…..news letter #755 – mud…..

Oi! This is a lot later than I had hoped today, but my day went sideways. Anyway, some really rad stuff in this week, so I won’t keep you…

…..pick of the week…..

pye

Pye Corner Audio: Stasis (Ghost Box) LP
At least one leap year cycle since his last album with the GB’s, Sleep Games, right now this one feels like a stygian trudge into bleakest futures, operating at such a stoned pace that it moves slower than actual time, and by submitting to its temporal warp we’re allowed to regress back into a pre-digital epoch of paranoid cold, or even civil war atmospheres and paranoia. It could almost be the soundtrack to a Ben Wheatley flick (low budget, not the over-glossy high rise) about British time travellers, forgoing Dr. Who queso for a more hard-boiled, furtive vibe about anachronistic assassins sent back to kill Nigel Farage at birth, only to uncover that he’s part of an exceedingly dangerous non-human race with ties to Johnson, Cameron and all the other pebble-people, so they round them all up and lock them in a hostel in Middlesbrough with a broken kettle and packet of poisoned monster munch between the lot. Of course, that fantasy is all set to a soundtrack of wistful electronic mists and pulsating arpeggios that could be right out of some late ‘70s / early ‘80s synth library, and ultimately shows that whilst technology has advanced in the meantime, that ostensibly archaic music still reflects an underlying eldritch darkness contemporary and relevant to both eras, then and now.

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

atobe

Shinichi Atobe: World (Demdike Stare) LP
Demdike Stare prise another absolute gem from Japan’s Shinichi Atobe; presenting six tracks of original, previously unreleased material recorded sometime in the last 20 years in Saitama, Japan, perfectly complementing the sublime ambient house zen of his Butterfly Effect album. The reclusive artist has seen a lot of justified, and somewhat overdue, praise surrounding the reissue of his sole early release, the Ship Scope 12″ by Demdike Stare, originally issued by Berlin’s Chain Reaction label in 2001, whilst the dispatch of his distinguished and subtly diverse Butterfly Effect album arguably came as a surprise for many heads who had him pegged out solely as a dub house producer. His new World will expand those preconceptions again, coursing a beautifully louche and debonair vibe from the most minimal loops and motifs – the kind that one could play all day and would hardly ever tire of hearing them. The supple, floating DX7 bass contours and vaporous jazz chords of “Intro” start up like some Chicago or NYC deep house classic lost in its own reverie, and could go on for as long as it wants, before the rainy day piano house melancholy of “World 1” promptly inverts that supple aesthetic with a fizzing, hazy sort of depth perception and “World 2” switches again to a sort of trim dub momentum in stepping, swinging equilibrium, riding the groove like no other. Turnover and the lingering, slowed-down stroke of “World 3” sounds like it got waylaid from a session with Wolfgang Voigt, whilst “World 4” jettisons the bass altogether to whiz and skip away in the highest registers with an intoxicatingly heady, mesmerizing appeal which also makes the uniquely brittle but spacious breakbeat trip of “World 5” so narcotically seductive. This is highly idiosyncratic, exceptional material, with the highest recommendations to anyone with a taste for house and ambient’s refined, soulful and experimental echelons. Mastered and cut by Matt Colton. RIYL: DJ Sprinkles, Larry Heard, Kassem Mosse, SND.

File Under: Minimal, Techno
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DS031LP_PROD

Mario Bertoncini: Arpe Eolie (Die Schachtel) LP
Arpe Eolie is the first ever vinyl release of the works by Italian maestro Mario Bertoncini, relentless experimental composer, philosopher, artist and builder of sounds. The LP presents a selection of his compositions for Aeolian constructions: in the early ’70s he started to produce sound aggregates, true “sound sculptures” based on the Aeolian sound principle. Amongst his more spectacular installations were “Vele”, a massive Aeolian harp (more than seven meters high); “Venti” (winds), for 20 Aeolian sound generators and 40 performers; and “Chanson Pour Instrument À Vent”, an assemblage for Aeolian harps, Aeolian gongs, and one performer. By their very nature these sound objects (“sound sculptures” that liberate the concept of sound form from time development) convey a sense of natural sounds beyond the grasp of composition and musician. Bertoncini’s self-built harps and gongs are excited by blows of compressed air, or by the composer’s own breath, resulting in a musical blueprint that takes minimalist drone to a massive scale: the music unleashes itself. There’s no sense of a composer’s hand present. If at superficial levels they may sound like electronic music (long drones and swooshes of otherworldly sounds), at a close listening they reveal the intensity of a pure sound of air, far removed from both any artificial or measurable principle as well as from any casual or chance method of composition. Deluxe silver cover with silver foil design. Custom inner sleeve and four-page booklet in English and Italian. Edition of 400.

File Under: Experimental, Electronic, Italian
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cantu1

Jefre Cantu-Ledesma: Songs of Forgiveness (Pre-Echo) LP
Originally released in the summer of 2014 as a cassette by Baro Recordings, Jefre Cantu – Ledesma’s Songs Of Forgiveness is now available for the first time on vinyl. Edition of 500 copies via the New York imprint Pre-Echo. Composed by Cantu – Ledesma during his first winter after relocating to Brooklyn, NY, this suite of six discrete tracks are formed by colliding micro orbits of guitar, drum machine and synth, all purposefully phasing in-and-out of sync, and painted with chords of ecstatic melancholia and tape hiss that typifies much of Cantu – Ledesma’s work. Pre-Echo Press was started in 2016 by New York based visual artist Matt Connors as a platform for disseminating a diverse and idiosyncratic array of recorded and printed matter.

File Under: Ambient, Drone
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cantu2

Jefre Cantu-Ledesma: Songs of Remembrance (Pre-Echo) LP
Originally released in the summer of 2014 as a cassette by Psychic Troubles, Jefre Cantu-Ledesma’s Songs Of Remembrance is now available for the first time on vinyl. Edition of 500 copies via the New York imprint Pre-Echo. Compiled from recordings spanning two years and various locations, the 21 tracks on Songs Of Remembrance act as snapshots of various times and places, cover a wide range of sonic ground and call to mind any number of imagined spaces via drum machine, guitar, synth and tape explorations. Pre-Echo Press was started in 2016 by New York based visual artist Matt Connors as a platform for disseminating a diverse and idiosyncratic array of recorded and printed matter.

File Under: Ambient, Drone
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chilton

Alex Chilton: Dusted in Memphis (Bangkok) LP
First time re-issue of the legendary Alex Chilton album Dusted In Memphis, originally released in 1980. For many, this is Alex’s finest. Includes a second bonus album full of unreleased material; covers, alternate versions, fantastic demos, and infamous complete KUT radio session. All culled from the period between 1975 and 1980, a troubled – but prolific and brilliant – time for Chilton. This is deconstructed rock n roll, perfect pop songs perversely pureed, punkabilly before the term was coined, chaotic, trashy, beautiful. Allegedly, the only copy of these recordings that anyone associated with was lost in the house fire that claimed Alex Chilton’s mother’s life. If this is true, and the masters have been lost, it is truly a great, great shame as these are possibly the best post-Big Star recordings of Alex’s long solo career. This quite legendary bootleg bridges the gap between Sister Lovers (1978) and Like Flies On Sherbert (1979). It contains the Elektra demos with some songs that might be regarded amongst Big Star’s finest if they would have found a proper release. This is a great shame as it is an excellent document of where Alex was at during this stage of his career (he wooed the critics during his time in NY, but not the major labels). File between: Skip Spence’s Oar (1969), Panther Burns’s Behind The Magnolia Curtain (1981), Neil Young’s Tonight’s the Night (1975) and early Cramps.

File Under: Rock, Punk
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cosmonauts

Cosmonauts: A-Ok! (Burger) LP
Cosmonauts are a California-based band known for their simple, physically powerful songs and punishing stage volume. The group’s super killer fourth album A-OK! is being released in August 2016 on Burger Records. Get Bent proclaims, “It’s audible, vociferous, pulverizing and bursting at the seams with trippy-ish fuzzy layers of cacophonic synchronization and disharmonic reverberation in a specifically `60s beatnik drug-den, is-that-purple-zebra-in-sunglasses-ally there sort of way.”

File Under: Garage, Punk
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dom keller

Cult of Dom Keller: Goodbye to the Light (Fuzz Club) LP
12″ coloured vinyl. TCODK – a four-piece from the UK Midlands – make experimental goth- tinged psych – fans of Swans and The Icarus Line will find plenty to entertain them here. The thing that first impresses on hearing TCODK is the sheer scale of their intentions.. Take ‘Deepest Pit Of Emptiness’ for example – its prog leanings combined with a decided-ly English vocal delivery are as distinctive and profound as anything released this year. TCODK have pushed themselves sonically on this album, it’s by far their most experi-mental release to date. It’s also an album rooted in darkness.

File Under: Psych
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dalthom

Dalthom: Frame Slip (Feeding Tube) LP
“Thrilling second album by the duo made up of Greg (Gary War) Dalton and Rob (Sunburned Hand of the Man) Thomas. The first album was recorded and pressed a while ago but has yet to be actually released. Perhaps because these guys are operating under Nigel Senada’s Theory of Obscurity (see The Residents’ Not Available). Or perhaps not. Only time will tell. Regardless, this sophomore effort is nothing but a goddamn corker. Knowing something about the work ethic of this pair, I had suspected this LP would be filled to the bong-lip with loosely unstructured jams and zingers. And while those elements are indeed part of the parcel, they are mere details in a large, richly varied and luminous whole. Dalton brings his multi-various musical New Zealand ex-pat weirdnesses to the party, and Thomas draws deeply on his intense Massachusetts record collector powers to create tunes and bridges and sighs that make sonic images skip across the surface of your brain like the smoothest stone on the planet. The two conjure up all the sounds on their lonesome, apart from some drum bits by New Zealand form-manster, Kraus, and some background vocals by fellow kiwi Clementine of Purple Pilgrims fame. You can hear twinges of all kinds of heavy cult tunage smeared into the corners — a bit of Hoelderlin here, a smudge of Relatively Clean Rivers there — but what it most recalls are the highest echelon exploit-o drug-powered records like LSD Underground 12 or The Happening by Fire & Ice Ltd. As a piece of music it’s as thoroughly toasted as either of those, managing to be higher key and low-key at same time. Pretty fuggin’ brilliant. Let’s hope the other album gets cut loose soon!” — Byron Coley, 2016. Edition of 300.

File Under: Electronic, Folk, Psych
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delt

Morgan Delt: Phase Zero (Sub Pop) LP
The invocation of classic west coast psychedelia that permeates Morgan Delt’s Sub Pop debut LP feels like a continuous sunrise, never concealing its influences yet perfectly putting its songs through a gauzy lens that blurs and obscures. After releasing a 6-song cassette in 2013 followed by a full length for the Trouble In Mind label, the California native now fine-tunes his sound world outwardly rather than honing in on a specific trajectory, allowing all of his influences to coexist together in a unique yet undoubtedly Californian vision. The resulting 10-song collection, performed entirely by Delt, recorded in his Topanga Canyon studio, and mastered by JJ Golden, is a home-fi construction with a more subtle, brain-tickling character than its predecessor, and somewhat reflects a realist take on the flower power fantasy of 1967. Doused in echo and haze, slow chords lap in like Pacific waves, flanked by gentle whispers of multi-tracked, cooing vox, phased guitars and fuzz that calmly surrounds the listener’s head less than it jabs at the cortex. It takes a creative mind to make psychedelic rock music – tablas, drones, hallucinatory vocal effects, and all – without slipping into cliché, but Delt can transport what would normally be a dark-n- druggy blanket into a much more optimistic and friendly listening experience. Despite his voice being channelled through hallucinatory effects, it’s warm and inviting, projecting a sense of hope (particularly in “Some Sunsick Day,” which evokes the hopeful “We’ll Meet Again” as the world explodes at the end of Dr. Strangelove, later covered by the Byrds). It’s more or less just an invite to watch the sun rise too.

File Under: Punk, Rock
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equi

Equiknoxx: Bird Sound Power (Demdike Stare) LP
Equiknoxx is one of the hottest, most innovative dancehall squads from Jamaica. Bird Sound Power is their debut collective show of strength, packing twelve avant, crooked riddims by core members Gavsborg and Time Cow, plus Bobby Blackbird and Kofi Knoxx, with vocals by Kemikal, Shanique Marie and J.O.E. (R.I.P). The set was parsed and pieced together by Jon K & Demdike Stare, and now thanks to link ups via Swing Ting’s Balraj Samrai, it is issued on Demdike’s DDS imprint, replete with Jon K’s sleeve design. Easily identified by the squawking bird idents peppering their cuts, Equiknoxx productions have been big in the dance since Gavin Blair, aka Gavsborg, produced Busy Signal’s billboard hit “Step Out” in 2005, followed by key instrumentals for Beenie Man, Aidonia, Masicka and T.O.K. – with many released on 7″ through their Equiknoxx Musiq label, and some of which, such as Aidonia’s “Negative”, are included in this set. Bird Sound Power arguably marks up the most striking riddim album from Jamaica in 2016, weighted with the potential to open up perceptions of current dancehall thanks to the mad character and broad reference points of its producers, encompassing King Jammy’s foundational digi-dub and Dave Kelly’s Mad House sound as much as rugged New York hip-hop and the wigged-out, feminine pressure of Virginia Beach’s Timbaland or The Neptunes. The oldest tune inside dates to 2009, but the rest are relatively recent dancehall mutations, including a number of exclusives produced in the last 12 months. Each one represents Equiknoxx’s unique aspects, such as Jordan Chung’s, aka Time Cow, brilliantly bizarre, layered arrangements of film samples, sawn-off hooks and digi-tight beats, whilst also a result of as their distinguished family vibe, Bird Sound Power exists in a paradox, contemporary but classic, and with as much potential to turn new heads onto current Jamaican sounds as Mowax’s Now Thing set back in 2001. Mastered and cut by Matt Colton. All on vinyl for the first time ever.

File Under: Electronic, Reggae
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ertunc

Huseyin Ertunc Trio: Musiki (Holidays) LP
Holiday Records present a reissue of Hüseyin Ertunç Trio’s Mûsikî, originally released in 1974 on Intex Records. This cosmic free jazz improvisation by this legendary trio guided by Hüseyin Ertunç – on drums – with his then-regular partners Michael Cosmic and Phil Musra – on saxophones and additional percussion – reveals the primitive and physical approach of the trio, with Ertunç’s massive cymbals drumming building a carpet of trance-driving vibe where the reeds can freely dance without any structure. “A new world of improvisational freedom opened up for me when I first heard drummer Huseyin Ertunç’s 1974 LP Mûsikî, with reedmen/multi-instrumentalists/brothers Phil Musra and Michael Cosmic. Ertunç returned to his native Turkey about twenty years ago (and performs with the Konstrukt collective), but Musra – this tune’s composer – now resides in Los Angeles and, as regular readers of this blog know, is still active in music. Although I initially assumed that Mûsikî and Musra’s companion LP The Creator Spaces (1974) were recorded at the same session, in truth Mûsikî was recorded months earlier. The Creator Spaces is a bit more spacious than Ertunç’s date, though both are quite intense documents of self-produced and spiritually-directed improvisation. Knotty and weird, there’s a folksy unhinged-ness that really spoke to me in a way quite different from Albert Ayler, the Association for the Advancement of Creative Musicians, and other music I was spending time with when I dropped the needle on the trio’s debut album. Ertunç’s percussion work really shocked me and it’s still absolutely fascinating, and Cosmic’s organ playing behind/around Musra’s tenor is just something else.” — Clifford Allen. Edition of 400.

File Under: Free Jazz
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holidays boxHuseyin Ertunc/Dogan Dogusel/Cem Tan/Umut Caglar: Gumusluk Sessions (Holidays) 4LP
“Recorded over two days yet retaining a continuous, immediate vibe, Gumusluk Sessions: At Lon’s feature a stirring quartet with Hüseyin Ertunç on piano, Doğan Doğusel at double bass, the young drummer Cem Tan, and Umut Çağlar – a stalwart of the Konstrukt group – on reeds and percussion. In the caliber of multi-album statements like Cecil Taylor’s Nuits de la Fondation Maeght (1969) and string instrumentalist and composer Alan Silva’s Seasons (1970), Gümüslük Sessions: At Lon ‘s stretches out texturally and conceptually, although there’s a loose, homegrown informality unique to these musicians’ orbit (partly attributable to the dry, open recording quality). The initial marathon pace relaxes into nattering trails and the full ensemble falls away to reveal spare duos and trios over the course of eight sides. Ertunç’s piano ebbs as zurna, flutes and bamboo reeds, auxiliary percussion and voices draw out the music’s connection to folk forms, as well as the interleaved East-West textures of Yusef Lateef and the Association for the Advancement of Creative Musicians. As ‘out’ as the music gets, there’s always a center in Ertunç’s keyboard approach; moreover, his linkages with the pliable, allover percussive buzz and thrumming pizzicato create a constant burble of jabbing movement. This is a clunky, Monkish swing or a playful push-pull, rather than the ‘tinka-tinka-ting’ of bebop. Concentrated, unflagging and incredibly spiritual, Ertunç, Cağlar, Doğusel and Tan have convened to structure an incredibly personal artistic document that speaks to the universal possibilities of freedom.” — Clifford Allen. Turkish liner notes by Volkan Terzioğlu. Colored cardboard box set with printed inner sleeves. Edition of 200.

File Under: Free Jazz
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fire

Fire! Orchestra: Ritual (Rune Grammofon) LP
Fire! Orchestra follow their acclaimed 2014 album Enter with Ritual, slimming the ensemble down from 28 of northern Europe’s finest jazz and improvisational musicians to a mere 21. Since the release of Enter, this energetic and dynamic mass ensemble has gone from intimate jazz settings to the main hall at the Molde International Jazz Festival and a major stage at the prestigious Roskilde Festival. As brilliant as Enter is, with Ritual they have outdone themselves and produced a beast of beauty and power, extremely well executed, beautifully recorded, and produced from only two days in the studio. Free improvisations, spontaneous horns, keyboard frenzy, abstract electronics, and guitar mayhem, not to mention those glorious twin voices from heaven and hell. It’s about mysteries and rituals in music and in life. Fire! originated as the trio of Swedish improv masters Mats Gustafsson (sax), Johan Berthling (bass), and Andreas Werliin (drums). None of them are what one would call jazz purists; they all play in many different groups and contexts, including The Thing (Gustafsson), experimental folk-electronica outfit Tape (Berthling), and skewed blues-pop unit Wildbirds & Peacedrums (Werliin). Those important singers, Sofia Jernberg and Mariam Wallentin, have been on board since the beginning, and the same goes for horn players Niklas Barnö, Jonas Kullhammar, Mats Äleklint, Per Åke Holmlander, and Anna Högberg. Basically a Swedish ensemble, the orchestra also counts Norwegian, Danish, and French players among its ranks. Members of Fire! Orchestra share a wide background, combining jazz, improvised music, contemporary music, rock, garage, psych, and more. As they proclaim on their website, “please make up your own genre and mind — listen freely — don’t buy our labeling attempts…labeling sucks.”

File Under: Free Jazz
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gangloff

Cara & Mike Gangloff with the Great American Drone Orchestra: Knock on Life’s Door (Mie) LP
MIE presents Knock on Life’s Door from Cara & Mike Gangloff With The Great American Drone Orchestra. “There’s a particular twinkle in the great expanse of American songwriting. This has seen countless nostalgic exploitations over the years – collections of popular songs strung together under the banner of the so-called ‘Great American Songbook’ that have reiterated the form of many of these songs without contemplating their depths. In terms of thoughtful, emotive synthesis, few have understood it in the way that Cara and Mike Gangloff understand it on this new album. They have taken older American songs, popular songs that we’ve come to understand as standards, and stretched them out into the rolling hills and vast expanses that gave birth to the nation’s earliest music. American history is a history of tension. A group of aristocrats saw fit to bestow a limited degree of freedom upon the underclasses. They called this democracy, co-opting a concept that terrified them in the hopes that the implications of its meaning might placate the unwashed masses. Within that sliver of freedom, incredible heights were reached. Blues. Jazz. Mountain music. And on and on. The songs on this record are recognizable. They’re classics. And yet here they play out in ways the songwriters could never have predicted. Cara and Mike Gangloff have married the colloquial with the eternal. With certain songs, like ‘Sentimental Journey’, they lift the material out of its saccharine setting and into the troubling and sublime nation from which it springs. ‘All of Me’ is rendered utterly psychotic, teasing apart the song’s desperate, masochistic, violent implications. The songs become essays about themselves, investigations into their own histories of terror and escape. ‘Mood Indigo’ becomes a haunting dirge. ‘Cry Me a River’ is a rhythmically jarring lightning rod of unease. The inventiveness of interpretation is spirit-raising. The cultural history of the country is one of cosmic entertainment in the face of excruciating injustice. Transcendence has always been necessary. For better or worse, the United States of America is a nation defined by expanse.” — Matt Krefting, 2016. The Great American Drone Orchestra is: Sharon Stacy, Charlie Andersen, Matt Peyton, Sonya Austin, Joe Dejarnette, Sally Anne Morgan, Isak Howell, Scott Prouty, Anne Hartman, Tatsuya Nakatani, Nathan Bowles, Michelle Dove, Reilly Stacy Blackwell, Abriel Stacy Blackwell and Willa Shea-Gangloff.

