossa style into the modern world. Also features: Dream Stars, Mystic Djim & The Spirits, Bill Loko, Eko, Olinga Gaston, Emmanuel Kahe et Jeanette Kemogne, Nkodo Si-Tony, Bernard Ntone, Pat’ Ndoye, and Clément Djimogne.
File Under: Funk, Disco, Africa
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…..Restocks…..
Caterina Barbieri: Patterns of Consciousness (Important) LP
Breeders: Pod (Plain)LP
Cyclobe: Sulphur-Tarot-Garden (Phantom Code) LP
Cyclobe: The Visitors (Phantom Code) LP
Danger Doom: The Mouse & The Mask (Lex) LP
Descendants: Milo Goes To College (SST) LP
Eric Dolphy: Out to Lunch (Blue Note) LP
Full of Hell: Roots of Earth are Consuming (A389) LP
Full of Hell: Rudiments of Mutilation (A389) LP
Husker Du: New Day Rising (SST) LP
Iron Maiden: A Matter of Life and Death (Parlophone) LP
Iron Maiden: Dance of Death (Parlophone) LP
Iron Maiden: Rock in Rio (Parlophone) LP
Iron Maiden: Brave New World (Parlophone) LP
MF Doom: Operation Doomsday (Metal Face) LP
Mountain Goats: Goths (Merge) LP
Prince: Purple Rain (Warner) LP
Loke Rahbek: City of Women (Editions Mego) LP
Royal Blood: How Did We Get So Dark? (Warner) LP
Run The Jewels: s/t (Mass Appeal) LP
Run The Jewels: II (Mass Appeal) LP
Neil Young: Decade (Reprise) LP
Various: Black Man’s Cry (Now Again) LP
Various: Brazilian Guitar Fuzz Bananas (World Psych Funk Classics) LP
Various: Ghana Soundz (Soundway) LP
Various: Miracle Steps (Optimo) LP
Various: Psych Funk 101 (World Psych Funk Classics) LP
Various: Psych Funk Sa-Ra-Ga! (World Psych Funk Classics) LP
Various: Senegal 70! (Analog Africa) LP
Various: Slow Grind Fever Vol 1 (Stag-o-Lee) LP
Various: Those Shocking Shaking Days (Now Again) LP
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…..news letter #797 – ice……

Well, if you haven’t already got the dads in your world a stack of records, what are you waiting for? You’ve got a few days left and we’ve got loads of killer wax to make that special dad’s day. If you aren’t sure what to get him, we have gift certificates.. give him some Listen money and an hour or two to come down and browse for somethings for himself.

…..pick of the week…..

connors

Loren Connors: Evangeline (Recital) LP
Recital present the first-time vinyl issue of Loren Connors’s Evangeline, originally released as a limited CD in 1998. Evangeline finds Connors working in a narrative structure. This album trails the story of Evangeline, the heroine of an epic-poem written in 1847. Loren’s guitar tone follows the weary landscapes and mournful souls of the characters. Thematically, Evangeline falls in line with the other romantic Connors LPs Recital has published, Airs (2015) and Lullaby (2016), though with a defining arc in direction. Parallel guitar preludes begin this collection, leading to distant ballads in spheres of reverb. Suzanne Langille softly singing on the first track sets this album as a child’s fable. As longing, clouded in dreams of loss and devotion. Includes an 8.5″x11″ insert: a story written by Suzanne Langille based on the epic poem, Evangeline; Includes restored audio and new artwork by Loren Connors; Remastered for vinyl by Sean McCann; Edition of 500.

File Under: Guitar, Ambient, Blues
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paix

Cathrine Ribeiro + Alpes: Paix (Philips) LP
First-time legit vinyl reissue! Born from the tumult of the ’68 riots in France, Ribeiro + Alpes defined a uniquely Gallic take on the progressive psychedelia of the time. This is ecstatic music fusing European medieval traditions with the contemporary free jazz of the era. Ribeiro, with her confrontational and surrealistic poetry, along with Patrice Moullet’s invented instruments, defined a genre unto themselves and created some of the most original music of the early ’70s with these two masterpieces. Paix, released in 1972, is considered Catherine Ribeiro + Alpes’s masterpiece and rightfully so! The album marked a change in the musical direction of the band, evolving into a more cosmic sound achieved by way of much improvised propulsive energy. Paix floats, shrouded by a strong, uniquely medieval, Gallic folk influence. Composed mainly of two expansive suits, Paix delivers a unique amalgam of progressive, spacey instrumentals (due largely to Moullet’s homemade instruments: percuphone, cosmophone, and orgolia) standing in sharp contrast to Ribeiro’s severe yet hypnotic vocals, both seemingly informed by the same shadowy depths of feeling. It is on Paix that this collaboration reached its summit, producing some of Ribeiro and Moullet’s most haunting and passionate work. A landmark album FINALLY reissued on its original format. Included on the legendary NWW list. Remastered sound.

File Under: French, Prog, Psych
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…..new arrivals…..

arcadea

Arcadea: s/t (Relapse) LP
Five billion years after the last great extinction, the galaxy Andromeda spins headlong into the Milky Way with three intergalactic travelers in tow. Drummer/vocalist Brann Dailor (Mastodon), guitarist/keyboardist Core Atoms (Zruda, Gaylord) and keyboardist/guitarist Raheem Amlani (Withered, Scarab) are said pioneers, the space wizards of psychedelic soundscapes where organic drums collide with synthetic keys to create an infinite transmission from an event horizon. They go by Arcadea and their otherworldly brand of psyche-electric, synth-driven, metallic madness sounds alien yet somehow familiar. Arcadea’s visionary, self-produced, self-titled debut was mastered by Colin Leonard (Mastodon) and features stunning cover art from renowned sci-fi fantasy artist Essy May.

File Under: Electronic, Mastodon
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best if

Big Star: The Best of Big Star (Fantasy) LP
If the short-lived but fondly remembered Big Star could have experienced popular success in direct proportion to its posthumous influence, the rangy Memphis rock quartet would have lived up to its ambitious name, and then some. With the possible exception of the Velvet Underground, no other underground pop band has left such a lasting and indelible legacy. Taking the gritty soul of Memphis rhythm and blues and fusing it with the artful melodies and vocal harmonies of British power pop, and injecting it all with a flailing, pre-punk, garage-band energy, Big Star created a unique sound with a potentially universal appeal. This new ‘Best Of’ compilation celebrates the founding fathers of power pop with 16 tracks spanning all three of their LPs (1972’s #1 Record, 1974’s Radio City and Third, released after the group disbanded). Includes rare single versions of some of their most popular songs, plus new liner notes.

File Under: Rock, Power Pop
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ziggy_hunky_gold_logo_1000sq.jpg

David Bowie: Rise & Fall of Ziggy Stardust and the Spiders from Mars/Hunky Dory (Parlophone) LP
Two very strictly limited edition gold vinyl retail exclusive albums, The Rise And Fall Of Ziggy Stardust And The Spiders From Mars and Hunky Dory. The albums are being released via Parlophone on 16th June 2017, the 45th anniversary of the original release of Bowie’s classic 1972 Ziggy Stardust album. They will only be available as a strictly limited edition one-off run in ‘bricks and mortar’ stores and their online storefronts, but will not be available from online only retailers.

 File Under: Rock
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com

Com Truise: Iteration (Ghostly) LP
Six years after Galactic Melt introduced the cosmic story of Com Truise, Iteration now concludes his sprawling saga. True to its name, the album is built on Com Truise hallmarks: neon-streaked melodies, big drums, robotic grooves, bleary nostalgia. But Iteration is also the most elegant and streamlined that Haley’s singular music has ever sounded. At the album’s heart is an elaborate narrative, one full of longing, hope, anxiety, and triumph. Iteration illustrates the last moments Com Truise spends on the perilous planet Wave 1, before he and his alien love escape its clutches to live in peace.  “…Of Your Fake Dimension” launches the interstellar drama with its anthemic swells and widescreen sound design, before lovesick songs like “Dryswch” and “Propagation” outline scenes wrought with cybernetic pathos. Later, the frantic rhythms of “Syrthio” conjure images of panicked flight as Haley’s gorgeous synth melodies gild the action in quiet heartbreak. Then comes the resounding “When Will You Find The Limit…,” when Iteration’s pain and sadness finds liberation in the vast unknown. The closing title track ends it all in a gush of majestic revelry. Some of Seth Haley’s smartest, catchiest work is here, from the weightless pop of “Isostasy” to “Ternary’s” lush synth-funk. A song like “Vacuume” somehow balances massive bass drops and smashing drums with angelic gasps, and “Usurper” gracefully pairs subtle poignancy and uplifting dance beats.