File Under: Drone, Experimental
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hooker

D.R. Hooker: The Truth (Veals & Geeks) LP
Genuine reissue of D.R. Hooker’s The Truth (1972) from the original audio sources; new analog transfer with improved mastering. “It’s a miracle any copies of this privately pressed album survived — but be thankful it did, for here is an individual vision. Some people worry about when we’ll run out of oil. A rather smaller proportion of us worry about when we’ll run out of discoverable, deep-end thrills like this. There is just no way in the world items like Donald Hooker’s 40-year-old privately pressed LP should even exist as a thing — it more than likely only ran to about 99 copies in its original format, so how the hell did even one of those survive to create these new digital and analogue versions decades later? Connecticut-based Hooker — a tall, slim hippy with a history of substance abuse — was much given to wearing the sort of austere robe he sports on the sleeve, a fairly outré move even then. In early 1972 he hired a gang of local scene musicians to flesh out his wonderful songs and after a few brief rehearsals the band began recording. As soon as they were done they split — some never even heard the finished album, and what a treat they missed. Hooker’s arrangements are truly beautiful; a simple, swinging pop song like Weather Girl exists somewhere between the Doors and Curtis Mayfield, whereas The Bible (‘If they’re knocking the Bible, be sure they are bent/ Just see and you’ll understand the book is heaven sent’) has the propulsive drive of a pained George Harrison ballad crushed up against some of Neil Young’s freeform, string-banging joy. Then there’s The Sea, with its rolling religious allegories and the remarkable Free which marries a growling hard rock throb to a vampirically groovy synth line. Hooker’s masterpiece is Forge Your Own Chains, which is part conga-led, lounge-funk soul and part, questing psychedelic dream. To think this entirely individual worldview would have once languished, unloved, in a series of under-the-racks cutout bins. And how much more magic like this is there out there?” –Rob Fitzpatrick, “The 101 strangest records on Spotify: DR Hooker — The Truth,” The Guardian, April 24, 2013

File Under: Psych, Private Press
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kon1

Konstrukt/Peter Brotzmann/Huseyin Ertunc/Dogan Dogusel/Barlas Tan Ozemek: Eklisia Unday (Holidays) LP
Eklisia Sunday was recorded live in front of a small audience on May 15th, 2011 at Eklisia – an old chapel built in the 17th century in Gümüşlük, a small village near Bodrum. This improvisation features the Konstrukt collective – which is Korhan Futacı (tenor & soprano saxophones), Umut Çağlar (electric guitar), Özün Usta (double bass, djembe, gong, bells), Korhan Argüden (drums) – incredibly enriched by the presence of Peter Brötzmann (on tenor), Hüseyin Ertunç (acoustic piano, küstüfon, gong), Doğan Doğusel (double bass, küstüfon) and Barlas Tan Özemek (electric guitar). The result of the combination is simply marvelous, because Brötzmann’s unique phrases perfectly match with the sound of what confirms to be a well-coordinated collective. “The Turkish free jazz outfit Konstrukt might be considered the most evolved improvisational band working in jazz today. Founded, not in the hotbeds of jazz, London, New York, Chicago, Wuppertal or Krakow, their isolation is the key to their success. Well, isolation and observation.” — Mark Corroto, All About Jazz. Edition of 350.

File Under: Free Jazz
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lababababa

Joan La Barbara: Tapesongs (Arc Light) LP
Tapesongs (1977) is the second of two crucial Joan La Barbara reissues on Arc Light Editions, following Voice Is The Original Instrument (1976). Joan La Barbara is a composer, performer, sound artist and actor, renowned for her unique vocabulary of experimental and extended vocal techniques, which have influenced generations of composers and singers. This reissue is presented in full collaboration with La Barbara. Tapesongs makes use of early electronics, and multi-tracked tape techniques to manipulate La Barbara’s signature extended vocal techniques. It includes two essential pieces: John Cage’s Solo For Voice 45 and a burning take-down of Cathy Berberian in “Cathing”. In 1977, La Barbara was living in NYC, playing concerts internationally and performing regularly with John Cage, who she described as a mentor. “I began working with John Cage in 1976 and we had done several performances of his ‘Solo for Voice 45’ from Song Books in concert,” says Joan. “Cage determined the 13-minute version for this version, overlaying all 18-pages of the score so that one hears the entire work in layers. Hearing it again after all these years is wonderful and brings back many memories.” “Cathing” uses a recording of a radio interview Cathy Berberian did during the intermission of one of La Barbara’s concerts at the Holland Festival: “She basically trashed those of us doing extended vocal techniques,” she says. “She used the interview for her own self-promotion rather than taking on the mantle of the ‘mother’ of vocal explorations. Rather tragic, I thought. So I created a work exploring extended vocal techniques and manipulating her spoken voice.” “Thunder” is for six tympani and voice, using electronic devices (the same as used in “Vocal Extensions” from Voice Is The Original Instrument), and explores patterns through instruments and real-time composition with two jazz improvising musicians. The original artwork is an incredible shot of Joan buried to her neck in reel -to-reel tape. Remastered from original tapes by Rashad Becker. Kraftliner outer sleeve & art paper inner sleeve.

File Under: Experimental, Avant Garde
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mccomb

Cass McCombs: Mangy Love (Anti) LP
Over the past decade, Cass McCombs has established himself as one of our premier songwriters – diverse, cryptic, vital and refreshingly rebellious. It’s a career that’s twisted and turned, from style to subject, both between records and within them. Eighth studio full-length album, Mangy Love, is McCombs at his most blunt: tackling sociopolitical issues through his uniquely cracked lens of lyrical wit and singular insight. Throughout, he uses himself as a mirror to misguided and confounding realities, confronting them head on. The severity of his lyrics is contrasted by the music, which ventures into groovy realms of Philly soul, Norcal psychedelia and New York paranoia, articulating the spontaneity and joy of his live show better than ever before. Hip-hop and Beat poetry influences have never been more evident, with several songs employing a speech-style and clever fast-paced wordplay. There are guest appearances by many fellow musicians of his tribe ranging from Angel Olsen (on “Opposite House”) to Blake Mills, under the production of veteran Rob Schnapf and Dan Horne. Mostly written during a bitter New York City winter and while traveling in Ireland, Mangy Love is McCombs reaching new sonic heights, creatively evolving lyrically, and resulting in his most provocative, yet immediate record yet.

File Under: Indie Rock
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mcgregor

Chris McGregor & The Castle Lager Big Band: Jazz/The African (Jazzman) LP
One of the most important African records of all time released worldwide for the first time. Chris McGregor’s Jazz/The African Sound (originally released in 1963) is a lost global jazz classic, and a true holy grail for collectors of afro-jazz. A cornerstone of South Africa’s illustrious jazz history, it has been out of print since before the end of apartheid. This painstakingly restored reissue is the long-delayed first chance to hear Chris McGregor’s debut recording as leader. In addition to fully restored audio, the package features previously unpublished photographs by Basil Breakey and new sleeve notes by author Francis Gooding. Ten years before the Brotherhood of Breath blew the cobwebs out of British jazz, Chris McGregor had already recorded as a leader with a big band composed of South Africa’s leading jazz lights. Put together in 1963, The Castle Lager Big Band was a multi-racial group, a risky endeavor in apartheid South Africa. Modernist in outlook and dedicated to showcasing South African composers, the 17-piece band featured a galaxy of South African jazz stars, including Dudu Pukwana, Mongezi Feza, and Kippie Moeketsi. Though the band lasted only a few weeks and played a just a handful of shows, they made it into the studio to record, and the result was Jazz/The African Sound, a unique masterpiece of afro-Ellingtonia that the band hoped would put South African jazz on the international map. But history intervened, and their jazz message to the world never arrived — until now. Non-numbered repress.

File Under: African Jazz
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niagara

Niagara: s/t (PMG) LP
Reissue of Niagara’s self-titled debut, originally released in 1970. Niagara was more a project than an actual band, formed by German jazz drum legend Klaus Weiss. He formerly worked with another jazz legend from his mother country, Klaus Doldinger, and gained fame in the German jazz circuit of the ’60s and ’70s. His 1971 works with Niagara was the offspring of the vision to create an orchestra made entirely of drummers and percussionists. Despite the fact that there is definitely no regular melody instrument to be heard on this album, the two lengthy compositions are arranged in such an enthralling way, they still have a rather catchy and memorable feel. Among the cult drummers featured on this album are Udo Lindenberg (yes, the icon of German rock and pop started as a drummer) and session hero Keith Forsey. So what both compositions offer is an ever pulsating rhythm inferno, a maelstrom of different grooves and sounds. This album is not full of pop tunes. Niagara enchants and hypnotizes with a massive wall of percussion sounds, dragging the listener deeper and deeper into a state of trance, which is utterly addictive. Niagara goes deeper than most psychedelic rock with dreamy melodies and heavy organ work. Incomparable to anything else, this is an ultimate rhythm experience.

File Under: Jazz, Afrobeat, Afro-Cuban
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prince

Prince: Lotusflow3r (Because) LP
Originally released in 2009. For more than thirty years, Prince indefatigably attacked the bulwarks which separate funk, rock, pop and hip-hop. This is a deluxe gatefold release composed of two slabs of vinyl (Lotusflow3r and MPLSound also included on CDs) as well as a poster. “On LotusFlow3r Prince has a specific mission: showcasing his long-underrated guitar playing. Whether it’s the spare funk of ‘Wall of Berlin,’ the metal grind of ‘Dreamer’ or the hazy cover of ‘Crimson and Clover,’ the music kicks into high gear when Prince starts soloing, delivering one epic face melter after another in a style halfway between David Gilmour’s and Eddie Hazel’s.” Gavin Edwards (Rolling Stone, 2009)

File Under: Funk, Pop
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ratkje

Maja S.K. Ratkje: Crepuscular Hour (Rune Grammofon) LP
Double LP version. Includes CD and DVD; DVD is PAL format, region-free, with 5.1 and stereo audio. Crepuscular Hour is an epic, hypnotic one-hour piece for three choirs, three pairs of noise musicians, and church organ, to be performed in a cathedral or similar location with musicians surrounding the audience. The room fills with sound in an intense, but almost meditative hour, as the voices blend with the distortion, the noise sometimes takes over, and the organ eventually takes the music to a new level. The visual design of this concert is a play on the crepuscular rays — rays of sunlight that appear to radiate through clouds from the point in the sky where the sun is located — with the light filtered by the obstacles and musicians in the room. All texts are from the Nag Hammadi library, a collection of Gnostic texts discovered in Upper Egypt in 1945. These texts have provided a major re-evaluation of early Christian history. This recording of a performance of the piece includes a DVD of the whole concert, beautifully directed by Kathy Hinde (DVD is PAL format, region-free, with 5.1 and stereo audio). Maja Solveig Kjelstrup Ratkje (born 1973) is quite a remarkable musician, singer, improviser, and composer. Her music has been performed worldwide by the Klangforum Wien, the Oslo Sinfonietta, the Norwegian Radio Orchestra, the BBC Scottish Symphony Orchestra, Fretwork, TM+, the Cikada String Quartet, the Mivos Quartet, the Quatuor Bozzini, the Quatuor Renoir, Crash Ensemble, The Peärls Before Swïne Experience, Torben Snekkestad, Marianne Beate Kielland, SPUNK, Frode Haltli, POING, and many more. Ratkje has been composer in residence at festivals like Other Minds in San Francisco; Trondheim Chamber Music Festival; Nordland Music Festival in Bodø, Norway; Avanti! Summer Festival in Finland; Båstad Chamber Music Festival; and Huddersfield Contemporary Music Festival. Ratkje is active as a singer/voice user and electronics performer and engineer, as a soloist and in groups such as SPUNK and BRAK RUG. Other collaborators include Jaap Blonk, Joëlle Léandre, Ikue Mori, Zeena Parkins, Stephen O’Malley, Lasse Marhaug, POING, and many more. Ratkje has performed her own music for films, dance, theater, installations, and numerous other projects. Visual art and text are often parts of her work, in installations or staged works. She has made large gallery works with SPUNK and made music for a radio play by Elfriede Jelinek, and in 2003, she played a part in her own opera, also based on texts from the Nag Hammadi library.

File Under: Electronic, Classical
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DS032LP_PROD

Arke Sinth: s/t (Die Schachtel) LP
Studio and live recordings, May/June 1973. Arke Sinth documents the brief and intense life of a group formed at the beginning of the 1970s within the fertile and stimulating cultural environment of the town of Padua (Italy), where electroacoustic and computer music pioneer Teresa Rampazzi had started, a few years earlier, the Nuove Proposte Sonore (New Sound Proposals) Group. Arke Sinth was a group of four young musicians and artists, who decided to perform their own music, an experimental venture into collective composition and unusual timbre associations, with possibly no references whatsoever to previously existing music genres. The rigorous music of Arke Sinth gave a sonic body to meticulously planned graphic scores and at times was associated with visuals created by one of the members of the group, Michele Sambin (one of the first Italian experimental video-artists). Arke Sinth also tried to closely link collective composition and performance, making also use of improvisational elements but refusing the premises of the American live electronics experiences, for which composition was simply the “trigger” of an almost immutably informal and/or automatic process (David Tudor, David Behrman, Alvin Lucier), or alternatively it was “dissolved” into free improvisation (MEV). Together with Michele Sambin on cello and saxophones, were his brother Marco, an accomplished saxophone player, Giovanni De Poli on EMS Synthi A and Alvise Vidolin on electronic organ and mixing. De Poli and Vidolin at that time were both pupils of Teresa Rampazzi, and shortly after the experience of Arke Sinth were involved in the foundation of the Computer Music Center of the University of Padua. Deluxe silver cover with silver foil design. Custom inner sleeve and four-page booklet in English and Italian. Edition of 400.

File Under: Electronic, Avant Garde
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sonic youth

Sonic Youth: The Eternal (Matador) LP
In 2009 Sonic Youth returned to an indie label after years of being on Geffen, with their sixteenth proper studio album, the aptly titled The Eternal. Self described as a “celebration of newfound freedom,” The Eternal is a supercharged rocker, recalling aspects of the Evol-Sister-Daydream Nation holy trinity but with cleaner, louder production and more straightforward momentum. With Pavement’s Mark Ibold joining on bass, and producer John Agnello back at the controls, The Eternal takes the melodic songwriting of 2006’s Rather Ripped and slams down the accelerator pedal. The band’s self-written bio references as influences: hardcore punk matinees; both the MC5 AND Sonic’s Rendezvous Band; Neu!, Kevin Ayers, and the Wipers. The Eternal served as the most alive, excited album the band had made in a long time. “Sure, other bands skew further towards the avant-garde. Yet no rock group better views guitars, amplifiers, and drums as a core heap of wires, strings, skins, and plugs that, once reassembled and re-imagined, produces exhilarating music that violates rules and inverts perspectives within accessible melodic frameworks. Sparked by a forward-driving momentum, The Eternal engages by way of alternate tunings, tonal shadings, sulfuric harmonics, and radical chords.” – Bob Gendron, TONE Audio, Issue 22

File Under: Indie Rock
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subrosaSubrosa: For This We Fought The Battle of Ages (Profound Lore) LP
Salt Lake City’s Subrosa are one of America’s most singular and important doom / chamber-metal bands. Their 2013 breakthrough album More Constant Than The Gods garnered the five-piece (including two electric violinists) acclaim from Pitchfork, NPR, Decibel Magazine, Rolling Stone, and Entertainment Weekly, to name just a few. In the wake of that album, they toured with bands such as Boris, Deafheaven, and Cult Of Luna, also playing prominent festivals like Roadburn, Hellfest, Southwest Terror Fest, along with many others. With this latest album, Subrosa has crafted their most triumphant and biggest release to date. For This We Fought The Battle Of Ages is their masterpiece and establishes them as one of the most important American heavy metal bands today.

File Under: Metal
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um1

Piero Umiliani: Tensione (Black Sweat) LP
The incomparable Piero Umiliani (under his mysterious Moggi moniker) weighs in with another AWOL library gem of 1979. The Italian maestro goes resolutely left field and off track with an intra-personal exploration of the disturbed inner psyche within the human condition. Distressed electro beacons are unleashed as de-tuned predatory Carpenter-esque synth patterns come to the fore (check “Clavinet Suspence: for primal audio blastings to a lost unnamed ’80s slasher movie). With the electric eighties buzzing on the horizon, Umiliani was quick to capitalize on this cultural shift, utilizing his Moog synthesizers to tap in to changing musical zeitgeists via cost cutting experimentations for TV, adverts and documentaries. Followers of the esoteric and strange can finally dig in here with this lavishly created reissue featuring original artwork, master tape laquer cutting and Umiliani’s autograph notes on the project.

File Under: Library, Italian
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um2

Piero Umiliani (M. Zalla): Mondo Inquieto (Black Sweat) LP
Maestro Piero Umiliani returns in the alter ego guise of M. Zalla for the 1974 compositional library piece Mondo Inquieto (Restless World) via his far reaching, experimentalist imprint Sound Work Shop. Ambient tensions are represented via a dramatic cross fertilization of orchestral strings, layered synths and primeval percussion with the Maestro on moody, reflective compositional duties. Stand out cut “Strategia” (“Strategy”) harnesses the dopest Wu Tang beats alongside swathes of high end electro blankets and is a sample classic aching to be reworked into further outer cosmos soundscapes. Black Sweat has again transferred the elements of this little known Umiliani microcosm into a respectful reissue via an integration of the stark, haunting sleeve design, laquer cutting from the original master tapes and Umiliani’s autograph notes on the project.

File Under: Library, Italian
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um3

Piero Umiliani: Genti e Paesi del Mondo (Black Sweat) LP
The mid ’70s presented mature, fertile grounding for maestro Piero Uimiliani’s Sound Workshop Studio, exploring side ways explorations in to gravitational soundscapes and beyond. Released in 1975 via his prolific Omicron imprint, Genti e Paesi Del Mondo (Peoples and Countries of the World) is a return to the ethnic flavors so beloved of Umiliani’s zeitgeist. Umiliani turns anti-clockwise, launching a left field mental audio pad to uncharted territories. On Genti e Paesi Del Mondo sparse, eerie electronic confections spar in unison alongside moody transgressional vibes. Umiliani’s mysterious pathways unlock a trinket box echoing the Germanic stylings of Wolperath’s Plank Studio and Herzog-era Popol Vuh. This loving reissue recreates the original artwork, master tape laquer cutting and Umiliani’s autograph notes on the project.

File Under: Library, Italian
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vakula

Vakula: Cyclicality Between Procyon And Gomeisa (Dekmantel) LP
The Ukraine based producer, Vakula, presents his triple-LP album, Cyclicality Between Procyon And Gomeisa, on Dekmantel. “This album is about cycles, repetition and interaction”, says Vakula. Cyclicality Between Procyon And Gomeisa is a dashing experimental record that evokes the endless and captivating potential of electronic music, creating a mesmerizing journey through various music genres, exhibiting a singular sonic experience, whilst he works through a process of improvisation and refinement. Once again, the mastermind proves to be capable of creating complex, yet diverse musical pieces beyond genres and trends. The result: an audio adaptation of his fascinating mind; “There are two parallel processes that come together in my work: me writing music and working on the sound I want to achieve and the energy from outside that flows and transforms into thoughts, correlations, and actions.” The track titles relate to the source of Vakula’s inspiration and connect the dots between his obsession for the vastness of the universe and electronic music; ”To wonder about the universe and to dig into mythology and scientific research discovering at least some of its secrets is what keeps me endlessly motivated as a producer.”

File Under: Electronic, Dub, Techno, House
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walker1

Scott Walker: Childhood of a Leader OST (4AD) LP
Scott Walker’s orchestral soundtrack to The Childhood Of A Leader is being released by 4AD in August 2016. A key and compelling component to Brady Corbet’s directorial debut, it is Walker’s first O.S.T. work since his remarkable score for Pola X in 1999. Partly inspired by Jean-Paul Sartre’s short story of the same name, The Childhood Of A Leader is a tense psychological drama tracing the formative years of a young boy and set against the backdrop of the 1919 Paris Peace Conference that led to the establishment of the Treaty of Versailles. Walker continues to work with long-term collaborators Peter Walsh (co-producer) and Mark Warman (musical director), with the latter conducting an orchestra comprised of 46 string players and 16 brass for the studio recording. Both Walsh and Warman were involved in the live film score performance of The Childhood Of A Leader, alongside a 74-strong orchestra, an event which closed the Rotterdam Film Festival in February 2016.

File Under: OST
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wipers

Wipers: Rarities (Bang) LP
Finally an official vinyl release of what was only previously released as a bootleg CD-R in the early ’90s, based on the original recordings and with new mastering. Two LPs full of Wipers rarities, including their almost impossible-to-find debut single from 1978, “Better Off Dead,” as well as other rarities from B-sides, compilation tracks, and acoustic and electric performances from 1978 to 1990. A totally necessary release for all fans of this legendary American band that put down the roots of ’80s and ’90s noise and underground rock! Deluxe gatefold sleeve with full details.

File Under: Punk
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worlds

World’s Experience Orchestra: The Beginning of a New Birth & As Time Flows On (Now Again) 2LP
Double LP version. Tip-on gatefold jacket. 160-gram vinyl. Includes booklet with previously unpublished photos and download code for WAVs. “Both World’s Experience Orchestras albums were recorded in and around Boston, Massachusetts in the mid to late 1970s and committed to vinyl in minuscule press runs by a visionary, bassist/composer/arranger John Jamyll Jones. Jones is a magical type, who communicates with his instrument, his ensembles, and jazz’s ancient lineage in a manner so profound that his late-’70s album are out of time with jazz’s trajectory, but timeless when presented today. By the late ’90s the music of World’s Experience Orchestra was circulating throughout the collections of esoteric jazz fans, the likes of Gerald ‘Jazzman’ Short and Gilles Peterson, who played ‘The Prayer’ for those, the Coltrane-enthralled searching for something new, something different. Something spiritual and honest. Peterson first offered to reissue ‘The Prayer’, as part of an anthology he was putting together with Los Angeles reissue label Ubiquity Records and that, to date, is the only official issue of any of Jones’ music. This set is the definitive catalog of Jones’ ensembles’ released work. ‘I knew it was going to happen, but I didn’t know when,’ says Jones of the road to seeing his music re-issued. ‘It’s 35 years or more now, and I’ve been waiting for this, and I’m quite sure I’m not the only one.'”