File Under: Electronic, Down Tempo
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cowboy

Cowboy Junkies: The Trinity Sessions (Sony) LP
Cowboy Junkies recorded this spectacular LP as a “live” event on November 27, 1987 at the Church of the Holy Trinity in Toronto, Canada. It was recorded with a digital R-Dat and using only a Calrec Ambisonic Microphone. What this means is the record sounds like the band was playing right in front of you with the perfect ambiance. Yes, this is a digital recording, yet a recording this outstanding is more than worthy of the highest quality vinyl reissue. Featuring the sublime vocals of Margo Timmins and the meticulous backing of her brothers Peter (drums) and Michael (guitar) plus Alan Anton (bass), The Trinity Session is an unequivocal, economic country-rock classic. First released in late 1988, The Trinity Session was named “Album of the Year” by The Los Angeles Times and The New York Times described it as “a quiet, special record that challenges traditional music.” Rolling Stone declared the album to be “as important as it its inspiring.” Today, it remains much more than a snapshot of a single day’s work captured on tape. The church where the album was recorded was selected on the basis of work recording engineer Peter Moore had done there with other jazz and classical artists. Using a single Calrec Ambisonic microphone, the results are stunning.

File Under: Rock
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danzig

Danzig: Black Laden Crown (Nuclear Blast) LP
Following up his historic reunion with the classic Misfits lineup, Glenn Danzig and Co. return with the well crafted Black Laden Crown, the first Danzig album of all new material since 2010’s widely acclaimed Deth Red Sabaoth. Produced by Glenn Danzig, the dark and muscular 50-minute-long slab will be issued on Evilive Records/Nuclear Blast Entertainment and finds Danzig joined by guitarist Tommy Victor (Prong) and drummer John Kelly (Type O Negative). Danzig on how he channeled gloominess into Black Laden Crown: “It’s the times. You’re sitting back and watching people get their heads cut off, and you’re hearing stupid people say, ‘Oh, we’ll never see World War II again. We’ll never see this kind of persecution again.’ Then you hear about it in the Middle East, and no one’s doing anything about it. It’s so stupid and so hypocritical. I just want to say, ‘Shut the fuck up, you lying-ass motherfucker.'” Consequence of Sound notes that, “The vibe of Black Laden Crown can be gleaned by its song titles: “The Witching Hour”, “But a Nightmare”, “Blackness Falls”. The signature Danzig sound is omnipresent and consistent…his strength is his nuanced voice, his baritone and tenor as sultry as Jim Morrison’s and his charisma informed by Johnny Cash and Elvis.”

File Under: Metal
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arle

Justin Townes Earle: Kids in the Street (New West) LP
Justin Townes Earle has signed to New West Records for the release of his new record Kids In The Street. The 12-song set was produced by Mike Mogis (Bright Eyes, First Aid Kit) at his ARC Studios, and is the first time in his career that Earle has worked with an outside producer. Kids In The Street marks a decade into Earle’s recording career and follows his acclaimed companion albums Single Mothers (2014) and Absent Fathers (2015). The deeply soulful set is both emotionally riveting and effortlessly uplifting. Now embracing sobriety, marriage, and impending fatherhood, Earle is enthusiastically looking to the future. “Life has changed a lot for me in the last few years,” Earle reflects. “I got married and am getting ready to become a father, and this is the first record that I’ve written since I’ve been married. There’s definitely an uplifting aspect to this record in a lot of ways, because I’m feeling pretty positive. When I wrote songs in the past, I was looking in on what I was feeling, but this record’s more about looking outward on what’s happening, and writing about subjects like gentrification and inner city strife. This record also has more of a soul influence to it, and it’s got a deeper connection to the blues than anything I’ve done before.” Several of the songs on Kids On The Street reference the lower-middle-class Nashville neighborhoods of Earle’s youth, which in recent years some say have lost their character to the creeping scourge of gentrification. Significantly, the album is the first of Earle’s not recorded in Nashville. “It’s the first time that I’ve worked outside of my usual umbrella of people to make a record,” Earle explains, adding “In Nashville, if you have the right connections, it’ll spoil the shit out of you, because you’ve got access to the best musicians in the world and the best studios in the world. If you had told me when I started making records, that I wasn’t gonna make every record in Nashville, I would have told you you were crazy. And if you’d told me that I’d end up making a record in Omaha, I’d tell you you were out of your freaking mind.”

File Under: Folk, Country
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ennanga

Ennanga Vision: s/t (Soundway) LP
Deconstructed royal-court music from the forgotten kingdoms of the Buganda, reconstructed electronic wedding music, fluorescent pink African pop, crunched 8-bit drum machines and a 10-foot long monster xylophone are just a few of the many sounds of Ennanga Vision. This post-modern African soundtrack follows London producer Jesse Hackett’s heady musical journey into the heart of Uganda – recording with chief collaborator, multi instrumentalist and singer Albert Ssempeke and featuring assorted vocal legends from the north of the country. The music blends a fully electronic sensibility with unusual, hand-crafted, African one-string fiddles, a 200-year-old harp and an enormous, group-played xylophone. It mixes traditional Ugandan folk songs and modern pop forms into a new PLASTIC ORGANIC VISION. Hackett is influenced as much by the music of the African continent as he is by European electronic compositions and soundtrack scores. The sounds of hauntingly-dark vocoded vocals, crushed electronics, and poly-rhythmic drum machines sit alongside chiming African fiddles, rippling harps and children’s laughter. He is a member of Owiny Sigoma band having sung on and co-written a lot of their work spanning three albums. He is also touring keyboard player for the Gorillaz and has released records on Stones Throw, Honest Jon’s and DEEK Recordings, to name a few. Albert Ssempeke is the son of a prestigious royal court musician who played in the days of the old Buganda kingdom – one of more than twenty five musical siblings, Albert is simultaneously an educator, performer and preservationist of this intricate and complex traditional form of music. Here he plays over ten traditional Ugandan instruments including Amadinada (xylophone), Ngindidi (fiddle), Endongo (harp), Ennanga (flute) and many more.

File Under: African, Hip Hop
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isbell

Jason Isbell and the 400 Unit: Nashville Sound (Southeastern) LP
The Nashville Sound is the first official Jason Isbell and the 400 Unit album since 2011’s Here We Rest. The 400 Unit features Derry Deborja (keyboards), Chad Gamble (drums), Jimbo Hart (bass), Amanda Shires (fiddle) and Sadler Vaden (guitar). The Nashville Sound was recorded at Nashville’s legendary RCA Studio A and produced by Grammy Award-winner Dave Cobb, who also helmed Isbell’s Grammy-winning 2015 album Something More Than Free and his 2013 breakthrough Southeastern. “Lyrics and melody are still the driving force behind what we’re doing, but this time around, there’s more of a rock ‘n’ roll influence,” Isbell says. “You might shed some tears, but for once, there’s a chance you might also dance a little.”

File Under: Folk, Country
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jaar

Nicolas Jaar: Love You Gotta Lose Again (Double Standard) 10″
2017 repress, originally released in 2010. This is a special edition all-white 10″ by Nicolas Jaar. It all kicks off with “WOUH,” a time-stopping piece with sparse arrangements, quirky gulps of sound and electric ambiance in a complex tapestry of harmony. The anthemic “Love You Gotta Lose Again” moves into contrasting boundless activity with broken beats, triumphant singing and pleasant guitar licks. “Don’t Believe The Hype” retreats into mystique again — a cascading mass of body-moving sound, simmering with secrecy.

File Under: Electronic

morby

Kevin Morby: City Music (Dead Oceans) LP
City Music is an airplane descending over frozen lakes into Chicago. City Music is riding the Q Train out to Coney Island to smell the ocean and a morning in Philadelphia where great cranes reconfigure the buildings like an endless puzzle. City Music is also the new album by Kevin Morby. Full of listless wanderlust, it’s a collection inspired by and devoted to the metropolitan experience across America and beyond by a songwriter cast from his own mold. It is a collection crafted using the other side of its creator’s brain, the jumping off point perhaps best once again encapsulated by an image. “Here, Lou Reed and Patti Smith stare out at the listener,” explains Morby. City Music sees Morby joined once again by cohorts Megan Duffy (guitar) and Justin Sullivan (drums). Here the vocals were recorded at night, in darkness, overlooking a Pacific Ocean illuminated only by the stars, the wash and whisper of the ebbing tidal a distant soundtrack. The record was completed with Richard Swift in Oregon (producer of Foxygen, sometime member of The Black Keys). Here the album gives voice to all those cities speaking the same universal language of chaos and commerce and culture. City Music is an airplane descending over frozen lakes into Chicago. City Music is riding the Q Train out to Coney Island to smell the ocean and a morning in Philadelphia where great cranes reconfigure the buildings like an endless puzzle. City Music is also the new album by Kevin Morby. Full of listless wanderlust, it’s a collection inspired by and devoted to the metropolitan experience across America and beyond by a songwriter cast from his own mold. It is a collection crafted using the other side of its creator’s brain, the jumping off point perhaps best once again encapsulated by an image. “Here, Lou Reed and Patti Smith stare out at the listener,” explains Morby. City Music sees Morby joined once again by cohorts Megan Duffy (guitar) and Justin Sullivan (drums). Here the vocals were recorded at night, in darkness, overlooking a Pacific Ocean illuminated only by the stars, the wash and whisper of the ebbing tidal a distant soundtrack. The record was completed with Richard Swift in Oregon (producer of Foxygen, sometime member of The Black Keys). Here the album gives voice to all those cities speaking the same universal language of chaos and commerce and culture.