File Under: Jazz
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zomby

Zomby: Where Were U In 92? (Cvlt) LP
2016 repress on black vinyl. Previously released on yellow vinyl for RSD 2012. When first released as a CD on Actress’s Werk Discs imprint in 2008, Where Were U In 92? was instantly hailed as the rave album that was never made in the early ’90s, a tumbling anthemic barrage of lost mixtape masterpieces from an artist who was starting to take the electronic dance scene by storm. However, Where Were U In 92? is not just some facsimile-style homage to the past; it takes a firm grip of the energy and sheer rushing dynamics of early hardcore breakbeat, and places those sounds and styles smack in the center of right now.

File Under: Electronic, Breakbeat
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fever

Various: Fever (Stag-o-Lee) 10″
Stag-O-Lee present a new series called Journey to the Centre of the Song, celebrating one song at a time, and it’s many guises and interpretations. This volume focuses on the song “Fever”, features ten versions of the song and is compiled by Chris Sick. Liner notes from Chris Sick: “I’m not sure what the first version of ‘Fever’ I ever heard (hopefully Elvis, probably Bon Jovi) but it has become engrained into my psyche. This song is covered scores of times a year and has become album filler for tired artists trying to find that last track before the hand in date. This belies the history of one of the most sultry songs ever written. A burning, intoxicating and poisonous feeling of yearning, lust and passion that is ageless and endless. Sexy just doesn’t cover it. It smolders and breathes hot sweat on the back of your neck. For a crash course in ‘Fever’, check out the original Little Willie John and Peggy Lee, Elvis and the Cramps. Then listen to this… This collection tries to show the many diverse guises I have discovered lurking in the darkness. These are the versions overlooked, and often uncompiled till now. I hope this song infects you like it has me – But what a lovely way to burn…” Features: Bobby Freeman, Frankie Avalon, The Knockouts, Pete Bennett and the Embers, Little Caesar and the Romans, Ray Peterson, Sid Cooper, Sam Butera and the Witnesses, Earl Grant and Medicine Men.

File Under: Exotica

boomstix

Various: Boomstix!: More Blues & Rhythm, Popcorn, Exotica & Tittyshakers (Stag-o-Lee) 10″
Stag-O-Lee present Boomstix!: More Blues & Rhythm, Popcorn, Exotica & Tittyshakers Volume 10, the tenth volume in their successful Exotic Blues & Rhythm series. Amazing and danceable tunes from the late ’50s and early ’60s – a handful of Popcorn dancefloor smashes, a few grinding tittyshakers and awesome rhythm & blues – most of them with an exotic twist. Twelve songs on a nice 10″ vinyl. Features: David Hill, The 5 Royales, The Gay Poppers, Guy Mitchell, Louisiana Red, Nellie Rutherford, Curley & The Jades, Bobby Sharp, Ernie Washington, Ruben Fort, Danny Owens and Bach Yen.

File Under: Exotica, Blues & Rhythm

nigeria

Various: Nigeria Freedom Sounds! (Soul Jazz) LP
Soul Jazz Records’ new Nigeria Freedom Sounds! features a stunning selection of material spotlighting the vibrant musical scene in Nigeria at the start of the 1960s. With a wealth of musical and cultural history and newly independent from Britain, Nigerian music during this era was complex, diverse and forward-thinking, with musicians as excited in exploring their country’s own musical lineage with styles such as Juju and Apala as they were in adapting and absorbing outside influences such as Ghanaian Highlife, Caribbean Calypsos and Mambo and more. This album features many of the defining artists of this time who helped shape the Nigerian musical scene. Artists include I.K. Dairo and his Blue Spots, Haruna Ishola and his Group, E.C. Arinze, Sammy Akpabot and His All Stars, Godwin Omobuwa and his Soundmakers, Ganiyu Kale and His Guinea Mambo Orchestra and many more. Few nations on earth are as diverse as Nigeria, and the wide assortment of Nigerian music styles collected on this album reflect the country’s rich variety of cultures. Western-influenced dance music, played on European instruments such as guitar, brass, and woodwind sits alongside traditional musical styles, made with indigenous instruments such as the talking drum, marimba, or obo. And there is also religious musical styles first brought to Nigeria by European Christians and Islamic traders from North Africa. And of course, there are points where these musical styles overlap, merging into one another to create unique new sounds. This album is released as CD + booklet + slipcase, heavyweight gatefold double vinyl edition + download code, and digital release. The CD includes a large outsize 48-page book containing extensive sleevenotes by compiler Danny Fitzgerald, original photography, artist biographies, as well as selection of Nigerian adverts celebrating its independence and original artwork from some of the rare original Nigerian 45s on which this music was first (and only ever) released. The heavyweight gatefold 2xLP comes with full sleevenotes and download code.

File Under: Jazz, African, Calypso, Highlife

shadrach

Various: Shadrach: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Volume 9 (Stag-o-Lee) 10″
Stag-O-Lee present Shadrach: Blues & Rhythm, Popcorn, Exotica & Tittyshakers Volume 9, the ninth volume in their successful Exotic Blues & Rhythm series. Amazing and danceable tunes from the late ’50s and early ’60s – a handful of Popcorn dancefloor smashes, a few grinding tittyshakers and awesome rhythm & blues – most of them with an exotic twist. Twelve songs on a nice 10″ vinyl. Features: Jay Abbott, Chance Halladay, Johnny West, The Ken Jones Orchestra, Merle Kilgore, Oberia Martinez, The Rhythm Kings, Dorsey Burnette, Billy Duke, The Cords, The Wanderers and Little Walter.

File Under: Exotica, Blues & Rhythm

tremblin

Various: Tremblin’: Steamy & Atmospheric Female R’n’B Vocals (Pancho) LP
Pancho Records presents Tremblin’ – Steamy & Atmospheric Female R’n’B Vocals. Sixteen never-before-reissued tracks of the sexiest and coolest atmospheric female R’n’B. Compiled and designed by Jordi Duró. Features tracks from: Byrdie Green, Yvonne Baker, Carol Hall, Barbara McNair, Lula Reed, Wini Brown, Dolores Gibson, Berna Dean, Paula Grimes, Donna Dee, Ruth Brown, Bettye Smith, Oberia Martin, Johni Naylor and Dora Hall.

File Under: RnB

…..Restocks…..

Arcade Fire: Funeral (Merge) LP
Arcade Fire: Suburbs (Merge) LP
Dorothy Ashby: Afro-Harping (Cadet) LP
Dorothy Ashby: The Rubaiyat of (Cadet) LP
Big Black: Songs About Fucking (Touch & Go) LP
Blood Orange: Freetown Sound (Domino) LP
Brother Ah: Sound Aware (Manufactured) LP
Brother Ah: Move Ever (Manufactured) LP
Brother Ah: Key to Nowhere (Manufactured) LP
Busta Rhymes: The Coming (Get on Down) LP
Anthony Child: Electronic Recordings from the Maui Jungle Vol 1 (Editions Mego) LP
Drive Like Jehu: Yank Crime (Hedhunter) LP
El-G: Mauve Zone (Nashazphone) LP
Genius/GZA: Liquid Swords (Get on Down) LP
Gorillaz: s/t (EMI) LP
Hole: Live Through This (Geffen) LP
Konstrukt/Akira Sakata: Live (Holidays) LP
Konstrukt: Live at Tarcento (Holidays) LP
Lumineers: Cleopatra (Dine Alone) LP
Majical Cloudz: Are You Alone? (Arts & Crafts) LP
Metallica: And Justice For All (Blackened) LP
National: Boxer (Beggars) LP
Pavement: Wowee Zowee (Matador) LP
Pavement: Terror Twilight (Matador) LP
Pixies: Surfer Rosa (4AD) LP
Porcupine Tree: Up The Downstair (Kscope) LP
Portishead: Dummy (Go Beat!) LP
Public Enemy: Fear of a Black Planet (Def Jam) LP
Radiohead: A Moon Shaped Pool (XL) LP
Queens of the Stone Age: Like Clockwork (Matador) LP
Queens of the Stone Age: Lullabies to Paralyze (Music on Vinyl) LP
Velvet Underground: s/t (MGM) LP
Kamasi Washington: The Epic (Brainfeeder) 3LP
Various: Brand New Wayo (Razor & Comb) LP

Tagged , , , , ,

…..news letter #754 – back…..

You may have noticed a lack of update last week, or maybe you didn’t…. well there wasn’t one. I was away. But I’m back and this week’s list contains everything in from last week and this week, which still isn’t THAT much, but that’s ok, cuz there’s some real gems this list…

…..picks of the week…..

expo 70

Expo 70: Exquisite Lust (Sonic Meditations) 2LP
Originally released on CDr in 2006 with Kill Shaman and quickly caught the eye and ears of Aquarius Records in San Francisco. With the help of carrying the CDr release, Wright produced around 650 CDr’s to keep with the demand of Aquarius’ review from their list no. 243. “Gorgeous drifting ethereal krautrocky ambience is what Expo ’70 is all about, and eyes closed, you’d be hard pressed to not think this was some Ash Ra Tempel disc or some long lost A.R. and The Machines lp. Crafted entirely from guitars, sitar and Moog, each track here is some sort of lengthy, mesmerizingingly blissed out minimal drone jam. Guitar figures are looped into hypnotic cycles, over shimmery whirls of fuzzy sound and distant drones, the looped riffs slowly shifting and gently changing shape. It’s almost like some sort of new age space rock Steve Reich.” Aquarius couldn’t have summed up the etherial mystique around Wright’s developing project better. Newly mastered after being out of print since 2009, this classic album finally graces 2 LPs, both in limited editions on Sonic Meditations. Gatefold tip-on jackets, gold 180 gram vinyl.

File Under: Kosmiche, Psych, Ambient
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rose.jpg

Jack Rose: Dr. Ragtime & His Pals
Jack Rose: s/t
Jack Rose: I Do Play Rock and Roll 
(3Lobed) LP

John Coltrane died at age 40, and in retrospect it seems as if the intensity of activity in his last years, the sheer torrent of notes, was an attempt at purging the music from his soul before it was too late. The guitarist Jack Rose died at 38, in 2009, and listening back to his catalog one has a similar notion. Like Coltrane, Jack Rose’s last years were marked by a shimmering intensity, an outpouring of his spirit, onto audiences and records. I believe Jack Rose felt the duty of preservation but was by no means bound by it. With his virtuoso fingerstyle technique and restless guitar explorations–modal epics, bottleneck laments, uptempo rags–it’s easy to hear a connection to tradition and at the same time a pulsing modernism: “ancient to the future” in the words of chicago’s association for the advancement of creative musicians. Ultimately, it’s no use attempting to explain the unexplainable (natural disasters, god, art, death). as the air gets heavy before a thunderstorm, Jack Rose’s vivid guitar picking awakes in us a peculiar awareness, something ancient and american. Jack Rose’s work exists along the established continuum of american vernacular music: gospel, early jazz, folk, country blues and up through the post-1960s “american primitive” family tree from John Fahey and Robbie Basho and outward to other idiosyncratic american musicians like Albert Ayler, the No-Neck Blues Band, Captain Beefheart and Cecil Taylor. His process can best be heard as an evolution; renditions of songs would transform over time, worked out live, with changes in duration, tempo or attack, in the search for a song’s essence.

Dr. Ragtime & His Pals marks Rose’s step into the world of group interplay with versions of his standard repertoire arranged for a band. in its finished form, it exists as a sort of “party record” within his discography. Highlights are raucous and many, including “Linden Avenue Stomp,” “Knoxville Blues,” the spiritual “Blessed Be the Name of the Lord” and Sam McGee’s “Buckdancer’s Choice.” In assembling this album, Jack chose musicians with distinctive personalities and their own personal connections to old-time music; people he could learn from. His …pals rotated often and in this case include the banjo player Mike Gangloff (Jack’s old accomplice in Pelt as well as the Black Twig Pickers), Micah Blue Smaldone on guitar, Glenn Jones on guitar, Nathan Bowles (Black Twig Pickers) on washboard, and philadelphia legend Harmonica Dan (“Knoxville Blues”). The result is a late night back porch jam session, fueled by whisky, friendship, and a shared love of the old weird american music found on forgotten 78s.

Rose’s self-titled album was originally released in 2006 on the arCHIVE label, and later reissued as a CD two-fer with Dr. Ragtime and His Pals. It contains a combination of studio and live recordings. Jack Rose is marked by a sense of forward momentum, the result of several years of constant playing, with fresh versions of a number of previously attempted songs. Blind Willie Johnson’s spiritual “Dark Was The Night, Cold Was The Ground” is manipulated into a wailing slide-guitar lament. “Levee” pops like a warning. “St. Louis Blues” (in this and its several other incarnations across his entire catalog) is a good example of Jack’s innate sense of swing, a crucial characteristic of his playing perhaps lost on some of his fingerpicking followers. The centerpiece of the album, however, is the nearly sidelong “Spirits in the House,” which begins with tentative weeping glissandos, and slowly reveals itself as a stately fingerpicked blues meditation.

I Do Play Rock and Roll, the title a mystifying nod to Mississippi Fred McDowell’s electric period, finds Jack Rose in extended drone mode, coaxing open-tuned raga meditations from his 12-string guitar. “Calais to Dover” first appeared on Rose’s classic Kensington Blues in a somewhat truncated form. The version heard here is more expansive and open-hearted, a waxing-and-waning piece of introspection. “Cathedral et Chartres” shares the same quiet romanticism, with rotating patterns and the chime of open strings. “Sundogs,” the sidelong drone abstraction that occupies Side B, stands alone among Jack’s solo work. A long-form live rendition of a track that appeared on the genre-defining triple album compilation by the fruits you shall know the roots, it is perhaps most evocative of Pelt, Jack’s previous band, a minor-key free drone, with only miniscule dynamic shifts and the occasional recognizable string accent. It is territory Rose seldom traveled but completely and fully invigorating.

Jack Rose was a larger than life man with a hearty spirit–a no-bullshit gentleman–and his death continues to reverberate among the community of musicians and music people he called friends. This spirit, as evidenced within his recorded output, has proven to be indomitable and continually vital. –Scott McDowell, May 2016–

Three Lobed’s 2016 reissues on LP are pressed on 140 gram dutch vinyl by Record Industry. housed within old style Stoughton jackets. Released in connection with Jack Rose Estate.  Accompanied by download coupons for DRM-free digital files of the downloader’s choice.

File Under: Folk, Blues, Guitar Soli

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…..new arrivals…..

92982

William Basinski: 92982 (Temporary Residence) LP
Recorded in 1982 and eventually released in 2009 on CD via William Basinski’s own 2062 label, 92982 has become one of his most celebrated works. Finally available on vinyl for the first time, the album has been remastered from the original master tapes, and packaged in an exquisite custom die-cut package with interchangeable heavyweight inner sleeves featuring previously unpublished artwork and photographs from 1982. “You can’t help but wonder why this music, recorded so long ago, is only just surfacing. Was the world not ready for WIlliam Basinski in 1982, or was WIlliam Basinski simply not ready to hand himself over to an audience at that point? Whatever the reasoning, we’re certainly reaping the benefits of the influential ambient composer’s stockpile, and 92982 proves to be a real highlight in his output of recent years. Despite the minimalist essence of Basinski’s oeuvre there’s a pronounced sense of variety, diversity and depth at work in these four tracks, with each taking on its own specific persona. Essential.” – Boomkat

File Under: Ambient
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bitter fictions

Bitter Fictions: Jettison (Shaking Box) LP
Calgary’s Devin Friesen is the mastermind behind local label Shaking Box Music, which shines a light on Calgary’s noisier side of sound, and puts out some ambitious avant-garde, psych and drone recordings from many acts. His newly released Jettison, under his solo moniker Bitter Fictions, is a seven-song collection of nebulous noise, self-recorded in a library basement. This solo effort shows ingenuity in practice, because it’s just one guy and his guitar. However, the ideas that emanate from the meditational ambience shine through. Friesen balances precarious notes atop indistinguishable sources of feedback and resonance. Of course we have a loop pedal, we have all the standard modulation found in this style, such as reverb and delay among others, but the shivers, quakes and pulverizing blasts of distortion are unique to say the least, especially because of the limited instrumentation. Witnessed during a performance at 2016’s Sled Island, one way Friesen alters his guitar’s sound was on display. He places a drumstick beneath his guitar strings and uses another to prod, poke, caress and bang on the former, creating dense vibrations that create a foundation for anything he wants to lay over top. And the result? Calming and introspective drone-scapes replete with sporadic layerings of melody.

File Under: Experimental, Ambient, Guitar
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blood orange

Blood Orange: Freetown Sound (Domino) LP
Dev Hynes aka Blood Orange is set to release Freetown Sound, his third proper full-length album, and the most expansive statement of his career. Written and produced by Hynes, Freetown Sound is a tour de force, a pastiche of Hynes’ past, present, and future that melds his influences with his own established musical voice. For well over a decade, Hynes has proven himself a virtuoso of versatility, experimenting with almost every conceivable musical genre under a variety of monikers. After moving to New York City in the mid-2000s, Hynes became Blood Orange, plumming the oeuvres of the city’s musical legends to create a singular style of urgent, delicate pop music. Freetown Sound, which follows 2011’s Coastal Grooves and 2013’s breakthrough Cupid Deluxe, builds upon everything Hynes has done as an artist, resulting in the most expansive artistic statement of his career. Drawing from a deep well of techniques and references, the album unspools like a piece of theater, evoking unexpected communions of moods, voices, and eras. Freetown Sound derives its name from the birthplace of Hynes’ father, the capital of Sierra Leone. Thematically, it is profoundly personal and unapologetically political, touching on issues of race, religion, sex, and sexism over 17 shimmering songs. Each song echoes into another, with leitmotifs carefully stitched throughout, yielding a sound palette that gently recalls elastic funk, slinky R&B, and pure pop, but resisting easy categorization. For Hynes, the process of self-discovery involved in creating Freetown Sound proved as valuable as the finished product. “This record really tries to say things that I’ve been wanting to express for many years,” he says. “It looks into my childhood and examines who I am at this point in my life. There are so many crazy layers to it that it’s actually quite hard to talk about it, but the record is very reflective of how my brain works. It’s been very interesting for me trying to understand and tie all of these things together. It’s been a way of working through it.”

File Under: Indie Funk/Soul, Electronic
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pills

Blues Pills: Lady in Gold (Nuclear Blast) LP
The young American-Swedish-French quartet Blue Pills create a very unique, intense and extraordinary rock atmosphere while at the same time having a major mainstream appeal that takes you right back to the time of the band’s ancestors like Aretha Franklin, the original Fleetwood Mac, Led Zeppelin, Jimi Hendrix, Janis Joplin and Cream. The multi-national sensation returns in August 2016 with their eagerly awaited second album Lady In Gold. Just as it’s highly successful predecessor Lady In Gold was once again produced by Don Alsterberg (Graveyard, Division of Laura Lee, Gonzalez, Jerry Williams). Commented singer Elin Larsson on the choice of the album’s title: “Lady gold is a character who symbolizes death. We wanted a twist on the typical stereotype of death being the grim reaper. So instead we made her a lady in gold.”

File Under: Blues Rock, Stoner Rock
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brotherhood

Brotherhood Of Lizards: Lizardland (Captured Tracks) LP
By late May of 1989, Cleaners from Venus man Martin Newell and Peter Nice aka Nelson finished their first album, Lizardland, and handed it over to upstart indie Deltic Records. Though there is a fair amount of Cleaners from Venus DNA in the mix due to the charms of the definitely lo-fi recording methods, the music of the Brotherhood of Lizards has a sharp sound all its own. And, the story doesn’t stop there. Towards the end of 1989, label head Andy McQueen, who knew Newell’s aversion to touring, asked if there was any possibility that the duo might go on a promotional tour. Newell replied, “Only by bicycle.” Soon after, whilst studying a map of England and its regional radio stations, it struck Newell that a bicycle tour might be a real possibility. Thus, amazingly, in early October, the two set off on bicycles, instruments on backs, tiny amps in front carriers, for a 600-mile busking tour of the entire southern half of England. The media became unexpectedly interested. More through sheer eccentricity than eco-activism, at the turn of a turbulent decade, the Lizards had unwittingly hitched a ride on a brand new zeitgeist. They were called “The First Eco Rock Band” and the tour became the subject of a number of news items. As 1990 rolled around, however, there was one big problem, for Newell at least: while the Lizards cycled and busked, an EMI employee saw Nelson on TV and thought he would be great replacement bass player for New Model Army. Nelson attended and passed the New Model Army audition and stayed with that band for well over two decades, although it spelled the end of the Brotherhood of Lizards. In spring of 1990, almost two years after they had begun, it was all over. They traveled over a thousand miles on bikes, busked their way around England and made all of the music contained here in this collection.

File Under: Lo-Fi, Indie Rock
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butler

Will Butler: Friday Night (Merge) LP
Arcade Fire multi-instrumentalist Will Butler returns with Friday Night, an album of live performances from the tour in support of his solo debut album, Policy. Recorded mostly at Lincoln Hall in Chicago on June 4, 2015, Friday Night includes five brand-new songs, five from Policy, and two songs he wrote for The Guardian newspaper last year. Capturing the energy of the dynamite Will Butler band was the major inspiration for this release. Miles Arntzen (EMEFE, Antibalas) played drums (standing up at a full kit – he didn’t use a hi-hat pedal, so he could stand on that leg while working the kick drum with the other), Julie Shore played synth bass, and Sara Dobbs played synth leads and Mellotron pads. Everybody sang backing vocals. Will wrote of the album: “Think of this as a comedy record. In some ways literally – Brooklyn comedian Jo Firestone does the introduction and the “solo” in “Friday Night” – but also, it’s an album based on working out ideas in a room full of people, playing off their energy and expectations. It’s about taking complicated emotions and wringing communal joy from them, and then translating that joy onto record. So here you go!” Featuring artwork by Broad City’s Abbi Jacobson, Friday Night is the perfect companion to Policy and an exciting look ahead to what we can expect from Will Butler in the future.

File Under: Indie Rock, Arcade Fire

carter

Tom Carter: Long Time Underground (3Lobed) LP
A man in a crisis, Faulkner once wrote, always falls back upon what he knows best. Three summers ago, Brooklyn-via-Houston guitarist Tom Carter was in crisis. On tour in Europe with his pioneering psych-folk unit Charalambides, Carter was stricken with pneumonia, complications from which impelled doctors in Berlin to place him in a medically induced coma. Family members, bandmates and lovers of otherworldly music everywhere watched and waited during the six weeks Tom spent in the intensive care unit and the additional month in a rehabilitation facility. Sighs of relief were exhaled throughout the worldwide warrens of underground music when Tom finally returned to New York in August 2012, convalescent. The steady stream of outstanding recorded music Tom Carter has released over the last two years, both solo and collaborative, suggests a man more than returned to form—falling back on what he knows best, but somehow better. Tom Carter’s new solo album, Long Time Underground, is nothing short of stunning. While Carter shrugs off suggestions that long time underground represents some sort of sea change in his approach to making music, this (along with its companion post-illness release, Numinal Entry, on Halatern) comprises his first solo work this decade. Long Time Underground, moreover, is the first solo studio recording Carter has ever done. Long Time Underground is almost unsettling in its purity. A collection of fractal guitar études, the album is comprised mostly of composed material—some of which was written in the studio, some worked out in performance over the past few years. Each song was set down live without overdubs, and the result is an almost confessional intimacy. Although even long time fans may be startled by the sheer completeness of the worlds Carter manages to summon with a single guitar recorded in real time. The shock, I think, is the emotional clarity of the work. The album eschews the searching, exploratory (sometimes aimless) quality typical of latter-day psychedelia because it always seems so assured of precisely where it is headed. This may, of course, be attributable to the predominance of composed over improvised material on Long Time Underground. But it may also be the emotional groundedness of a man long detained from friends and loved ones and so possessed of immensely richer sense of home. As aesthetically and emotionally complete a musical experience as you are likely to have all year, Long Time Underground is simply the work of man, mortal but still illuminated. –Brent Sirota–

File Under: Ambient, Guitar Soli
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copeland

Eric Copeland: Black Bubblegum (DFA) LP
Black Bubblegum is the newest LP from Eric Copeland, and we are not kidding when we emphasize it sounds like nothing he has done in the past. The title of the record says it all: chewy, sticky pop that doesn’t taste quite like any chewy, sticky pop you’ve had before. Recorded at Copeland’s old practice space in South Williamsburg, Black Bubblegum contains songs with more conventional sounds and songwriting than any of his previous releases. While there are similarities with Copeland’s earlier work in the drum patterns, major scales and vocals, Black Bubblegum moves away from his trademark psychedelic dub towards strange and fantastical pop; imagine Arthur Russell going into the studio with the Ramones. Wanting to take a more “hands on” approach to these recordings, Copeland exchanged sample-driven tech and hardware for keyboards, guitars and effect pedals, creating a new sound that is oddly easy to digest despite its rejection of melody in favor of discord and dissonance. For a long time, Copeland considered this collection of songs to be recordings which would never be heard. This invariably influenced certain decisions made during the creation of Black Bubblegum, blessing Copeland with the unique freedom that comes from making music never intended to be heard, let alone released. When asked about what influenced this new album and sound, Eric replied “glam holes, glitter dreams, money troubles, apocalypse paranoia, one hit wonders, manifest destiny, my family’s westward migration, body troubles (was passing kidney stones almost the entire time), LGBT disco parties, Jonathan Richman, Missing Foundation, Neil Diamond, New Orleans, poverty, getting pushed out of another Brooklyn neighbourhood…No Beach Boys, no Beatles, no Buddha…More Bad News Bears.” Copeland has been sound clashing at full volume for over twenty years, first carving out a named for himself as one third of the legendary NY-via-Providence band Black Dice. A wildly prolific solo artist, Copeland has played shit houses, party palaces and seemingly everything in between all over the world. A long time Brooklyn, resident, Eric recently relocated to where the L Train does not run – Palma de Mallorca, Spain. While maintaining a relatively humble and low key presence in a highly competitive musical world, he has releases a prolific amount of music every year through indie labels such as L.I.E.S., Escho (Iceage), PPM (No Age), Paw Tracks (Animal Collective) and DFA.

 File Under: Indie Rock, Pop
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damned

The Damned: Machine Gun Etiquette (Chiswick) LP
The Damned’s classic third album Machine Gun Etiquette was issued by a different Damned to that which made 1977’s Damned Damned Damned and Music For Pleasure. They split in early 1978 and guitarist/main songwriter Brian James set off to pastures new. On reforming, bassist Captain Sensible switched to guitar, his main instrument. Rat Scabies and Dave Vanian were back too. Bassist Algy Ward was new, had recently left the Saints and was from Croydon like Captain. The new Damned swiftly picked up momentum, first as Les Punks with stop-gap bassist Lemmy, then the Doomed and finally under their old name. Chiswick Records saw what a live draw they were and picked them up, initially with a one-off deal for the “Love Song” single. It charted. The album followed. It charted too. Issued in November 1979, Machine Gun Etiquette was more than a valediction. A thrilling, wild ride, it took in hyper-speed, guitar-driven pop, psychedelic pop and surreal pop songs drawing from the girl’s comic Bunty and Vanian’s fascination with Hollywood and horror. Pop, though, was what the album was about. Tunes. Whether with the hard-edged anthem “Noise, Noise, Noise” (featuring members of the Clash on vocals; they were recording London Calling at the same studio booked by the Damned), the kinetic “Liar” or the astonishing, atmospheric “Plan 9 Channel 7,” this new Damned prioritized melody. There is no filler here: even the cover of the MC5’s “Looking At You” slotted in without breaking the flow. Machine Gun Etiquette hit shops within weeks of London Calling and Public Image Limited’s Metal Box, both benchmark albums showing how far their creators had moved beyond what had been defined as punk. The same applied to the Damned, who likewise recognized no musical barriers and did what they wanted: the true defining characteristic of punk. They didn’t care about definitions anyway. Which is why this classic, essential album sounds as fresh now as it did in 1979.

File Under: Punk, Rock
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damned black

The Damned: The Black Album (Chiswick) LP
The Damned’s The Black Album was ambitious, even more so than its multi-faceted predecessor, Machine Gun Etiquette. Reviewing the new album, weekly music paper the NME pointed to a Terry Riley influence while Syd Barrett and the Beach Boys were name-checked in Sounds’ review. Thinking of the Damned as a punk rock band was no longer possible. Their fourth album – and second since reforming in 1978 after splitting earlier in the year – was issued in November 1980. It was a double. Sides One and Two featured 11 songs. Side Four included six tracks recorded live at Shepperton Studios in July 1980, one of which was a version of their 1976 debut single “New Rose,” British punk rock’s first record. Side Three was taken up by one song, the 17-minute “Curtain Call.” In four years, the Damned had gone from a short, sharp shock to the epic. While the title was a sideways Beatles’ reference, the Black and the White albums actually were counterparts as each featured songs with diverse styles. The introspective “Silly Kids Games” can be read as a look back at the band’s past. “Wait For The Blackout” had an irresistible forward momentum and an equally memorable melody. “Drinking About My Baby” was the closest to punk that it got. “Twisted Nerve” was imbued with darkness. “History Of The World Part 1” nodded to the Kinks. And then, there was the momentous portmanteau aural drama “Curtain Call,” with its lyrics of “the crack of the whip” and “the snapping sound of someone’s nerves.” The Damned felt they could do anything and The Black Album proved they could. Ambitious? Yes. But also confirmation that the Damned were at a peak which would be hard to reach again.

File Under: Punk, Rock
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death grips

Death Grips: Bottomless Pit (Harvest) LP
Experimental rap-noise duo Death Grips, consisting of Stefan “MC Ride” Burnett and Zach Hill originally formed during late 2010 in Sacramento, CA. In 2014 after releasing four uncompromising full-length albums the group announced their dissolution and that their double set The Powers That B would be their fifth and final record. Now the group returns in 2016 with their surprise sixth album entitled Bottomless Pit. The 13-track, 35 minute affair includes the previously released track “Hot Head” and the recently unveiled “Eh.”

File Under: Rap, Noise
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factoryFactory Floor: 25 25 (DFA) LP
Factory Floor return in 2016 with 25 25, their second album and the follow up to their acclaimed 2013 self-titled debut. With their music stripped to a mesmerising dance of percussion, fragmented voice and melody, it captures the next vital stage in the evolution of one of the UK’s most restless and exploratory groups. The dazzlingly sharp, dubbed-out acid disco of ‘Meet Me At The End’ opens 25 25 in a surge of raw momentum. Both Factory Floor’s sparsest and most overtly club-centred track to date, it sets the tone for the rest of the album. Written and recorded by Gabriel Gurnsey and Nik Colk Void in late 2015 and early 2016, it’s the product of the last three years of intensive musical activity — non-stop live performances, artistic collaborations, writing new music and reconfiguring the limits of their sound. Inspired by playing a growing number of late night club shows, the pair’s music gradually evolved into the sound captured on their second album and in their current live incarnation: a stark, ultra-minimalist and eerily soulful dancefloor pulse, yet one that still bears Factory Floor’s unmistakable hallmarks of hypnotic repetition and jagged, punkish intensity. The close friendships and collaborations they’ve established along the way attest to those connections, among them Chris Carter and Cosey Fanni Tutti of Throbbing Gristle/Chris & Cosey, Perc, Optimo, New Order and Simon Fisher Turner. Mixed with razor precision by David Wrench (FKA twigs, Caribou), the results are all the more forceful for that newfound space.

File Under: Electronic, Electro
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gunn t

Gunn-Truscinski Duo: Sand City/Ocean Parkway (3Lobed) 2LP
The best musical partners play as if there is a direct connection between their brains. Steve Gunn (guitar) and John Truscinski (drums) possess that certain ESP / telepathy / majick – whatever *you* elect to call it. We’ve all heard folks whose operate on these otherworldly levels – Sandy Bull and Billy Higgins, Brian Eno and Robert Fripp, Alan Vega and Martin Rev, John Coltrane and Rashied Ali – and know just how special it can be when folks ascend to those sorts of rarefied heights. Over the course of a few short years these men recorded two albums, Sand City (2010) and Ocean Parkway (2012), that captured their unique and private musical language. Originally released as two separate smallish and now long out of print editions, those two albums are now presented within a singular gatefold package. Whether you are a recent convert to Gunn’s lyric and expressive guitar styling or an old-timer who has never investigated this particular corner of his discography, there is a lot to be rewarded by within the confines of both Sand City and Ocean Parkway. The first of the duo’s two albums, Sand City, saw release following a late winter conversation between Gunn and Three Lobed Recordings on a bench in Tompkins Square Park. Old friends who had spent a lot of time playing together both in public (including within the later incarnations of raga dronesters GHQ) and private, Truscinski and Gunn were looking to lay down some of their well-honed compositions in a studio setting. Sand City is informally split into “electric” and “acoustic” sides, both reflecting the duo’s well fluid and expressive style. Ocean Parkway followed quickly thereafter and features a collection of electrifying material honed while the duo was on a 2011 European tour. Gunn’s playing across all of this material, while always truly exploratory and aimed for the stars, takes on the more expansive reach typically reserved for his live performances when anchored by Truscinski’s textured and expressive backbeat. These two albums, while recorded at different times, share such a familiar tone that they seem and feel as if they are two sides of the same coin. Paired together they meld into a seamless listening experience.

File Under: Guitar, Folk
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jesu

Jesu/Sun Kil Moon: s/t (Caldo Verde) LP
Mark Kozelek and Justin Broadrick release their debut collaboration as Jesu/Sun Kil Moon through Caldo Verde Records/Rough Trade. The passionate ten track album is 79 minutes in length and includes guest appearances by Rachel Goswell of Slowdive, Mimi Parker and Alan Sparhawk of Low, Isaac Brock of Modest Mouse, and Will Oldham aka Bonnie “Prince” Billy among others. Home to the beautiful and romantic numbers “Good Morning My Love,” “A Song of Shadows” and “Exodus,” the outfit’s eponymous album will be also supported live with the addition of Steve Shelley (Sonic Youth) on drums.

File Under: Indie Rock, Shoegaze
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mingus

Charles Mingus: Blues & Roots (Stateside) LP
Originally released on Atlantic Records in 1960, Blues & Roots finds jazz legend Charles Mingus in full swing leading a stellar big band comprised of the likes of Horace Parlan/Mal Waldron (piano), Jackie McLean/John Handy (alto saxophone), Pepper Adams (baritone saxophone), Booker Ervin (tenor saxophone), Jimmy Knepper/Willie Dennis (trombone) and Dannie Richmond (drums). The soulful 6-track set is as accessible as anything in Mingus’ catalog and finds the maestro and company tackling the blues, gospel and old-time New Orleans jazz with aplomb. “This record is unusual, it presents only one part of my musical world, the blues. A year ago, Nesuhi Ertegün suggested that I record an entire blues album in the style of Haitian Fight Song, because some people, particularly critics, were saying I didn’t swing enough. He wanted to give them a barrage of soul music: churchy, blues, swinging, earthy. I thought it over. I was born swinging and clapped my hands in church as a little boy, but I’ve grown up and I like to do things other than just swing. But blues can do more than just swing. So I agreed.” – Charles Mingus

File Under: Jazz
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nonkeen

Nonkeen: Oddment of the Gamble (R&S) LP
Nonkeen return to R&S Records with the swift follow up to their debut album The Gamble. Oddments of the Gamble is a continuation of the unique, analogue concoctions that formed the first album – very much like a ‘part two’ in many ways. Although it inevitably draws on a similar formula to the previous LP – pensive loops and melodies, sweeping arpeggios, post-rock jams, and rolling nu-jazz breaks – Oddments of the Gamble still stands alone as another statement from the trio despite originating from the same recording session. Fresh listeners will encounter the holistic expressiveness of a substantial and beautifully put together album; while existing fans of Nonkeen can expect another facet of the band to emerge on this record, one that is distinctively more euphoric than that of the hazier, more brooding prequel. Those in possession of their debut album, The Gamble, will require little introduction to the band’s most loyal member, chance. Choosing only their favorite tracks for the debut album The Gamble turned out to be a challenging endeavor: there were still too many for a single album. The only solution, therefore – according to the band – was to make several albums, but this didn’t make things much easier: the next question was which album to release. Refusing to let such matters get the better of them, they agreed to flip a coin: let chance decide and the band would follow, with the winning album known as The Gamble. But the warm reception that followed its release flattered Gmeiner, Frahm and Singwald, encouraging them to make available the collection that had first lost the toss: The Oddments Of The Gamble. After all, everything – just like everyone – deserves a second chance.

File Under: Electronic, Downtempo
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pelican

Pelican: City of Echoes/Live in Poland (Hydrahead) LP
Pelican’s instrumental heaviness was full-formed at birth in 2001 with a monstrous debut that Hydra Head bestowed upon the world. The brutalist forms of metal were long a grounding presence in the songs of Pelican; but in the years leading up to their iconic 2007 album City Of Echoes, the band shed some but certainly not all of the metal tropes that informed their first fruits. An ebullient temperament teases through the guitar work that laces through City Of Echoes from Trevor de Brauw and Laurent Schroeder-Lebec. Pelican’s sharp mimesis of the Takoma ellipsis and the dangling participles of math-rock complication paralleled the likes of Explosions In The Sky and Rodan with a gifted knack for lachrymose celebration. Yet time and again, Pelican’s reprises the violent crack of metal through the heavy riffage of downtuned post-hardcore chug and double-kick blastbeats, making any Pelican song an unpredictable journey. The albums opening cut “Bliss In Concrete” sets the stage with a series of interlocked riffs of crunched guitar and bass, with the stylistic transitions pronounced by the drums of complicated time signatures rapidly changing course only to double up on the snare and kick, only to glide into a pop-punk immediacy of the now. Similarly, the titular track skips to a doleful guitar jangle out of the early ’90s indie-rock playbook, then taking a very Pelican left-turn with a mighty crescendo of galloping hardcore that never seems out of place. Assymetrical by design, City Of Echoes erupts through its kinetic compositions deliberately seeking a panoply of emotional content through melody, harmony, dissonance, and noise. No words necessary for these sermons of jubilation tempered with aggression and consternation.

File Under: Post Rock, Metal
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pharaoh overlord

Pharaoh Overlord: #1 (Hydrahead) LP
Since the inception of the trio Pharaoh Overlord in 2001, they’ve carved up imposing, yet weirdly cozy monoliths erected in the epic desert of original rock and roll. Pharaoh Overlord’s stoner rock klang on their debut 1 is down-to-earth due to sheer weight of the riffs. The light touch and the ease with which Leppänen, Lehtisalo and Westerlund lift the weight of the riffs off the ground and propel them on abysmal orbits works like a magician’s trick, a cathartic sleight of hand. In the case of Pharaoh Overlord, the magic endures.

File Under: Space Rock, Psych
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scientists

Scientists: A Place Called Bad (Numero) 4CD
With a sound that was swampy, primal and modernurban all at once—as much in the tradition of rock n’ roll and punk rock as it was a rejection of those things, the Scientists’ formula was as universal as it was specific to their own experience. The themes of getting wasted, driving around in hotted-up cars, being trapped in crap jobs, and paranoia were their subject matter. Machine throb bass and drums with jagged car-wreck guitars were their modus operandi. Fitting into no place or time they spurned all but the most rudimentary and elemental of rock structures to create a sound all their own. “The Scientists proved to me that rock ‘n’ roll could be played by gentlemen in fine silk shirts half unbuttoned and still be dirty, cool and r eal.” —Thurston Moore // “They wrote fantastic singles and looked like they just crawled out of the ooze. What mor e could you ask for?” —Warren Ellis // “The Scientists turned my head around and made a man out of me! They grew hair on my palms and made my socks stink!” —Jon Spencer

File Under: Post Punk
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sdre

Sunny Day Real Estate: How it Feels to be Something On (Sub Pop) LP
Sunny Day Real Estate’s third album, How It Feels to Be Something On, is now back in print on vinyl, after more than a decade of fetching high prices on the collectors market. In 1997, Sub Pop approached Sunny Day’s members for help in compiling a rarities album. Because there were so few usable tracks, band founders Jeremy Enigk and Dan Hoerner agreed to get together and write some new material to augment the archival songs, but they wound up crafting an entire new album in a matter of days. Without Mendel, who remains with Foo Fighters to this day, Sunny Day reunited to record How It Feels to Be Something On, which Sub Pop released in September 1998. After 2000’s The Rising Tide, the band split, with Mendel continuing his work with the Foo Fighters, though Enigk, Goldsmith, and Mendel did reconvene to record an album under the name The Fire Theft in 2003. Sunny Day Real Estate reunited for a series of shows in 2010. Single-LP jacket with CD-size booklet and download coupon.

File Under: Indie Rock
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tobacco

Tobacco: Sweatbox Dynasty (Ghostly) LP
It’s been almost two decades since baby Tobacco first plugged in a tape deck, popped the top, and found the dark magic that’s fueled so many sonic forays into his genre less bog of beat-blasted hypnagogia and otherworldly-yet-earthen pop. The Pennsylvanian experimentalist has since helmed countless Black Moth Super Rainbow releases, remixed outsiders as offbeat as Health and unexpected as White Zombie, and produced MCs ranging from Aesop Rock to Beck. But it’s on his fourth solo album that Tobacco winds up coining an apt name for his vast empire of moldering electrofied dirt: Sweatbox Dynasty. The new LP – his second for Ghostly International – finds the rural recluse resurrecting an old approach to hack a new path through the muck. This may be his most unintentionally psychedelic and left-field creation yet, full of rhythms that start and stop like a tractor on its last piston, resonating melodies made to fuel transcendental meltdowns, and vocals that hiss, gurgle, and growl. “It’s my baby,” says Tobacco – a disturbing mental image if you overlook the beauty in his decrepit works. A song like “Human Om,” for example, swirls revving analog synths, drum machine clatter, blown-out gong hits, sitar hum, and all manner of unidentifiable noise to create an unexpected sense of calm. It’s an almost trance-inducing space where our host gets touchy-feely in his own way, voice seething, “You can be my light come up in the morning/And I can be your spiral spinnin’ down.” The cheery na-na-na’s and punchy rhythms of “Gods in Heat” similarly contrast against dirging chords and heavy distortion, while “Warlock Mary” swaths a springy funk riff in thick layers of warped tones. Interstitial pieces like “Wipeth Out” or “The Madonna” are exactly that – strange, minimal fuzz bombs that jerk and groove to alien cadences. On an album with no guests, the tape deck is Tobacco’s one true collaborator – the Second Zombie Beatle there to eff up all his prettier inclinations. Like how the sticky coast and thump of “Dimensional Hum” keeps getting derailed by what sounds like a fritzy radio dial, and the stonery dub of “Fantasy Trash Wave” bends and snaps over its slippery breakbeats. “An album of linear songs is just boring at this point,” says Tobacco, and he makes extra good on his promise to innovate ever more crudely with Sweatbox Dynasty’s closer. At over six minutes, “Let’s Get Worn Away” first plays like eleven more songs spliced together at unpredictable intervals – jock jams collide against rap bumps, synthesizer ether, and shadowy electro-pop. But on repeated listens, madness clearly becomes method, as our anti-hero lulls us into a state of intense, earned peace. This time when he stops, he’s got closure, and we’re the ones left with an undeniable urge to dig our hands back into that aural gunk once again.