File Under: Indie Rock
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mutoidman

Mutoid Man: War Moans (Sargent House) LP
Mutoid Man – the brainchild of Steve Brodsky (guitar, Cave In), Ben Koller (drums, Converge, All Pigs Must Die), and Nick Cageao (bass) – pushes metal’s villainous pageantry to vaudevillian levels. Initially meant to be an exercise in flexing the creative chops outside of the members’ other projects, debut EP Helium Head (2013) and critically-acclaimed debut album Bleeder (2015) confirmed that Mutoid Man is an imposing force regardless of their pedigree. On the band’s sophomore LP War Moans, Mutoid Man bask in their love of frantic, ferocious, no-frills metal; no riff deemed too extreme, no drum pattern considered too absurd. From the chugging bass line and guitar trills that kick off album opener “Melt Your Mind,” Mutoid Man sets a precedent of divine instrumentation and unholy riffs on War Moans. Mutoid Man have also recruited friends from all over the musical spectrum to join them here; “Irons in the Fire” finds Cave In compatriot Adam McGrath lending guitar heft to a megalith anthem, “Melt Your Mind” instantly recalls The Big Four, with thrash icon Marty Friedman further cementing the vibe by lending a blazing guitar solo, and grim folk luminary Chelsea Wolfe and her longtime collaborator Ben Chisholm lend vocals and auxiliary instrumentation to the goth-inflected “Wreck and Survive,” as well as the album’s harrowing closing track, “Bandages.”

File Under: Metal, Cave In, Converge
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t2

OST: Trainspotting 2 (Polydor) LP
In tomorrow… Import LP pressing. Original soundtrack to the 2017 motion picture, the long-awaited sequel to Trainspotting. Includes a newly commissioned remix of Iggy Pop’s ‘Lust for Life’ (Prodigy Remix) along with two new cuts from Underworld – ‘Slow Slippy’ (a new take on the classic ‘Born Slippy’) and ‘Eventually But (Spud’s letter to Gail)’ that features Ewen Bremner. Other highlights include; Wolf Alice, Young Fathers and more.

File Under: OST

zombi

OST: Zombi 3 (Classic Version) (WRWTFWW) LP
We Release Whatever The Fuck We Want Records unleash the complete uncut soundtrack for Lucio Fulci and Bruno Mattei’s 1988 cult zombie-ploitation gem Zombi 3 (aka Zombie Flesh Eaters 2, aka Sanguelia 2) for the first time ever on vinyl, available on two different collector’s edition vinyl, the “Classic Version” and the “Special Version”. This future deluxe edition OOP classic is packed with menacing synths, ghoulish melodies, and contaminated anthems, remastered directly from the rare original reels of maestro Stefano Mainetti. Zombi 3 is the (unrelated) sequel to Zombi 2 (1979), itself an unofficial sequel to George Romero’s Dawn Of The Dead (1978). This marvel of the VHS-era finds a group of super scientists working on a very secret biological weapon called Death One which mutates and kills living humans… and re-animates the dead. Feared by critics and beloved by vintage exploitation fanatics, Zombi 3 has all the charms of the glory days of Italian B-horror, including a fantastic soundtrack. Underrated composer and conductor Stefano Mainetti has done soundtracks for Italian sleaze masters Joe D’Amato and Bruno Mattei, but also for Weekend at Bernie’s (1989) and First Blood (1982) director Ted Kotcheff, and Russell Mulcahy of Razorback (1984) and Highlander (1986) fame. His resume includes 1988’s badass actioner Strike Commando 2 (aka Trappola Diabolica), exploitation horror flick from 1988 Ratman (aka Quella Villa In Fondo Al Parco), and 1995’s The Shooter (aka Hidden Assassin) with the manly superstar Dolph Lundgren. Much like his Italian peers Fabio Frizzi, Claudio Simonetti, or Stelvio Cipriani, Stefano Mainetti can do it all: haunting synths à la John Carpenter, jazzy atmospheres, classical orchestrations, erotic funk, decadent FM rock, and the list goes on. His eclectic abilities and flair for ’80s cinematic moods are well represented in Zombi 3: The Soundtrack. The “Classic Version” comes on red-is-dead colored vinyl with a red Japanese Sanguelia 2 VHS obi; a helicopter is pictured on the back cover. Housed in a Stoughton Tip-On jacket; 180 gram vinyl; Edition of 400.