File Under: Electronic
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walker

Ryley Walker: Golden Sings That Have Been Sung (Dead Oceans) LP
The preceding years have been extraordinary for Ryley Walker. In March 2015, his second album, Primrose Green, emerged to critical hosannas from the likes of NPR, Village Voice, Uncut, and Mojo – in the process, earning admiration of musicians who had chalked up no shortage of turntable miles in Walker’s life. Robert Plant declared himself a fan – as did double-bass legend Danny Thompson, with whom Ryley would later embark on a British tour. A sprawling tour of the USA around Primrose Green presented a perfect chance to workshop ideas for what would eventually become his third studio album, Golden Sings That Have Been Sung. On the album, “The Roundabout” represents a symbolic return to Chicago, while other songs are directly wedded to Ryley’s actual return there. Perhaps more than any other song on the record, the somnambulant sun-dappled intimacies of opening track “The Halfwit In Me” most audibly bear the imprint of Ryley’s improvisational sessions with Wilco multi-instrumentalist, Chicagoan and producer Leroy Bach, while “Funny Thing She Said” is an unflinching study of separation set to a shimmeringly supple ensemble performance. Soft, slo-mo explosions of melody intermittently burst through the distant thunder of the verses on “A Choir Apart.” Intriguing, surreal images are meted out by “I Will Ask You Twice”, like a malfunctioning slide projector; and, perhaps best of all, the stunning finale, “Age Old Tale”, which spiders out from an Alice Coltrane-inspired reverie into a sustained rapture that very few artists have managed to achieve.

File Under: Folk
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wye oak

Wye Oak: Tween (Merge) LP
The word “tween” implies a certain, very specific kind of awkwardness, and those implications are rarely positive. But think about it like this: Something “tween” is in the process of becoming something else, and there’s a very specific kind of beauty in that becoming. There’s something rewarding in recognizing and celebrating it – in meeting it halfway. Wye Oak’s Tween is a collection of eight songs born, raised, and almost abandoned for various reasons during the years between 2011’s breakthrough Civilian and 2014’s reinvention-of-sorts, Shriek. Jenn Wasner and Andy Stack described these songs as “not emblematic of a step forward, but a step sideways in time.” In other words, they just didn’t make sense for album number five – which will happen at some point in the future. But just because they didn’t belong there doesn’t mean they don’t belong anywhere. To wedge them onto Shriek would’ve been dishonest; to orphan them would’ve been somewhere on the line between criminal and just plain silly. Now that your expectations are lowered, let’s build them back up, because Tween is full of gorgeous Wye Oak songs whose only crime was timing and context, made by two people at the height of their game. At first these songs sounded too disparate to me to be called an album, but the more Tween sank in, the more it made sense: One minute Jenn and Andy are embracing their floatiest Cocteau Twins instinct (“If You Should See”), the next they’re back in Civilian territory a bit (“No Dreaming”), and later they’re slinky and electronic and gorgeously ‘80s (“On Luxury”). The common thread: These are no castaways or cutouts. In fact, pound for pound, Tween might actually be more directly accessible than Shriek. It should join the pantheon of amazing not-albums of history whose names try to downplay how good they actually are, like R.E.M.’s Dead Letter Office, The Who’s Odds and Sods, maybe even Dinosaur Jr.’s Whatever’s Cool With Me.

File Under: Indie Rock
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xiu xiu

Xiu Xiu: Plays the Music of Twin Peaks (Polyvinyl) LP
Australia’s Gallery of Modern Art commissioned Xiu Xiu to reinterpret the music from Twin Peaks for their David Lynch: Between Two Worlds exhibition. Since then, the band has performed select concerts all over the globe culminating in a proper studio album of the compositions. This is an entirely new interpretation of the music of Twin Peaks; one emphasizing its chaos, drama, fear, noise and sidelong leering glances. Like the show, their music is am alluring cross-talk of jarring signifiers – elusive flirtations with genre, dream logic, dark-lit explorations of sexual deviance – which, taken whole, form an uncomfortable sense, a penetrative, unspoken truth it seemed impossible to arrive at. “The music of Twin Peaks is everything that we aspire to as musicians and is everything that we want to listen to as music fans. It is romantic, it is terrifying, it is beautiful, it is unnervingly sexual. The idea of holding the “purity” of the 1950s up to the cold light of a violent moon and exposing the skull beneath the frozen, worried smile has been a stunning influence on us. There is no way that we can recreate Angelo Badalamenti and David Lynch’s music as it was originally played. It is too perfect and we could never do its replication justice. Our attempt will be to play the parts of the songs as written, meaning, following the harmony melody but to arrange in the way that it has shaped us as players.” – Jamie Stewart, Xiu Xiu

File Under: Indie Rock, OST
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earthNeil Young: Earth (Reprise) 3LP
Neil Young’s unconventional new release Earth is a 98-minute collection comprised of 13 live songs from his 2015 tour with Promise of the Real (Lukas Nelson (vocals/guitar), Corey McCormick (bass), Tato Melgar (percussion), Anthony LoGerfo (drums)) mixed with the sounds of nature. The songs span the breadth of Young’s career and all incorporate an environmental theme including “Mother Earth,” “Vampire Blues,” “Hippie Dream,” “After the Goldrush,” and “Love & Only Love,” plus four tracks from 2015’s The Monsanto Years and the new “Seed Justice” aka “I Won’t Quit.” “98 uninterrupted minutes long, Earth flows as a collection of 13 songs from throughout my life, songs I have written about living here on our planet together. Our animal kingdom is well represented in the audience as well and the animals, insects, birds and mammals actually take over the performances of the songs at times. “We made a live record and every creature on the planet seemed to show up. Suddenly all the living things of Earth were in the audience going crazy. Then they took over the stage, letting their wild sounds mingle with the Vanilla Singers perfect corporate harmony. Earth’s creatures let loose, there were Bee breakdowns, Bird breakdowns and yes, even Wall Street breakdowns, jamming with me and Promise of the Real. The show was non stop bliss for 98 minutes, no breaks. Earth does not fit on iTunes. It breaks all their rules (and couldn’t all really be heard that way anyway). No one who was there will ever forget the love, wonder and beautiful madness of Earth. I know I won’t.” – Neil Young

File Under: Rock
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celestial

Various: Celestial Blues (BGP) LP
2015 was the year jazz hit the mainstream again. The catalyst for this was saxophonist Kamasi Washington’s 3CD masterpiece The Epic, influenced by the symphonic, spiritually aware jazz of the early 70s. Celestial Blues is a compilation that shines a spotlight on some of the music that may have influenced The Epic. The ten tracks range from the evidently spiritual – such as Gary Bartz’s classic “Celestial Blues” or Joe Henderson & Alice Coltrane’s astounding collaboration on “Fire,” to less obvious but just as relevant recordings by drummers Roy Brooks and Joe Chambers. Charles Earland’s contribution bears a remarkable resemblance to “Henrietta Our Hero,” a stand-out track from The Epic, whilst Carlos Garnett and Azar Lawrence’s mix of saxophone, strings and voices could be a template for Washington’s whole sound. The compilation is completed by fine examples of the era’s jazz from Hampton Hawes and Bayeté Umbra Zindiko. And Oliver Nelson’s “Aftermath” is an apt closer.

File Under: Jazz

…..Restocks…..

Avalanches: Wildflower (Astralwerks) LP
Avett Brothers: True Sadness (Universal) LP
Beck: Morning Phase (Geffen) LP
Blonde Redhead: Fake Can Be Just As Good (Touch & Go) LP
Blonde Redhead: Melody of Certain Damaged Lemons (Touch & Go) LP
David Bowie: Blackstar (Columbia) LP
Burzum: Belus (Back in Black) LP
Burzum: Filosofem (Back in Black) LP
The Clash: Sandinista! (Epic) LP
The Clash: Give Em Enough Rop (Epic) LP
The Clash: Combat Rock (Epic) LP
Daft Punk: Discovery (EMI) LP
Daft Punk: Random Access Memories (Columbia) LP
Darkthrone: A Blaze in the Northern Sky (Peaceville) LP
Darkthrone: Hate Them (Peaceville) LP
Darkthrone: Panzerfaust (Peaceville) LP
Darkthrone: Sardonic Wrath (Peaceville) LP
Darkthrone: Under A Funeral Moon (Peaceville) LP
Miles Davis: Live Evil (4 Men With Beards) LP
Dead Kennedys: Give Me Convenience or Give Me Death (Manifesto) LP
Dead Kennedys: Fresh Fruit for Rotten Vegetables (Manifesto) LP
El Michel’s Affair: Enter the 37th Chamber (Fat Beats) LP
Alessandro Escovedo: Gravity (New West) LP
Flipper: Generic Flipper (4 Men With Beards) LP
Jose Gonzalez: Veneer (Mute) LP
Steve Gunn: Boreum Palace (Three Lobed) LP
Lauren Hill: Miseducation of (Universal) LP
Freddie Hubbard: Blue Spirits (Blue Note) LP
Kayranada: 99.9% (XL) LP
Love: Forever Changes (Rhino) LP
M83: Junk (Mute) LP
Madlib: Shades of Blue (Blue Note) LP
Neon Indian: Vega Intl. Night School (Mom & Pop) LP
Neu!: 2 (Gronland) LP
Nirvana: Unplugged (Geffen) LP
Nirvana: Nevermind (Geffen) LP
Otis Redding: Dock of the Bay (Sundazed) LP
Otis Redding: In Person (Sundazed) LP
Otis Redding: The Soul Album (Sundazed) LP
Otis Redding: Live in Europe (Sundazed) LP
Otis Redding: Dictionary of Soul (Sundazed) LP
Refused: Shape of Punk to Come (Epitaph) LP
Andy Shauf: The Party (Arts & Crafts) LP
The Smiths: Hatful of Hollow (Rhino) LP
The Smiths: Louder than Bombs (Rhino) LP
Scott Walker: Tilt (Drag City) LP
Walker Brothers: Nite Flights (Music on Vinyl) LP
White Stripes: Elephant (Third Man) LP

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…..news letter #753 – south…..

Another nice stack of new wax in this week, perhaps if you are actually in town with nothing else to do, you’ll make it in for a dig. We’ve been pricing up some sweet used LPs as well.

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…..pick of the week…..

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Cosmic Dead: Rainbowhead (Blackest Rainbow) LP
The Cosmic Dead return with their first full length album since 2014’s Easterfaust. For the uninitiated The Cosmic Dead are a quartet from Glasgow, Scotland, making some of the best raging freak out psych right now. ‘Rainbowhead’ is a brand new LP, featuring four tracks of spaced out, heavy psych formed from insane chugging bass, trippy synth blasts, krautrock infused metallic guitar riffin’ and furious cascading drum cycles. The band’s constant positive vibes have led to them touring all over the UK and Europe, playing the prestigious Liverpool Psych Fest and the band are due to play Psycho Festival in Las Vegas in August alongside Sleep, Candlemass, Yob, Mudhoney, Death and more. ‘Rainbowhead’ follows records on Cardinal Fuzz, Evil Hoodoo, Who Do You Trust?, Sound of Cobra and some of the best underground labels around. The band said: “A few days before appearing at Cry Parrot’s ‘Music Is The Music Language’ Festival in Glasgow, The Cosmic Dead journeyed north to a remote cottage near Kyle of Lochalsh in the Highlands of Scotland. Isolated from technology and with the help of focaccia aficionado & sound engineer Luigi Pasquini, we recorded sounds wrought from the textures and folds of the surrounding landscape clasping its craggy links to the Inner Sea. A place we call Rainbowhead.”

File Under: Psych, Space Rock
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…..new arrivals…..

beak

Beak: Couple In A Hole OST (Invada) LP
Soundtrack written by Geoff Barrow, Billy Fuller & Matt Williams to the Tom Geens directorial debut and psychological drama: Couple In A Hole. Film has an advanced level of nationwide and EU distribution. Geoff Barrow has a long history of scoring films (Ex-Machina, Exit Through The Giftshop etc). BEAK> have been touring the UK promoting the film with DJ sets and Q&As alongside the cast at various cinemas and theatres throughout the UK.

File Under: Electronic, Krautrock, OST
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bell

Sandra Bell: Dreams of Falling (Straight to Video) LP
Sandra Bell’s debut album Dreams of Falling is an experimental tour de force that ranges from ethereal sound collage to poetic industrial noise. Originally released as a cassette on New Zealand’s Xpressway label in 1991, the record also features Peter Jefferies (This Kind Of Punishment), Peter Gutteridge (The Clean, Snapper), Alastair Galbraith (The Rip), Kathy Bull (Look Blue Go Purple), and David Mitchell (3Ds). It is at once a deeply personal work and a nodal point, focusing the inspiration of predecessors like The Raincoats and This Heat and projecting it into the future. Essential listening for any NZ underground music fan.

File Under: Art Rock, New Zealand
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car seat headrest

Car Seat Headrest: Teens of Denial (Matador) LP
With Teens of Denial, his first real “studio” album with an actual band, Will Toledo moves from bedroom pop to something approaching classic rock grandeur and huge (if detailed and personal) narrative ambitions, with nods to the Cars, Pavement, Jonathan Richman, Wire, and William Onyeabor. Teens of Denial refracts Toledo’s particular, personal story of one difficult year through cultural touchstones such as the biography of Frank Sinatra, the evolution of the Me Generation as seen in Mad Men and elsewhere, plus elements of Eastern and Western theology. The whole thing flaunts a kind of conceptual, lyrical, and musical ambition that has been missing from far too much 21st-century music. Horns, keyboards, and elegant instrumental interludes set off art-garage moments; vivid vocal harmonies follow punk frenzy. The selfish captain of the capsized cruise liner in the Mediterranean in 2013 becomes a metaphor for struggles of the individual in society, as experienced by one hungover young man on the verge of adulthood. Teens of Denial was produced by Steve Fisk (Nirvana, Beat Happening, Soundgarden) at his studio in Seattle from July through September 2015. This is the first full album of new music from Car Seat Headrest released on Matador Records. “One of the most exciting records we have ever heard, hands down…Staggering…The kind of record I could see a generation from now people still being obsessed with.” — NPR All Things Considered

File Under: Indie Rock
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William Fowler Collins & James Jackson Toth: Under Stars and Smoke (Blackest Rainbow) LP
Under Stars and Smoke is the soundtrack to an imaginary landscape wherein various “actual” locales are thematically superimposed atop one another to suggest new, alien terrain. Both the New Mexico-based William Fowler Collins and the Kentucky-based James Jackson Toth find a great deal of inspiration in their adopted home regions: While Collins translates via mighty drones the vast, occasionally unforgiving mesas of the American southwest, Toth bends and blends the sounds and textures of traditional bluegrass and mountain music. Complete with frame-worthy “pastoral psychedelia” cover art by visual artist Claudia X. Valdes, Under Stars & Smoke is an album as explicitly American and distinctly postmodern as the maverick artists who created it. James Jackson Toth (b.1978) is a writer, recording artist, and musician currently based in Kentucky. He appears, under the moniker Wooden Wand and in countless collaborations, on over a hundred records, and in 2015 founded, with his wife Leah, the experimental label Footfalls Records. William Fowler Collins (b.1974) is a composer/musician and recording artist whose work explores and synthesizes both musical and extra-musical elements. Collins has released music on the SIGE, Type, Handmade Birds, Daymare, Digitalis and Root Strata labels. Current projects include collaborations with Aaron Bradford Turner and Raven Chacon (in Mesa Ritual).

File Under: Folk, Drone

cosmic dead

Cosmic Dead: Inner Sanctum (Evil Hoodoo) 2LP
There are an elite bunch of musicians in this world who aren’t happy writing the usual songs we’re all used to. You know… a verse, bridge, chorus and some nice lyrics all packaged up in 5 minutes or under. For some musicians this is way too pointless and boring and instead of mainly entertaining the listener, they insist on taking them on a cosmic trip. Hailing from Glasgow, The Cosmic Dead are a member of this elite bunch and play what I like to call mind blowing space rock. They have been smashing out brain melting jams since 2010 and as they mainly record live their releases arrive thick and fast. Inner Sanctum is their 2013 opus which is now out available as a limited coloured 2LP, it contains a mere 4 tracks but comes in over the 70 minute mark…. Woohoo! It kicks off with ‘Gustav Björnstrand’ a psychedelic jam chock full of rhythmic lashes with all kinds of wonderful guitar tones flying about. There are also trippy synth noises and incomprehensible retro voice samples which keep it all sounding fresh and vibrant. It puts a barrier between your brain and the real world and makes you feel like your floating away to somewhere awesome and possibly magical. If you like bands like Earthless, Carlton Melton, White Hills and Eternal Tapestry… you’re in for a right treat.

File Under: Psych, Space Rock
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cotten

Elizabeth Cotten: Vol 2 – Shake Sugaree (Folkways) LP
Originally released in 1965 Elizabeth Cotten’s second album Vol. 2 Shake Sugaree is another gem featuring her idiosyncratic, self-taught upside-down left-handed guitar playing, plus banjo. The song “Shake Sugaree” is a folk classic featuring her great granddaughter Brenda Evans on vocals. This is an absolutely essential collection from an American folk legend.

File Under: Folk
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betty

Betty Davis: Columbia Years (Light in the Attic) LP
BACK IN STOCK! One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli have rhymed over her intensely strong but sensual music. Betty penned the song “Uptown” for The Chambers Brothers and wrote the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending DIY ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix—personally inspiring the classic album, Bitches Brew. Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia’s 52nd Street Studios on May 14th and 20th, 1969. The landmark session was produced by Miles and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Dylan/Miles session bassist Harvey Brooks. Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young. Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time. These historic sessions—never heard, never bootlegged—predate Miles’ revolutionary album, Bitches Brew, and are the true birth of Miles’ jazz-rock explorations, along with the roots for Betty’s groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers. The vibe is intrinsically unique, fresh, and futuristic—jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace. The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn’t be fully realized until years later with Miles’ seminal On The Corner. Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles. The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders—including trombonist Wayne Henderson and pianist Joe Sample. Two of the three tracks included here from this session are previously unreleased. This deluxe package is a treasure trove for both Betty and Miles fans, including rare documents from the pen of co-producer Teo Macero, rarely seen photos from legendary photographer Baron Wolman, and new interviews with Mrs. Davis herself, Harvey Brooks, and Hugh Masekela—the entire project overseen with Betty’s full blessing.

File Under: Funk, Soul
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day dead

Day of the Dead: Terrapin Station (Suite) (4AD) 12″
A limited edition four-song 12” from the Day Of The Dead compilation featuring members of Grizzly Bear, Bonnie “Prince” Billy, Tunde Adebimpe, Lee Ranaldo and Bryce Dessner of The National. The Grateful Dead’s ‘Terrapin Station’ was the first time the Dead unveiled a more symphonic and progressive sound. To compliment the full recreation of the ‘Terrapin Flyer’ section, Bryce Dessner expanded the piece with an additional two minutes of original composition.

File Under: Indie Rock, Grateful Dead
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deadc

Dead C: Trouble (Ba Da Bing) LP
“There’s a reason why our relationship with The Dead C is Ba Da Bing’s longest running. It’s not because they are the hardest working band we’ve ever met. It’s not because they are the largest selling band we’ve ever released. It’s not because we’re inspired to support our local music scene. “Yes, there’s definitely a reason… please give me a minute… oh, ok, I got it (just put on this record). Like every time I hear their recordings, I’m reminded that they are one of the greatest rock bands to ever pick up a guitar and attempt to play it wrong. Listening to The Dead C causes me to think differently. It brings up emotions with which I’m otherwise un- familiar. It strikes to the essence of my being and reveals what otherwise remains hidden. I take solace in knowing that one out of every thirty of you reading this know exactly what I’m talking about. “On the spectrum of The Dead C’s sound output, Trouble could very well be seen as springing from the same realm as the massive “Driver UFO,” one of the band’s greatest tracks ever, off Harsh 70s Reality. There’s a youthful aggression here, a churning anger, deadened by pounding drone. Much like H70s, this record serves as a gateway drug— if you were ever looking for an album to play to a newbie curious about experimental rock, this would be it. The visceral strength of their per- formance trembles out of the speakers. The magnificence of their stamina survives each album side. “We are in a creative highpoint for the trio at the moment. Bruce Russell has just released a captivating solo album on Feeding Tube, while Michael Morley’s solo project Gate just put out a release on MIE. Robbie Yeats has been performing of late as backup for Alastair Galbraith. The fact that there are still means to commute between Lyttelton and Port Chalmers on the South Island of New Zealand means these three can still find time to get together, and allows for what we have here today. And it’s fucking glorious. ’’

File Under: Experimental, Noise, Rock
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zoo

Galactic Zoo Dossier #10 Magazine
After a four-year wait, “the world’s greatest psychedelic underground hand-drawn pro-zine” is back, and celebrating it’s 10th issue and 20th anniversary. Features sixteen interviews with legends like Arthur Brown, Comus, Edgar Broughton, Shirley Collins, Peter Daltery of Kaleidoscope, Judy Dyble of Fairport Convention, Jesse Hector, and others. Also included is a cassette compilation with unreleased music from Comus, Bang, Broughton, Richard Pinhas, Dyble, Michael Yonkers, Red Square, Daltrey, Michael Chapman and others.

File Under: Psych, Magazine

gibson

Luke Gibson: Another Perfect Day (Mapache) LP
Recorded in 1971, “Another Perfect Day” is Luke Gibson’s first solo album. A veteran of the garage blues group Luke and the Apostles and the psych pop Kensington Market, Gibson now turned his focus inwards to produce one of the best (and most underrated) singer-songwriter albums to be released in Canada in the 70’s. These sessions were produced by Gene Martynec (of Kensington Market) and capture all the raw emotions of a musician at the peak of his career. Another Perfect Day is an unsung gem; sauntering through folk, country, and rock to create a wholly unique and enjoyable salt-of-the-earth experience.

File Under: Folk, SSW
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goggsGoggs: s/t (In The Red) LP
Chapter Two: We find our man stumbling through the darkness in the garden of illusion and fame. Chris Shaw smokes the microphone while Ty Segall and Charles Moothart trade lizardian licks and skin hits. Guest GØGGS include Cory Hanson, Mikal Cronin and Denée Petracek. Ten tracks of misanthropic noise to bring home to mom’s house on fire. Boots to your face after the high speed chase, Then! A death trip down memory lane. The lead actor dies first and the shotgun shooter flashes chipped teeth. Created in Los Angeles in the middle of the summer of 2015: three years of planning, thirty days of writing, one week of ripping. A severed finger on the button, the player ends the game. Final notice has been served.

File Under: Rock, Ty Segall
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graham

Davy Graham & Holly: Godington Boundary (Acme) LP
Davy Graham needs no introduction here, as he is one of the UK’s most influential and legendary guitarists. Drawing on influences as diverse as folk, jazz and blues, “Godington Boundry” is one of his later classics, which has (incredibly) been out of print on vinyl for decades. Taken from the original analogue studio master tapes. “With his unorthodox playing style, Davy Graham exploded onto the 1960s folk scene to become one of the UK’s most influential guitarists. Drawing upon diverse folk, jazz and blues influences Davy flew in the face of what was then deemed commercial, recording a string of critically-acclaimed albums that reflected his exotic tastes. Revered by his peers as much for his guitar prowess and for his musical integrity, he is widely credited as the founder of ‘baroque folk’ and broke new ground when he introduced elements of what might now be termed ‘world music’ into his work. In keeping with the records Graham made for Decca, “Godington Boundry” is an unashamedly esoteric blend of the influences dear to his heart. As well as takes on the perennial ‘Worksong,’ then-contemporary covers of the Beatles’ ‘Mother Nature’s Son’ and the Incredible String Band’s ’Everything’s Fine Right Now,’ jazz standards such as ‘Round Midnight’ are also featured. Tabla player Kesh Sathe contributes his mastery to ‘Afta’ and ‘Nadu Silva,’ and Holly Gwyn lends her stunning vocals to ‘On Green Dolphin Street’ and the rousing ‘A Mighty Fortress Is Our God.’ Enjoying cult status for a new generation of fans, Davy Graham’s mystique endures and he remains one of the UK’s foremost guitar greats.” Import edition limited to 250x copies.

File Under: Folk, Jazz, Guitar

hurly

Michael Hurley: Bad Mr. Mike (Mississippi) LP
A new LP by the great Michael Hurley! Michael is one of the world finest and most prolific songwriters – and he’s still cranking out hits. The well is far from dry. This LP features home recordings with Michael on guitar, banjo and organ. Sublime and sometimes a little strange – a new classic for the ages. Songs include the Kentucky 3 – a beautiful instrumental medley of songs evocative of Kentucky, Charona – a great banjo ballad, Tender is the guitar – a mournful organ driven ballad, Boone and Jocko – a longstanding favorite epic from Michael’s live sets on record at last, Cuckoo Rock and Lo Bonney – two unique rewordings of traditional ballads, Dragging the Indian – a stark instrumental, and much more. Don’t sleep on this work of genius. Cover art by Michael himself.

File Under: Folk

lost river

Johnny Jewel: Lost River OST (Italians Do It Better) 3LP
Original score by Johnny Jewel, with additional music from Glass Candy, Chromatics, Desire, and Symmetry. Triple LP pressed on 180-gram opaque purple vinyl and packaged in thick, full-color pocket sleeves with stills from the film.

File Under: Electronic, OST
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lindstrom

Lindstrom: Windings (Smalltown Supersound) LP
Received a Best New Track rating from Pitchfork for “Closing Shot.” Like one of his endlessly building tracks, Hans-Peter Lindstrom is only moving further upwards. The Norwegian space-disco wizard’s new EP, Windings, is three tracks of that now-classic sound closely associated with Lindstrøm’s name: skyward synths, effervescent rhythms, and melodies that spiral beautifully into the great unknown. This is Lindstrøm in the zone—and if you’ve been paying close attention over the last decade, it’s a zone he’s never left. Recorded over the past year, Windings represents Lindstrøm’s latest crystallization of the aesthetic that the greater world was introduced to on the 2006 compilation It’s a Feedelity Affair, as well as the tangy pop of 2012’s masterful Smalhans. This isn’t to say Lindstrøm’s repeating himself—far from it, in fact. Windings finds our arpeggiator-obsessed hero refining an aesthetic that already sounded perfect—a zenith that, much like the music itself, hits new peaks even when it seems that there’s no more ceiling to breach.

File Under: Electronic, House
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miminokoto

Miminokoto: Otomejima No Otome (Blackest Rainbow) LP
Brand new LP from Japanese psych blues rock trio of Shimura Koji (Acid Mothers Temple), Suzuki Junzo (Overhang Party, Astral Travelling Unity), and Takuya Nishimura (Che-SHIZU and formely of Suishou No Fune). Any self respecting Japanese underground fan should be ready for some killer cuts here. For the uninitiated, this trio creates some great garage soaked psych blues, with some wild guitar action and vocals from Junzo, solid drumming from Koji, and classy bass from Nishimura. Edition of 250 copies pressed on 180 gram pink and white swirl vinyl packaged in full colour sleeve with UV gloss finish.

File Under: Japanese, Psych
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mary

Mistress Mary: Housewife (Companion) LP
Songwriter and multi-careerist Mary Afton recorded exactly one album of music in late 1968 at Darrel Cotton’s Ion Studio in the Hacienda Heights area. The session was led by Cotton and steel guitarist Carl Walden and several players sat in over the course of the 5 days it took to record including Walden, Clarence White & early rockabilly artist Johnny Redd. The group worked out most songs on the fly with Mary strumming out the songs on guitar and the band riffing off her. Brilliantly packaged with lush glamour girl photo front and bored housewife pics back (and with hand-penned liners introducing herself as a “Wife – Mother – Civic Leader – etc. – Artiste”), 500 copies of the album were cut as a demo and maybe 50 of those were sent out as promos to industry folks (she saw to it that one of these copies made its way to Elvis Presley). Walden & Cotton thought the world of Mary and encouraged her efforts but after a year or two of little response she moved onto one of her many other careers (these include stints as an auto mechanics instructor for women, running a class on female self-defense, belly dance instruction and a lucrative multi-year gig as a disco dance instructor). With her earnings Mary bought a beautiful ranch style home in Southern California where she lives to this day alongside four generations of daughters, granddaughters and great granddaughters. When she’s not attending to the needs of her grandchildren and great grandchildren she’s throwing huge 500+ people pool parties in her backyard with a view.

File Under: Folk, Country
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ohsees

Thee Oh Sees: A Weird Exits (Castle Face) LP
Emerging from the distant light is the new double-LP from John Dwyer’s Thee Oh Sees—the first studio recordings to capture the muscular rhythm section of twin drummers Ryan Moutinho and Dan Rincon with ringer bassist Tim Hellman cracking spines. The groove and bludgeon one has come to expect from the band’s live shows is captured seamlessly here—they go from zero to head-splitter, and on the rare occasions they do let up on the gas a bit, you’re treated to some locked-in hypnotizers, too. The guitar sounds more colossal and ethereal at the same time, riding roughshod over the vacuum-sealed rhythm section, spiraling skywards, and diving into the emerald depths so quick your guts tingle. Synths, strings and smoke-soaked things crawl behind the scenes to make an extra far-out party platter, served on 45 RPM plates for most excellent listening quality. With amazing visuals (including a side-D etching by airbrush-van-art maestro Robert Beatty) and packed in vape-proof goatskin, it’s a beast and, come August 12th, it can be yours should you so choose.

File Under: Garage, Punk
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OST: Altered States (Waxwork) LP
Waxwork Records is thrilled to release the deluxe LP re-issue of Altered States. Directed by Ken Russel, the film focuses on Professor Edward Jessup’s (William Hurt) research conducted in isolation tanks under the influence of psychoactive drugs like mescaline, ketamine, and LSD. The film is also the film debut of actors William Hurt and Drew Barrymore. Waxwork’s new release is a deluxe re-issue of the now classic 1980 score by Pulitzer Prize winning, Oscar winning, and five time Grammy winning composer, John Corigliano. The audio has been sourced from the original masters, and this new LP re-issue has been officially and enthusiastically approved by the composer. The album artwork is created by Australian artist duo, We Buy Your Kids, and the heavyweight old-style gatefold jacket features a deluxe Glitter Coating. Exclusive liner notes have been provided by composer John Corigliano and are featured on a 12”x12” insert with artwork by We Buy Your Kids. The re-mastered-for-vinyl Grammy nominated score has been pressed to 180 Gram Purple and Violet “Hallucination” Swirl vinyl and sounds incredible.

File Under: OST
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baskin

OST: Baskin (Invada) LP
Invada Records are proud to present Ulas Pakkan’s soundtrack to the highly anticipated and award winning cult Turkish horror film ‘Baskin’. The soundtrack has picked up nearly as many accolades as the film itself. Baskin first screened at the Toronto Film Festival on September 11th 2015, and is being compared to ‘A Nightmare On Elm Street’ for its theme of childhood and dreams, plus its lavish use of blood and gore. The soundtrack can be compared to Daft Punk’s ‘Tron’, Cliff Martinez’s ‘Drive’, Clint Mansell’s ‘Requiem For A Dream’, but with a unique Turkish flavor.

File Under: OST, Electronic
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castlevania

OST: Castlevania (Mondo) 10″
Available for the first time on vinyl, the original soundtrack to the NES classic Castlevania. Celebrating the 30th Anniversary of the beloved franchise, Mondo are proud to present a physical release to the iconic first chapter that started it all. Featuring original artwork by Becky Cloonan.

File Under: OST, NES
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dead ringers

OST: Dead Ringers (Mondo) LP
Mondo is proud to present the premiere Vinyl release of a true classic of 1980’s thriller scoring, Howard Shore’s soundtrack for David Cronenberg’s Dead Ringers. The Film tells the story of Elliot and Beverly Mantle, identical twins who operate a fertility clinic that provides for their twisted relationship; Elliot seduces patients then passes them onto the less confident Beverly, but their world is literally split when Beverly falls in love with one of them embarks on a self-destructive journey of obsession and drug addiction. Its classic Cronenberg, and when you get that you also get classic Shore. Shore’s score is deceptive at first, with a main title orchestrated for 50 strings and 3 french horns to create a beautiful yet mysterious atmosphere. He continues with this palette, adding a single oboe to echo the 3 horns’ opening theme, an underscores both relationships with a sense of subtlety and melodrama. However, Shore constantly uses the string orchestra to represent the sinister, pervading through the otherwise normalcy. It’s typical subversion from Shore and Cronenberg, and approaches the operatic tones a more mainstream audience are used to from the composer. But things happening under the surface is what Dead Ringers is all about – and why its such an enduring classic in score and picture.

File Under: OST
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hannibal

OST: Hannibal Season 3 Volume 1 (Invada) LP
Hannibal Season 3 soundtrack is taken from the final Hannibal NBC TV series. Brian Reitzell is known for his work with Kevin Shields on the Lost In Translation Soundtrack, also being the drummer in ‘Air’, and previous soundtrack work including ‘30 Days Of Night’ (film) and ‘Watch Dogs’ (game). The soundtrack features contributions from Siouxsie Sioux and Marc Almond.

File Under: OST
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hannibal1OST: Hannibal Season 3 Volume 2 (Invada) LP
Hannibal Season 3 soundtrack is taken from the final Hannibal NBC TV series. Brian Reitzell is known for his work with Kevin Shields on the Lost In Translation Soundtrack, also being the drummer in ‘Air’, and previous soundtrack work including ‘30 Days Of Night’ (film) and ‘Watch Dogs’ (game). The soundtrack features contributions from Siouxsie Sioux and Marc Almond.

File Under: OST
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parrish

Paul Parrish: The Forest of My Mind (Mapache) LP
Arranged by Mike Theodore and prolific guitarist Dennis Coffey—who later worked together on Rodriguez’s Cold Fact—1968’s The Forest of My Mind is a solid dose of soul-soothing mellow tunes, rich with captivating pastoral odes. The album is a unique synthesis of pop, folk and psychedelic sounds flecked with a touch of Donovan Leitch-like whimsy, all steered into righteous and refined waters by future Motown staff producer Clay McMurray (Gladys Knight & The Pips, David Ruffin, The Temptations, the Four Tops) and aided by the wizened influence of the Motor City’s R&B/soul session-men of the era. Despite the awe-inspiring sounds this near-masterpiece is bursting with, the album didn’t receive the accolades it rightly deserved in its day (due to some unfortunate flightiness from the original issuing label). One listen to the grandeur of The Forest of My Mind will have you singing the same tune as project producer McMurray: that the world must see how “simply wonderful this hidden jewel is.”

File Under: Soft Rock, Psych
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horror zone

Max Romeo: Horror Zone (NuRoots) LP
Max Romeo has teamed up with UK based, Grammy Nominated Producer Daniel Boyle; to create a stunning return to form, Roots Reggae album with accompanying Dub versions. ‘’Max is noted for his critically acclaimed work with Lee Scratch Perry in the 1970’s, and for his timeless classic songs penned over the last 50 years – Such as ‘War ina Babylon’ ‘Melt away’ ‘one step forward’ and the worlds most sampled reggae song ever -‘’Chase the Devil’. Picked up by artists such Jay Z, Kanye West, The Prodigy and Blockbuster hit movies. Max and Daniel have teamed up with an all-star cast of musicians to create a true Part 2, to Max’s legendary; ‘’War Ina Babylon’’ album. Using strictly Studio equipment ranging from between the 1950’s – 1970’s, recorded and mixed in 100% analogue format, and presented with stunning artwork in Physical format. Among the line-up of 12 musicians we have: Glen Da Costa (Bob Marley and the Wailers / Black Ark Upsetters) on Saxophone. Vin Gordon (Studio One / Black Ark Upsetters ) on Trombone Robbie Lyn (Black Ark Upsetters) on Keys Dorit Chrystler (Marilyn Manson, The Strokes, Dinosaur jr) On Theremin Lee Scratch Perry – backing vocals, percussion and effects Hornsman Coyote – (Back on the controls) On Trombone Hughie Issachar – (Back on the Controls) Bass / Guitar Puraman – (Lost Ark Music) Drums

File Under: Reggae
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simone

Nina Simone: Philips Years (Verve) 7LP Box
Nina Simone’s combination of classical training, smokey-alto vocal delivery and the influence of modern jazz made her a novel and inspiring jazz singer and instrumentalist. And her very name is synonymous with the passion, talent and raw emotion that she put into every note she sang and played. The Phillips Years is a fine collection of seven albums released by Simone during her tenure on the label from 1964-1967. Simone’s albums covered topics as diverse as romance, politics, Broadway, civil rights and more. The essential recordings included in this package areNina Simone in Concert (1964), Broadway-Blues-Ballads (1964), I Put a Spell on You (1965), Pastel Blues(1966), Let It All Out (1966), Wild is The Wind (1966) and High Priestess of Soul (1967). All albums comes pressed on 180 gram vinyl and are housed in a limited edition box set. Individual LPs also available.

File Under: Jazz
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skullflowerSkullflower/Voltigeurs/Black Sun Roof: Split (Blackest Rainbow) LP
Brand new three way split featuring 3 projects from Matthew Bower and Samantha Davis. ‘Hexenturm’ from Voltigeurs is a vortex of basement black metal terror, caaried by furious percussion buried beneath layers of metalic riffs and distortion. This leads directly into Black Sunroof’s ‘Pal Beach Violation’, with a crushing distorted layers of guitar and effects. The flip is Skullflower’s ‘PSH’, a tribute to one of the finest actors of our generation. ‘PSH’ is a much more psych-upped affair than the previous tracks, but remains layered in metaliic effects and swirling dark cosmic tones. It’s an interesting listen to have three spearate projects performed by the two core performers, but each have different styles, sounds and approaches. Pressed on 180 gram red vinyl in an edition of 333 copies packaged in full colour UV gloss sleeve.
Play at 45 or 33. Includes download

File Under: Experimental, Noise
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fanstastic

Alex Somers: Captain Fantastic OST (Invada) LP
Invada Records are proud to announce Alex Somers’ (Jónsi & Alex/Sigur Rós) original score to Matt Ross’ (American Psycho) latest film “Captain Fantastic”, starring Viggo Mortensen (The Lord Of The Rings). The soundtrack also features contributions from Jónsi (Sigur Rós). The film has debuted to rave reviews at the Sundance Film Festival this year, with The Guardian calling it “heartfelt, comedic and gorgeous”. Appropriately, the soundtrack beautifully mirrors the story’s strange, otherworldly settings with Somers creating a score that is at once delicate yet haunting, fragile and moving to conjure up a gorgeously ethereal atmosphere. The soundtrack will appeal to fans of Sigur Rós.

File Under: OST, Sigur Ros
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starship

Starship Commander Woooo Woooo: Mastership (Left Ear) LP
“How are you doing, Earthling?” That’s how Omer Coleman, Jr. addressed his public in the 80s, driving around Kansas City, Missouri in the electric space-car built especially for his alter ego Starship Commander Wooooo Wooooo. Left Ear Records went back to Coleman’s original master tapes for their vinyl reissue of the Commander’s 1981 private press album Mastership, a lost electronic funk classic. Coleman performs in an alien voice that comes not from electronic filtering but from his own natural vocal distortions. This visitor from Mars wants people to be happy and, like his song goes, “Laugh and Dance.” It’s an endearing and very personal space-age funk that blends George Clinton and Kraftwerk in a vision of a better and happier world. Born and raised in Kansas City, Coleman was musically inclined from an early age. His parents couldn’t afford to buy him a real drum for orchestra, so he took up electrical wiring and wood shop instead, which fed his muse in a different direction. Omer built enormous speaker cabinets. In the late ‘70s he was a DJ, and ran a Mobile Disco business that took him across the country, hosting parties. After a trip to California, he came back to Kansas City inspired to dress up as Commander Wooooo Wooooo. The future commander began working at the Armco Steel Mill in Kansas City when he was 18. He was inspired by older machinists who demanded perfection in their work and in their character. It was while he was working at the steel mill that Coleman came up with Starship Commander Wooooo Wooooo. One day coworker John Manley came up to Coleman with a vision of an electric car, and built it. His coworkers built all of his equipment, from lighting and fog machines to big steel eyeglasses. Coleman’s sister, a seamstress, created his outfits. Coleman started his own label in 1985 but took some time off from music to raise his children, and when they came of age his son recorded with Coleman as a gospel vocalist. When his son was killed in an auto accident in 2004, it took something out of him, and he stopped making music. But he’s starting to get the feeling again. Now 62, he’s currently enjoying his retirement from a long stint with the IRS. The former Commander is in the middle of a house project where he’s using metal ceiling tiles to line his walls. It’s starting to look like a spaceship. Coleman promises, “There is a real good possibility that we have not seen the last of Starship Commander Wooooo Wooooo!”

File Under: Electronic, Funk, Private Press
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suicide1Suicide: Alan Vega & Martin Rev (Superior Viaduct) LP
After crystallizing a reputation for confrontational live performances and releasing their essential debut LP, Suicide went into the studio to record their stunning follow-up. Producer Ric Ocasek lends a pop sensibility to the band’s sound, constructing an atmosphere at once light and catchy, yet still crazed and venomous. Originally released in 1980 on ZE Records, Alan Vega Martin Rev features an array of glistening keyboards and early preset rhythm machine sounds whose harsh simplicity suggests the discreet zones and confined movements of urban life. While his vocal treatments are more refined than before, Alan Vega is still cool as ice, visceral and evocative. Superior Viaduct is honored to present Suicide’s under-appreciated second album. For the first time since its initial release 35+ years ago, this vinyl release includes the original track list and artwork. If there can be a quintessential New York band, it is without a doubt Suicide.