File Under: OST, Horror
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zombi3

OST: Zombi 3 (WRWTFWW) LP
Green-inferno vinyl version. Special DJ Blue Heart version, with included skits/interludes from the movie. Heavy cardboard Stoughton Tip-On jacket; Green Japanese Sanguelia 2 VHS obi; 180 gram vinyl; Edition of 400. We Release Whatever The Fuck We Want Records unleash the complete uncut soundtrack for Lucio Fulci and Bruno Mattei’s 1988 cult zombie-ploitation gem Zombi 3 (aka Zombie Flesh Eaters 2, aka Sanguelia 2) for the first time ever on vinyl, available on two different collector’s edition vinyl, the “Classic Version” and the “Special Version”. This future deluxe edition OOP classic is packed with menacing synths, ghoulish melodies, and contaminated anthems, remastered directly from the rare original reels of maestro Stefano Mainetti. Zombi 3 is the (unrelated) sequel to Zombi 2 (1979), itself an unofficial sequel to George Romero’s Dawn Of The Dead (1978). This marvel of the VHS-era finds a group of super scientists working on a very secret biological weapon called Death One which mutates and kills living humans… and re-animates the dead. Feared by critics and beloved by vintage exploitation fanatics, Zombi 3 has all the charms of the glory days of Italian B-horror, including a fantastic soundtrack. Underrated composer and conductor Stefano Mainetti has done soundtracks for Italian sleaze masters Joe D’Amato and Bruno Mattei, but also for Weekend at Bernie’s (1989) and First Blood (1982) director Ted Kotcheff, and Russell Mulcahy of Razorback (1984) and Highlander (1986) fame. His resume includes 1988’s badass actioner Strike Commando 2 (aka Trappola Diabolica), exploitation horror flick from 1988 Ratman (aka Quella Villa In Fondo Al Parco), and 1995’s The Shooter (aka Hidden Assassin) with the manly superstar Dolph Lundgren. Much like his Italian peers Fabio Frizzi, Claudio Simonetti, or Stelvio Cipriani, Stefano Mainetti can do it all: haunting synths à la John Carpenter, jazzy atmospheres, classical orchestrations, erotic funk, decadent FM rock, and the list goes on. His eclectic abilities and flair for ’80s cinematic moods are well represented in Zombi 3: The Soundtrack.

File Under: OST, Horror
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royal

Royal Blood: How Did We Get So Dark? (Warner) LP
After becoming the biggest breaking British rock band with their self-titled 2014 debut album, Royal Blood returns on Warner Bros. with their eagerly anticipated second album How Did We Get So Dark? In November 2016, vocalist/basist Mike Kerr and drummer Ben Thatcher, along with producer Jolyon Thomas, spent six weeks in a studio in Brussels which featured a warehouse of antique gear. How Did We Get So Dark? was subsequently completed after a final session in London with their debut album’s co-producer Tom Dalgety. The album’s first single “Lights Out” ups the ante on their first outing with a wrecking ball of a groove cemented by Thatcher’s thunderous rhythms, while Kerr wrangles the twisted invention of his bass riffs to a whole new level. Their patented two-man artillery of carefully constructed melodic aggression is prevalent throughout, especially in “I Only Lie When I Love You,” which is a compelling cowbell-assisted reminder of the power of a stop-start riff and a strident chorus. There are times when Royal Blood are more visceral than ever – notably the gargantuan introduction to “Hook, Line and Sinker” and also the intense denouement that brings “Look Like You Know” to a close. While the album finds Royal Blood refining their melodic might, there are other moments that fulfill their aim to create songs that will add new dimensions to their live sets. Adorned with Kerr’s falsetto, “Don’t Tell” drops the intensity to mesmerizing effect, while “Where Are You Now?” pulsates with a bounding energy that’s quite a step apart from anything else in their catalogue. The Royal Blood palette is also expanded with the inclusion of harmony vocals – something that they didn’t use on their debut.