File Under: Electronic, Experimental, Synth Pop
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shigeoShigeo Tanaka: Yumi Kagura (Em) LP
“Deep session! It is rare to hear folk music from Japan in such beautiful fidelity and incredible dynamics. This recording is intensely gorgeous and hauntingly disarming. This should open up a whole new world of adventurous listening for folks outside (and inside!) Japan.” – Brian Shimkovitz (Awesome Tapes From Africa)  “Sounds absolutely great! Super interesting and engaging.” – Ben (UFO) “Just Give Me That Old Time Religion, It’s Good Enough For Me.” – Japan Blues A hotline to the gods! Kagura is a thousand-year-old form of Japanese Shinto sacred music and dance, accompanying the chanting of myths; the word “kagura” can be translated as “god-entertainment”. Passed down over countless generations, the music is rare and recordings even rarer. Shigeo Tanaka was a master of the yumi (bow), an uncommon single-string percussion instrument, which is a true bow: arrows are fired off at the end of each ceremony to fend off evil sprits. The instrument is difficult to play; it’s hard to draw out the proper sound and maintain the rhythm. Yumi Kagura is the oldest of all the various forms of Kagura. The Tanaka family, based in rural Jōge-cho, Hiroshima prefecture, has passed down this yumi kagura tradition for hundreds of years; this lineage continues to this day in the person of his daughter Ritsuko Tanaka. The Jōge-cho yumi kagura, which prays for family well-being, bountiful crops and good fortune, was designated an Important Intangible Cultural Property in 1971. The piece featured here, “Takusa saimon”, based on the myth “Ama no iwato” (The Rocky Celestial Cave), is mesmeric, reaching back across ages to the time before time, with Tanaka’s voice and yumi, accompanied by flute and metal percussion, drawing us closer to the primal activities of the gods. Listeners may find affinities with aspects of musics as diverse as German electronic minimalism like E2-E4, certain Ethiopian music, “spiritual jazz” and more, all tapping into the deep root of forever. Previously available only on a ridiculously obscure 1991 cassette release, Yumi-kagura is the first collaborative release by EM Records and Riyo Mountains, a Japanese folk song research team. Available on LP and CD, with the CD featuring a bonus track: “Inagahachiman jinja yumi kagura hōnō” recorded in 2016 by Tanaka’s daughter and successor Ritsuko Tanaka.

File Under: Japanese, Folk
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tenementTenement: s/t (Deranged) LP
On the heels of 2015’s highly praised double-LP masterpiece, Predatory Headlights, comes a new 12-inch by the Wisconsin punk outfit Tenement. This self-titled record includes the five newly remastered tracks from the band’s recent limited tour cassette, as well as two new unreleased songs. From day one, Tenement has incorporated myriad influences into their polychromatic sound, and no single release fully represents their musical identity. Like most of their works, Tenement showcases a new side of the band—one that’s a little less punk and a little more pop. It’s a sound that’s been poking its way through the group’s decade-long tarp, finally stretching a hole large enough to crawl through. Here lies yet another piece to the ongoing Tenement puzzle, one many fans hope they won’t be solving anytime soon.

File Under: Punk
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hangman's bluesVarious: Hangman’s Blues (Iron Mountain) LP
From the people who brought you ‘Hillbillies In Hell’… Grim tales of jailbirds, cutthroats, cuckolds, executioners, murderers and popcorn-dusted escapees. Prison ballads form part of the historic lifeblood of Country music and saw a distinct resurgence after the May 1960 execution of controversial convict Caryl Chessman. Here Iron Mountain Analog Research presents 16 of the very best, many seldom heard since their original release (often on obscure, microscopic or private-press labels). Running the gamut from smooth balladeers of woe to ramshackle and plaintive backyard rockabillies, The Hangman’s Blues features fevered declarations of innocence, profound diatribes on capital punishment and mournful odes to that Last Mile. Years in the making – The Hangman’s Blues will chill, thrill and bedevil the dreams of all who hear it. Originally issued on forgotten 45s, some of these sides are indescribably rare and are reissued here for the very first time. All in one handy LP package.

File Under: Folk, Country

soul segaVarious: Soul Sega Sa! (Bongo Joe) LP
In the 17th century, slaves were deported from Africa, Madagascar and the pristine islands of Mauritius, Réunion and the Seychelles in the South Western corner of the Indian Ocean to work on coffee and sugar cane plantations. They gathered secretly to escape their daily woes by singing, dancing and beating rhythms. This gave birth to the Afro-Malagasy-inspired sega, or (t)chega music. During the course of the 19th century, the Creole population’s gradual adoption of Western instruments and traditional melodies of old Europe (quadrille, waltz, polka, schottische, romance, mazurka) together with the cultural impact of hired workers from India, laid the foundation for contemporary sega. This crossroads of influences kept expanding, especially in the 50s, when the first gramophones hit the market and all sorts of records were played, from pop to jazz, soul, rock and roll, and even Cuban and Brazilian music. For sega music, this hailed the beginning of an intense period of creativity which would linger on into the 60s and 70s when amplified instruments appeared and violins and accordions were replaced by electric guitars, bass guitars, drums and keyboards. Record production boomed, an abundance of micro-record labels emerged and immensely talented arrangers honed their skills. These included Marclaine Antoine, Gerard Cimiotti, Eric Nelson, Claude Vinh San and Narmine Ducap, who went on to explore the many facets of sega. Psychedelic keyboards, fuzz guitars and bouncy bass lines came to complement the manic ternary polyrhythms of drums, ravannes, bongos, claves, triangles and maracas, and created a unique style. FolkWelt and Bongo Joe Records have carefully selected and compiled some gems from this golden age of sega from Mauritius, the Seychelles and Reunion.

File Under: African, Funk, Soul, World

…..Restocks…..

Aesop Rock: Impossible Kid (Rhymesayers) LP
Marc Barreca: Twilight (Palace of Lights) LP
Black Keys: El Camino (Nonesuch) LP
David Bowie: Pinups (RCA) LP
John Coltrane: A Love Supreme: Complete Masters (Impulse) 3LP
Cramps: Psychedelic Jungle (Vinylissimo) LP
Miles Davis: Bitches Brew (Legacy) LP
Deerhunter: Cryptograms (Kranky) LP
Deerhunter: Microcastle (Kranky) LP
Deux Filles: Silence & Wisdom/Double Happiness (Dark Entries) LP
Electric Wizard: Dopethrone (Rise Above) LP
Flying Lotus: Cosmogramma (Warp) LP
Flying Lotus: Los Angeles (Warp) LP
Flying Lotus: Until The Quiet Comes (Warp) LP
Jose Gonzalez: Vestiges & Claws (Mute) LP
Fugazi: Red Medicine (Dischord) LP
Goblin: Roller (AMS) LP
Goblin: Tenebre (AMS) LP
Francoise Hardy: Tous Les Garcons Et Les Filles (Future Days) LP
Francoise Hardy: La Premier Bonheur Du Jour (Future Days) LP
Francoise Hardy: Mon Amie La Rose (Future Days) LP
Francoise Hardy: L’amite (Future Days) LP
King Gizzard & The Lizard Wizard: Quarters (Castle Face) LP
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) LP
K. Leimer: Closed System Potentials (Palace of Lights) LP
Mariah: Utakata No Hibi (Palto Flats) LP
Thee Oh Sees: Carrion Crawler (In The Red) LP
Om: God is Good (Drag City) LP
OST: La Planet Sauvage (Superior Viaduct) LP
OST: Ninth Gate (Silva Screen) LP
Parquet Courts: Human Performance (Rough Trade) LP
Radiohead: A Moon Shaped Pool (XL) LP
Radiohead: I Might Be Wrong (XL) LP
Stereolab: Cobra & Phases Group (1972) LP
Stereolab: Emperor Tomato Ketchup (1972) LP
Subrosa: More Constant Than… (Profound Lore) LP
Suicide: s/t (Superior Viaduct) LP
Tragically Hip: Up to Here (Music on Vinyl) LP
Tragically Hip: Man Machine Poem (Universal) LP
Kurt Vile: God is Saying This to You (Mexican Summer) LP
Woods: City Sun Eater in the River (Woodsist) LP
Various: Heartworn Highways (Light in the Attic) LP/CD
Various: Native North America (Light in the Attic) 3LP

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…..news letter #752 – hike…..

What better way to fill the dog days of summer, than a massive stack of new wax! It’s been a busy week around here, with shipments and buying up used records. Needless to say, the bins are stuffed and waiting for your fingers to do some flipping.

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…..pick  of the week…..elg

Elg: Mauve Zone (Nashazphone) LP
Since 2004, Èlg (Laurent Gérard) has drawn concentric sound spirals made of musical pipes and entrails. He uses an arsenal of instruments and methods, constantly renewed while building improbable bridges between musique concrete and French song-writing, cartoon-like radiophonic creations and cosmic pop as well as lo-fi Dada-esque experimentation with electronic tentacles. Èlg is half of the electronic botanic duo Opera Mort, and a third of big band trios Orgue Agnes (with the members of Kaumwald) and Reines d’Angleterre (with Jo Tanz and Ghédalia Tazartes). He’s had albums released by Kraak, SS-Records, Lexi Disques, Fonal, Hundebiss Records, and Alter, among others. ?I DIG COSMIC MUSIC WITH ROCKS OFF? anathema to top 40, Èlg is the holy ghost of the new sound. his music deals with the altered state with muscle -> primed on transcendence like naked hug, the fire music of his previous duos or the zap force of his earlier Nashazphone jam ?Capitaine Present 5,? it feels hip to stay forever eternal in the house of mirrors & emerge on the cyclone. coney island baby bataille. there’s a dimensionality of miracles herein, we were born on earth…as humans. Then there’s Èlg, Laurent Gérard -> he’s a love lodge, a sonic native. this is immersion music? climb upward, go down and deep. my fave cosmic strip here is in cool color? the rare moment on this LP when the guitar solo explodes from the narrative ripping a hole in “song.? through the planet of one voice, we hear the inimitable Dylan Nyoukis and the one and only OG Alan Bishop. these heads are perfect jam vehicles to hang with Laurent. Then there’s the paramour lady Catherine Hershey, forever muse?roast tongue. brand new language, brave nu world. this grabs the tusk of Francois Tusques and rides Mother Gong, all glissando and Kobaïan. learned from Shandar and transporting with a freer range Lard Free, organic music that slays all inner city mountains, outer realm gotham. bluer than noon. contempo lone gunman exploratory moderne with the controls set to the heart of love. we’re in the “Mauve Zone”, where is bananafish? hearing is believing. a transport to future analog and digital dialup. call this dude, he’s beyond rap. what a crazy fucking life.? — Matt “MV” Valentine; Guilford, VT; spring 2016.

File Under: Electronic, Experimental, Left Field
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…..new arrivals…..

5599

5599: Heureusement Que le Sang Seche Vite (Nashazphone) LP
5599 is a new duo featuring France’s electronic improvisation giant Jean-Marc Foussat on EMS Synthi AKS and current golden boy Augustin Brousseloux on electric guitar and alto saxophone. Heureusement que le sang seche vite features 3 tracks where guitar and saxophone interplay with analog synthesizer to create psychedelic, dense and textured soundscapes of aggressive noise onslaughts and moments of bliss. Born in Oran (Algeria) in 1955, Jean-Marc Foussat played in several experimental rock groups before he started a career as a sound engineer in diverse studios which progressed towards recording live improvised music around 1979. He has collaborated with labels such as Incus, Hat Hut, Po-Torch, Rift, Rec Rec, and Celluloid where he recorded a number of songs for Bill Laswell’s seminal Massacre on the album Killing Time in 1981. In 1983, he self-released the groundbreaking Abattage which deserves its position on a pedestal amidst the greatest French improvisation records. Since the 1990s he returned to playing in improvisation groups such as Marteau Rouge, alongside Makoto Sato and Jean-Francois Pauvros, and Aliquid with Sylvain Guerineau. Born in 1999, saxophonist and guitarist Augustin Brousseloux is a young prodigy currently storming the French improvisation underground. At the age of 16, he has already collaborated — live and on albums — with heavyweights such as Noel Akchote, Costes and Jean-Marc Foussat.

File Under: Experimental, Electronic
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birge

Birge Gorge: Avant Toute (Souffle Continu) LP
Have you ever imagined what a meeting between the Silver Apples and Sonny Sharrock would sound like? In 1974, Jean-Jacques Birgé, one of the first French synthesizer players (ARP 2600) along with Francis Gorgé, virtuoso guitarist, created some unique improvised pop music. The unreleased and flamboyant recordings featured on Avant Toute would be the source for the cult 1975 Défense de album by Birgé, Gorgé, Shiroc before founding Un Drame Musical Instantané with Bernard Vitet. Limited edition of 700 black & white vinyl. 350 gram sleeve. Obi Strip. Insert with photos and liner notes by Jean-Jacques Birgé & Francis Gorgé.

File Under: Electronic, Free Improv
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cage

John Cage with David Tudor: Variations IV (Modern Harmonic) LP
Anything can happen and often does. This is John Cage. A seminal example of indeterminate music from an icon on experimental sounds. It could be argued that there is no more controversial figure in music history as the avant-garde electronic composer. Perhaps best known for his composition “4’33,” which consisted of Cage sitting at a piano for four-plus minutes of total silence, he was both loved and loathed in the ’60s and ’70s as a leading light in avant-garde music and as an entertainingly weird guy who used radios, televisions, live dancers and his own Adam’s apple as instruments in his live performances. Cage’s music blurred the line between music, performance art and visual art in a way that no other composer has before or since. Cage’s performances were often wild one-of-a-kind happenings, and the shows that make up the recording of Variations IV are no different. The fourth in a series of concerts that stretched the boundaries of what music was, IV was designed for a group of performers playing literally anything they could get their hands on. They were also encouraged, if they got bored playing, to do “other activities” in addition to the music. The score consisted of two circles and seven points on a transparent sheet, to be interpreted however the performers saw fit. The end result: a wild album of music-concrete that should sound familiar to fans of the Beatles’ “Revolution 9” – no question Cage’s composition influenced Lennon and Ono’s experiments. Modern Harmonic/Sundazed brings you this gorgeous reissue of John Cage’s masterpiece, Variations IV, pressed on clear colored vinyl and wrapped in restored artwork that captures the unique and strange beauty of this headphone classic. Join the avant-garde!

File Under: Avant-Garde, Electronic, Modern Classical
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clams

Clams Casino: 32 Levels (Columbia) LP
Iconoclast hip-hop producer Clams Casino presents the long-awaited release of his debut album 32 Levels, out July 2016 on Columbia Records. The album includes 12 original tracks and features vocal appearances from an impressive crew of collaborators, including A$AP Rocky, Lil B, Vince Staples, and more. Instrumental versions of every track on the album are also presented here on the second LP. With 32 Levels, Clams expands upon his distinctive musical vocabulary. He lends ballads an otherworldly, percussive sheen; confessional crooning a devastating sense of atmosphere; and trunk-rattling bangers a swaggering menace. It’s a cinematic trip, with an expertly selected cast of characters that rise to the challenge of matching the emotional heft and sonic breadth of the production. Rolling Stone calls Clams a “visionary” and says his “richly textured, poignant sound stands entirely on its own,” while The Guardian deemed him “most likely to change the face of hip-hop.” SPIN calls his work “fascinating and ominously exhilarating.” Born and raised in New Jersey, Clams Casino aka Michael Volpe, began his career as a teenager, sending beats that he made in his mother’s attic to rappers on MySpace. While studying to be a physical therapist, Clams released a free compilation of instrumental versions of his production, the now classic Instrumentals. Featuring Clams’ signature hypnotic, kaleidoscopic beats, Instrumentals quickly earned acclaim and led to close collaborations with the likes of A$AP Rocky, Lil B, Mac Miller, and Vince Staples. His production work has also appeared on albums from The Weeknd, Schoolboy Q, FKA Twigs, A$AP Ferg, Foster The People and Jhene Aiko.

File Under: Electronic, Hip Hop
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chupame

Chupame El Dedo: s/t (Discrepant) LP
Chupame El Dedo, from Bogota, Colombia present their self-titled album. Recorded live in the studio, Chupame El Dedo recreates the live performance by delving deeper in grind-core, speed and black metal clichés whilst marrying a tropical rhythm section made of salsa, cumbia, currulao & reggaeton. Tropical disoriented madness, stylistic dislocation and very fast drums.

File Under: Electronic, Latin, Grind
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costes

Costes: Pas Encore Mort (Nashazphone) LP
“Costes has caused me so much trouble. Even today, 25 years after the last time I performed with him, I still have a hard time booking shows because he has not mellowed as I have and the venues are afraid, because of my past association with him, that there will be piss, shit, violence, genitalia, racial tension, cops, etc. Costes has caused himself so much trouble. He’s been taken to court five times over his art, received countless death threats. When’s the last time you can think of that ART has been taken so seriously — as a life and death matter? And he perseveres. I think Costes is extraordinary. He ostentatiously thumbs not only his nose, but every single body part external AND internal, at any authority there is. Pas Encore Mort, a re-release of a 1997 CD, is uncharacteristically introspective, pretty, and sad. It is unsettling to see the man behind the gross warrior exposed, vulnerable, alone. I love and hate this album.” — Lisa Carver, Maine, U.S., April 2, 2016. Born in 1954, Jean-Louis Costes is possibly France’s most transgressive and independent artist. He is a musician, singer/songwriter, performance artist, painter, writer, actor and director. His highly expressionist trash style is instantly recognizable no matter which mode of expression he adopts. A unique and uncompromising artist, Costes has released over 70 albums since 1986. His songs are mostly recorded in his home studio and display very raw explicit lyrics, with music alternating between rock, pop and noise. He is renowned for his infamous “Porno-Social” Operas, which can be described as an explosive mix of live music, theater, violent actions, sex, noise, chansons, romanticism, mysticism and social issues. He has toured Europe, North America and Japan. In the late 1990s, he began publishing his own texts, and since 2003, has authored four novels.

File Under: Electronic, Pop
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FUR104LP_PRODCrotaphytus: Acanthosaura (Further) LP
Robert Witschakowski takes a break from rewiring the rules of electro with his prolific The Exaltics project to deliver the eerie soundtrack album, Acanthosaura. Working with Nico Jagiella – with whom he co-runs the Solar One label – the pair have created the soundtrack for a world of flickering shadows, dark ambient textures and ominous bass tones. It’s the first Crotaphytus release in six years and according to Witschakowski, a project stemming from his love of reptiles and movie soundtracks. Like previous Crotaphytus releases on Solar One, Acanthosaura is a deeply atmospheric affair. With each track title a reference to different types of lizards, from the death-paced drums of “Cyclura Cornuta” to the slow-motion ebm-disco groove of “Xenosaurus Platyceps” and the murderous subs of “Caiman Latirostris”. In between, the dark ambient passages of “Conolophus Subcristatus” and “Amblyrhynchus Cristatus” as well as nods to The Exaltics’s spaced-out electro in “Iguana Delicatissima”. However, Robert insists that the album remains true to the project’s ethos: “Crotaphytus is always dark and haunting. The project has no rules and that gives us the total freedom to make everything with it. I make also different styles with The Exaltics, but I have a concrete vision every time. With Crotaphytus, we let it flow and see where we land at the end. For this album, we tried to create an atmosphere like you are in a deep jungle, chased by giant lizards. Ambient has really the power to transport feelings. I guess this is subliminal in us from watching films. Most soundtracks have a lot of music without beats, so we collected tracks with beats and also ambient ones.” You can hear the sound of the jungle at night as “Xenosaurus Platyceps” draws to an end or on the dusky dread that sets in on album closer “Amblyrhynchus Cristatus”. “I’m a sucker for atmospheric music. I need to imagine things by hearing music. Other worlds, fantasy, come down from a daily struggle. I could say half of Crotaphytus, the atmosphere, that is me, and the other half, is the power Nico gives to the project,” he points out. Mastered by Alden Tyrell & cut by Christoph Grote-Beverborg at Dubplates & Mastering. Artwork by Chloe Harris. 180 gram vinyl & reverse board jacket.

File Under: Electronic, Dark Ambient
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descendents

Descendents: Hypercaffium Spazzinate (Epitaph) LP
On their first album in 12 years, vocalist Milo Aukerman, drummer Bill Stevenson, guitarist Stephen Egerton, and bassist Karl Alvarez channel an energy just as raw and jittery as in their earliest days – a time when the band was driven by the equally mighty forces of “rejection, food, coffee, girls, fishing, and food.” Born from the all-for-one spirit that’s forever fueled the band, Hypercaffium Spazzinate returns to the frenetically catchy sound that launched a generation of pop-minded punk acts and continues to widen the Descendents’ following around the world. The band’s first Epitaph Records release since 1996’s Everything Sucks, Hypercaffium Spazzinate began taking shape soon after the Descendents surfaced from extended hiatus for a series of gigs in 2010. With Milo now living in Delaware, Karl and Bill in Colorado, and Stephen in Oklahoma, the album came to life over a three-year period in which the band sent tracks back and forth and occasionally met up in Karl and Bill’s adopted hometown of Fort Collins. With Hypercaffium Spazzinate featuring the classic Milo cartoon as its cover art – this time, he’s got his head affixed to a lab flask in an attempt to “synthesize some bonus caffeine,” as Milo explains – the album finds the band both honoring their past and living fully in the moment. “Since the dawn of rock-and-roll every band’s tried to pretend they exist in the age group of 18 to 35, no matter how old they get,” says Karl. “But this band’s very honest about the fact that we’re not teenagers anymore.” Still, thanks in part to their enduring legacy within skate culture and punk communities, the Descendents maintain a vitality that’s amply reflected on the new album. “Each time we make a record it’s almost like the first time all over again,” adds Bill. “There’s a quote from Ornette Coleman about how the song is the territory, and what you do with the song is the adventure. We’re definitely still going on all these little adventures together.”

 File Under: Punk
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dinojr

Dinosaur Jr.: Give a Glimpse of What Yer Not (Jagjaguwar) LP
In tomorrow…? Let’s face facts: in 2016 it is remarkable that there’s a new Dinosuar Jr. album to go ape over. After all, the original line-up of the band (J Mascis, Lou Barlow and Murph) only recorded three full albums during their initial run in the 1980s. Everyone was gob-smacked when they reunited in 2005. Even more so when they opted to stay together, as they have for 11 years now (on and off). And with the release of Give a Glimpse Of What Yer Not, this trio redivisus has released more albums in the 21st Century than they did in the 20th. It’s enough to make a man take a long, thoughtful slug of maple-flavored bourbon and count some lucky stars.