File Under: Rock
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vanishing twin

Vanishing Twin: Choose Your Own Adventure (Soundway) LP
Formed in 2015, Vanishing Twin came together to make an exploratory record that marries oblique English pop with a palette of arkestral sounds. Having previously released a string of conceptual cassettes under the name Orlando, founder Cathy Lucas named the group after her vanishing twin, an identical sister absorbed in utero, when they were both still a cluster of cells. Enlisting the help of producer Malcolm Catto (Heliocentrics, DJ Shadow, The Gaslamp Killer) the band began work at his London studio, Quatermass Sound Lab, last spring. Recording the basis for eight tracks, they blended structure and improvisation in pop songs that describe a personal mythology through the adventures of Lucas’ vanished twin. Drawing on sounds outside of the usual pop vocabulary, the group used forgotten drum machines, home-made electronics, vibraphones, tablas, and harp to invoke the esoteric psychedelia of lost soundtracks, radiophonic experiments and minimal music orchestras. In a studio that Catto built for maximum atmosphere and minimum interfere, and crammed with obscure vintage equipment, he brought his own distinctive sonics to the table, informed by outsider jazz, Italian library music and ethnographic field recordings. The band has previously been championed by the likes of Gilles Peterson and the Quietus. They played widely in 2015 presenting an immersive show that is equal parts crafted sound and improvised delirium. Vanishing Twin is made up of singer Cathy Lucas (Innerspace Orchestra), drummer Valentina Magaletti (Raime, Tomaga, Uuuu, Neon Neon), bassist Susumu Mukai (Zongamin, Floating Points), library music head Phil M.F.U. (Man From Uranus) on strange sounds, and film maker and visual artist Elliott Arndt on flute and percussion.

File Under: Psych, Indie Rock
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…..Restocks…..

Ryan Adams: Prisoner (Universal) LP
Alabama Shakes: Boys & Girls (ATO) LP
Alabama Shakes: Sound & Color (ATO) LP
Buena Vista Social Club: Lost & Found (World Circuit) LP
Chemical Brothers: Dig Your Own Hole (Astralwerks) LP
Chemical Brothers: Push the Button (Astralwerks) LP
Alice Coltrane: Ecstatic Music of Alice Coltrane (Luaka Bop) LP
Brian Eno: The Drop (All Saints) LP
Bill Evans: Waltz for Debbie (Jazz Images) LP
Ibrahim Ferrer: Buena Vista Social Club Presents…. (World Circuit) LP
Godspeed You Black Emperor: Yanqui UXO (Constellation) LP
Grateful Dead: Cornell 77 (Rhino) Box
George Harrison: All Things Must Pass (Apple) LP
Sharon Jones: Naturally (Daptone) LP
Sharon Jones: Soul Time (Daptone) LP
Sharon Jones: Give the People What They Want (Daptone) LP
July Talk: Touch (Sleepless) LP
King Gizzard & The Lizard Wizard: Flying Microtonal Banana (ATO) LP
Tim Maia: Nobody Can Live Forever (Luaka Bop) LP
OST: Bob’s Burgers (Sub Pop) LP
Pink Floyd: Dark Side of the Moon (Pink Floyd) LP
Pink Floyd: The Wall (Pink Floyd) LP
Steve Reich: Music for 18 Musicians (Nonesuch) LP
Sturgill Simpson: A Sailor’s Guide to the Earth (Atlantic) LP
Sturgill Simpson: Metamodern Sounds in Country Music (Thirty Tigers) LP
Sufjan Stevens: Carrie & Lowell (Asthmatic Kitty) LP
Esperanza Spalding: Junjo (Ayva) LP
Ali Farka Toure & Toumani Diabate: In The Heart of the Moon (World Circuit) LP
Vanishing Twin: Choose Your Own Adventure (Soundway) LP
Jack White: Lazaretto (Third Man) LP
Witch: Lazy Bones (Now Again) LP

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