File Under: Indie Rock
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dwarvesDwarves of East Agouza: Bes (Nawa) 2LP
Double LP version on 140-gram colored vinyl. Includes download code. The Dwarfs of East Agouza are a trio from Cairo featuring Maurice Louca (Alif, Bikya), Sam Shalabi (Land of Kush, Shalabi Effect) and Alan Bishop (Sun City Girls, The Invisible Hands, Alvarius B.). Born during 2012, the trio’s instrumental improvisation-based explorations are propelled by Louca’s North African percussion loops and shimmering keys, Shalabi’s West African tinged free jazz guitar and grounded by Bishop’s driving Krautrock-style acoustic bass. Following many a late night jam session, the band recorded hours of material during a three-day studio run in April 2014. After compiling and mixing the album in Montreal’s Break Glass studio in July 2015, the refined result is Bes. From the lilt of the four-minute Ethiopian tinged “Resinance” to the 30-minute free-form epic “Museum of Stranglers”, the album skirts the outer limits of a psychedelic soundtrack to a North African road trip.

File Under: World, Electronic, Jazz, Psych
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elmichels

El Michels Affair: Sounding Out The City (Big Crown) LP
“Over 10 years ago, Leon Michels released his first full length record, Sounding Out The City. It was Michels’ first full length record under the moniker El Michels Affair. At the time, the budding retro soul scene consisted of mostly organ quartets a la The Meters and of course, Sharon Jones & The Dap Kings were in the early days of their ascent to world domination. Leon Michels, who was 18 when recording Sounding Out The City began, had just released Thunder Chicken, the first record by his high school band The Mighty Imperials. At the time of SOTC, Michels was just discovering early rocksteady, Afro-beat, and ’60s garage rock, which inevitably crept its way into the songwriting. He purchased a Tascam 388, an ’80s 1/4″ reel to reel 8 track intended for home recordings, and began recording music in a 10×10 box with no windows that also doubled as his childhood bedroom. Along with fellow Mighty Imperials Nick Movshon, Homer Steinweiss, and Sean Solomon, and Michael Leonhart, Thomas Brenneck, and some of the musicians from The Dap Kings, Michels recorded the LP over a two year period. Upon its release, it received some rave reviews and the small deep funk community ate it up, but due to the lack luster promotion and distribution the rest of the world was slow to catch on to the instrumental gems featured on SOTC, which Michels appropriately labeled as ‘cinematic soul’. However, in 2005 it found its way into the hands of the people who were organizing a series of concerts for Scion that paired bands with MC’s. El Michels Affair was contacted about playing one show with Raekwon The Chef of Wu Tang Clan fame. The show was such a success it led to a tour, and then to another set of concerts that featured multiple members of the Wu-Tang Clan. This eventually led to the release of El Michels Affair’s second record, Enter the 37th Chamber which introduced them to a much larger audience and has been their most successful release to date.”

File Under: Funk, Daptone
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fireFire #1 Mag
Fire Magazine present their no 1. Issue March/April 2016. In the last few years there has been a resurgence of classic rock and heavy psych. An increasing number of labels are dedicated to stoner rock, doom, heavy psych, sludge, occult, drone, ambient, space rock and other related subgenres. It seems that the past is the new future. People again dig the values of the ’70s and that certain kind of attitude, they like people who can play their instruments, but they also love the spirit, the vibe, the analog recordings, the vintage gear, even the look and the outfits on stage because this is an honest and genuine way to make music. In many hard and heavy magazines, big bands are getting big features, great coverage and long articles. On the other hand there is less written about underground bands. In this magazine, there is less of the usual big names that occupy the spotlight in the glossy, more popular publications. Fire Magazine wants to put in the forefront those very good, valuable bands that don’t have wider recognition. The aim of this bi-monthly magazine is to create a place where fans can find what they like the most. Crafting a well-packaged, well-presented, full-color magazine, with a lot of regular features and in depth surveys, not only interviews and reviews. Fire Magazine chose the name Fire due to its multiple meanings. Fire is energy, fire is purification, fire is the flame of psychedelia, fire is the fuel of rock’n’roll, fire is the spirit that Jimi Hendrix gave his guitar and last but not least Fire is the masterpiece by Arthur Brown, a real pioneer and a godfather of our musical genre. Issue No. 1, March/April 2006 features: Hawkwind (cover story); Fresh Blood (Mountain Tamer – Psychedelic Witchcraft, Zun, Hexvessel, Oranssi Pazuzu, Abysmal Grief, Graves At Sea, Black Rainbows, Blood Ceremony, Church Of Misery, Spiritual Beggars, Sourvein, Mars Red Sky, Holy Grove, Hypnos, Deadsmoke Hounds Of Hasselvander, Blizaro, Black Mountain, 20 Editions Of Roadburn; Arik Roper: The Magic World Of Mushrooms, Come To The Sabbat: Rituals Of Doom, From The Crypt: “Louder Than God”: The story of Blue Cheer, Saint Vitus (commented discography), Perfumed Garden: Angel Witch reissue: (Monster Magnet – Paul Chain); News; Reviews. SIZE: 210mm X 297mm. FILE UNDER: heavy psych, stoner, doom, sludge, occult, dark, ’70s hard rock.

File Under: Magazines, Psych

france

France: Do Den Haag Church (Mental Groove) LP
Mental Groove presents a vinyl reissue Do Den Haag Church from France. Originally released on CD in 2009. The recording is raw and the mastering is fat. The first two pressings made in 2014 and 2015 were distributed confidentially and during the numerous live performances of the band. This pressing features brand new artwork. “France is a French trio that uses drums, bass and amplified hurdy-gurdy. They only perform live, in the middle of the audience – turned to face each other – full on smoke machines and strobes. They play only one ‘song’ for the duration of their hour-long set. And it’s the most transfixing live experience of intense physical and mental focus. The distorted hurdy-gurdy plugs France’s sound into the country’s history of folk music and popular festivities, of communal trance and immersive pleasure. The rhythmic basis is pretty much the same throughout the whole set. One doesn’t need to actually be tripping balls for the auditory illusions to start coming thick and fast. Those who’ve stayed for the whole duration of their performances know they’ve shared something, however disparate the phantom forms each might have discerned in the midst of the howls and groans. Gigs like this you leave feeling you’re not quite the same person who went in, even though you’d be hard-pressed to pinpoint precisely what has changed.” — David McKenna (The Quietus).

File Under: Minimalism, Psych
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guider

MJ Guider: Precious Systems (Kranky) LP
“Precious Systems is inspired and influenced by the landscape in and near New Orleans, particularly the juxtaposition of the natural with industrial and commercial constructs as they reflect life here. The songs on the album attempt to create contrasts of their own as one means to induce unreality or alter perspective. While it is greatly influenced by science fiction, its sounds and stories often become it themselves. The sounds come from a variety of sources, but are anchored by a few aging, outmoded machines. A beloved Rickenbacker 3000 in combination with a Roland R-8 drum machine, and RE-501 tape echo set the tone of technology in subsidence. Melissa Guion is MJ Guider. She lives and works in New Orleans and previously released the Green Plastic extended play cassette in early 2014 on the Constellation Tatsu label. Employing heavy washes of bass and a deft touch in mixing, she uses stark contrasts to construct a semi-surreal aural space. What results are songs that exist in a wholly contained sound environment, minimal yet lush, spare yet saturated, and most importantly, entirely compelling.”

File Under: Electronic, Ethereal
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head tech

Head Technician: Zones (Ecstatic) LP
Not Waving’s Ecstatic label catch Martin Jenkins (Pye Corner Audio) in Head Technician garb for a slippery set of slow, plasmid acid workouts titled Zones. Originally issued on a super-limited tape (2015), presented here on vinyl. Over the years since he first mooted the Pye Corner Audio sound in 2010, Jenkins has used the Head Technician alter ego as a sort of evil engineer Hyde analogous to his day-to-day Jekyll, a sort of “hyperstitious” studio partner in a time-honored tradition of sleeve credits ghost chasing. Where Pye Corner Audio’s pieces may tend to be lustrous and optimistic, the Head Technician’s Zones LP hems to the shadows of the ‘floor with a furtive, noirish quality that works a treat in the right situations, whether sound-tracking gas lamp-lit raves or midnight street patrols seeking out ne’er-do-wells and laudanum dealers. Fired on a classic trinity of Roland TR-606 drum machine with an MC-202 (a beast to program, he admits) and TB-303 to sequence his baselines, it clearly makes explicit reference to the early days of Detroit techno and UK bleep ‘n bass, but the vibe is more anachronistic, out-of-time, possibly thanks to his patented, lagging basslines and slowly unfolding arrangements, bridging that imaginary, dilated gap between fuzzy dancefloor head melt and curtains-drawn next day gouch out. As Martin Jenkins explains : “It’s really satisfying to set up patterns on each machine, let them run and tweak and adjust as the track unfolds. All of these pieces were initially live takes, with just a couple of overdubs and some edits to tighten up the arrangements. I have a bit of a love/hate relationship with the 202, I can’t get enough of that square wave bass that it does, but it’s such a beast to program.” Includes two previously unreleased tracks that were not included on the tape edition. Vinyl remastered and cut by Matt Colton.

File Under: Electronic, Pye Corner Audio
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helm

Helm: Olympic Mess Remixes (Pan) 12″
Limited 12″ (white label/hand-stamped) of two remixes of the Helm album, Olympic Mess (PAN 063CD/LP). Remixes by Beatrice Dillon and N1L.

File Under: Electronic
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higgs

Daniel Higgs: The Fools Sermon, Part 1 (Ideologic Organ) LP
Part 1 of The Fools Sermon as composed by and recorded by Daniel Higgs. Features Eli Winograd on bass and bass keyboard and Fumie Ishii on drums & voice and Higgs on banjo and voice. “Daniel Higgs once told me that the Earth is actually in its 34th life cycle. That everything has been conceived, created, grown, withered and ultimately been destroyed a grand total of thirty three times to date. As for quite how long this ourobouros-esque pattern will continue, he never enunciated. For enunciation is at the very heart of The Fools Sermon. Or I should say ‘Ee-nun-see-a-she-on’, as language in the hands of Higgs becomes a play-thing; syllables coil and retreat as if in eternal competition over the course of this 35 minute address. Anyone versed in Higgs’ vocabulary over his 30 year-plus career as musician, poet and orator, The Fools Sermon will feel like a worthy distillation of his other-world view: a raw vision of the sacred and the profane, the physical and the metaphysical, The Proterozoic and the present. At points, the results conjure a Flannery O’Connor penned pulpit-bound preacher elucidating as a huddle of Tribe Records personnel channel Amiri Baraka’s ‘Black Dada Nihilismus’; at others the narcoleptic exotica of Eden Ahbez shakes hands with Blind Joe Death. One imagines Gene Roddenberry’s ‘Captain’ turning his attention to the Philosopher’s Stone, to boldly go where no man and everyman has been before and forever will go again.” — Anthony Sylvester, 2016. Cut by Christoph Grote-Beverborg at Dubplates & Mastering, Berlin. Cover photo by Fumie Ishii. Back cover photo by Micke Keysendal.

File Under: Experimental, Folk
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holcomb

Roscoe Holcomb: Across the Rocky Mountain (Jeanne Dielman) LP
Jeanne Dielman present Across The Rocky Mountain, a magical collection of Kentucky’s own Roscoe Holcomb. Roscoe Holcomb is one of the most legendary figures of Appalachian music and a huge influence on the ’60s folk scene. Playing banjo, guitar, and singing in that beautiful high lonesome sound, this compilation spans his recordings from the late ’50s and early ’60s, mostly done in the “field” with a single microphone. A coal miner for most of his life, Roscoe knew the world he sang of all too well, his authenticity is unassailable. Though he found some success in the ’60s thanks to the Greenwich Village scene, Holcomb stayed a laborer in Kentucky and passed away in 1981 at the age of 68, suffering for years from asthma and emphysema, the results of his years in the coal mines. Essential Americana.

File Under: Appalachian Folk, Banjo, Americana
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human rays

Human Rays: A Tension (Further) LP
Human Rays – Stockholm, Sweden producer Robin Smeds Mattila – says that the music on A Tension was made during nocturnal sessions in a studio full of mostly cheap analog and digital gear, all in one take. “I kind of let the mood guide me and just go with it,” he says. The result is a gripping four track suite of emotionally charged minimal ambient that was created quickly but sounds like it was rigorously sweated over for many weeks. After a handful of releases that explored noisy, quasi-industrial techno, Mattila deviates into a more abstract, melancholy mode with A Tension. His creative process involves experimenting “to see how far I can push a sound with a pretty lo-fi setup. Improvisation and limitations are part of the thing that makes it interesting.” This approach yields riveting dividends right from the start on A Tension. On “Condensity”, the sparse pinging and distant, muted beats commingle with what sounds like rough wind or waves, hinting at the Arctic vibes that Biosphere conjured on Substrata (BIO 005LP, 1997). It’s at once chill and chilling, tranquil and unsettling. “Between The Hours” places spindly, woody beats beneath a dramatic sweep of synthetic strings, ebbing and flowing like Fripp & Eno’s monumental “An Index Of Metals” on Evening Star (1975). “Neverendless” might be even more redolent of the North Pole than “Condensity”, its severely minimal isolationist ambience suggesting Mick Harris’ none-more-cold Lull or Thomas Köner’s Permafrost (1993). On “Manual Litany I”, Mattila takes what sounds like a sentimental synth melody and smears it into a mantra of compelling drudgery. He notes that the track draws inspiration from William Basinski, who’s famous for his series of profoundly poignant Disintegration Loops albums (2002-2003). “It’s an attempt at making an organic loop, so it’s just me playing the same thing over and over on a synthesizer and letting the mistakes become part of the composition together with just playing around with an effects processor.” From these simple, humble means, Mattila forges a record that triggers subtle, intricate feelings. A Tension is that rare kind of music that freezes out all extraneous stimuli and submerges you in a frigid netherworld in which calm and disquiet exist in iced-out harmony. Mastered by Helmut Erler at Dubplates & Mastering. Artwork by Chloe Harris. 180 gram vinyl & reverse board jacket.

File Under: Electronic, Ambient
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caroline

Caroline K: Now Wait for Last Year (Blackest Ever Black) LP
First ever vinyl reissue of Caroline K’s outstanding 1985 album, Now Wait For Last Year. This haunting, wistful work of post-industrial synthesizer music – the late Nocturnal Emissions co-founder’s only solo record – has accrued a fervent cult following over the past 30 years, and copies of the original pressing are today extremely sought-after. Tags like industrial, minimal synth or proto-techno can’t really do justice to the richly cinematic sound-world that Caroline Kaye Walters, aka Caroline K, describes as “from the sustained ambient tension of sidelong opener ‘The Happening World’ to the future-primitive rhythms and stately piano flourishes of ‘Animal Lattice’, and the melancholic, deep-frozen synth sequences of ‘Chearth’.” Fans of Wendy Carlos’s A Clockwork Orange, Chris Carter’s The Space Between, and early Detroit techno should pay special attention, but this searching, future-proof masterpiece demands to be heard by all.

File Under: Electronic, Ambient, Industrial
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korea

Korea Undok Group: s/t (Penultimate Press) LP
After a run of extremely under the radar cassette releases, Penultimate Press is proud to present the first vinyl collection of works by the Winnipeg outfit Korea Undok Group. With more hiss than a valley of snakes, the various monikers here cover the gamut of contemporary practice traversing industrial decay, rhythmic pulse onwards to piano etudes and fractured possession. All these forms come debossed with the signature destroyed tape aesthetic which makes these sharks so lonely. 180 gram vinyl on beautiful reverse board sleeve with incognito booklet, all designed by KUG. This is a total package that befits this unique scene of one, or many.

File Under: Experimental, Ambient
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lacy chery

Steve Lacy with Don Cherry: Evidence (Modern Silence) LP
Soprano saxophonist Steve Lacy continued his early exploration of Thelonious Monk’s compositions on Evidence, originally released in 1961. Lacy worked extensively with Monk, absorbing the pianist’s intricate music and adding his individualist soprano saxophone mark to it. On this release, he employs the equally impressive Don Cherry on trumpet, who was playing with the Ornette Coleman quartet at the time, drummer Billy Higgins, who played with both Coleman and Monk, and bassist Carl Brown. Cherry proved capable of playing outside the jagged lines he formulated with Coleman, being just as complimentary and exciting in Monk’s arena with Lacy. Out of the six tracks, four are Monk’s compositions while the remaining are lesser known Duke Ellington numbers: “The Mystery Song” and “Something to Live For” (co-written with Billy Strayhorn). Edition of 500.

File Under: Jazz
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metronomy

Metronomy: Summer 08 (Because) LP/CD
Entirely written, played and produced by Metronomy himself, Summer 08 finds the multi-instrumentalist reflecting on his experiences around the time that Metronomy first landed a major breakthrough with Nights Out — the guilt of missing key moments in loved ones’ lives and the confused mania of finding himself a critical darling. It’s a concept that’s been gestating ever since, but the opportunities and challenges that resulted in the expansive, ambitious and Mercury Prize-nominated The English Riviera and the Motown-inspired Love Letters understandably took precedence. “I wanted to make another record with the naivety of Nights Out: ten tracks, straight up, upbeat. Write another banger, then another, and don’t really think about it.” Summer 08 is a mature, eclectic pop record in the vein of OutKast, David Bowie and Daft Punk. Recorded in Black Box Studios in France with mixing courtesy of Bob Clearmountain (Bruce Springsteen, David Bowie) and Neal Pogue (OutKast), it’s the most daring and creative Metronomy album. The album’s first single “Old Skool” is a cowbell-clattered cocaine pop belter that glimpses ’00s London from the backseat of an Addison Lee. It descends into a chaotic scratch frenzy courtesy of Beastie Boys’ turntablist and Mount’s childhood hero Mix Master Mike. As for the lyrics: “I was living in East London in 2008 and felt like all this stuff was happening in the West end. It’s nonsense really, but I felt it was this privileged end of town, all the musicians there had wealthy parents and were living in Ladbroke Grove and Notting Hill. So that song’s about being totally idiotic and just jealous.” “Night Owl” is even more immediate as its disco-groove – at once laidback, then nervously on edge – captures the ambience of a downbeat soul lost in the nocturnal summer swelter of the capital. Elsewhere, there’s warbling festival anthem-in-the-making “Miami Logic”, which sounds like “Word Up” as performed by Devo; an early East-Coast hip-hop rough ride called “16 Beat” about a love affair between man and drum machine; and a brilliant moment of Bowie worship titled “Mick Slow”. It’s the album’s duet with Swedish superstar Robyn, “Hang Me Out To Dry”, mixed by Erol Alkan, that’s the songwriter’s favorite though.

File Under: Synth Pop
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modest

Modest Mouse: Night on the Sun (Glacial Pace) LP
Modest Mouse was originally formed in 1993 in Issaquah, WA and over the last two decades has become the indie rock standard and one of the few bands capable of treading the narrow path where massive popularity is possible without sacrificing their longtime fans. Night On the Sun is a limited run Japan-only EP Modest Mouse recorded in January 1999 at Jupiter Studio with Phil Ek and originally released on CD the same year. All of these songs are different versions from those found on subsequent full-length releases The Moon & Antarctica (2000) and Everywhere And His Nasty Parlour Tricks (2001). The versions on Night On The Sun are generally longer.

File Under: Indie Rock
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mogadorMogador: Overflow Pool (Further) LP
Some records just barely nudge your consciousness, but they do so in such an intriguing manner that their tentativeness and ephemerality lure you in deeper than you expect. Such is the case with Overflow Pool by Will Long’s project Mogador. This prolific producer — who is best known for his profoundly meditative ambient music under the name Celer — favors the long-form, beatless approach to composition, as he lets his rigorously honed tones unspool with a gentle insistence. Overflow Pool consists of two lengthy pieces full of lingering, aqueous chords spaced out by suspenseful lacunae. Each piece revolves around episodes of briskly struck piano chord-clusters that are left to decay to near-silence for maximal contemplation. These are followed by a lower-keyed retort, as if to keep the listener from becoming overly optimistic after the preceding burst of Harold Budd-on-uppers tones. Similarities to Brian Eno’s Thursday Afternoon (1985) are also evident, as Mogador methodically doles out morsels of oceanic calm geared to align your chakras like some 21st-century Steven Halpern LP. It sounds ideal for flotation tanks, deep-tissue massages, and general relaxation. Long observes that Mogador differs from his Celer output “because it’s completely unprocessed. This is a pure room recording with no extra effects; only piano and reeltoreel delay.” The Yokohama, Japan-based musician says that his primary aim with Overflow Pool “was to make something that doesn’t happen all the time — it’s so sparse, that it blends into the room. It happens so seldom that it’s easy to forget about. You just catch it here and there. That’s the feeling I wanted.” It’s a feeling that’s all too rare in modern music — peacefulness without sentimentality. 180-gram LP in reverse-board sleeve. Mastered by Rashad Becker at Dubplates & Mastering. Artwork by Nao Watahiki.

File Under: Electronic, Ambient
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moor

Andy Moor & Yannis Kyriakides: Rebetika (Discrepant) LP
Andy Moor (guitar) and Yannis Kyriakides (computer) lovingly deconstruct and reassemble their favorite rebetika music in a set of nine pieces that encompass a wide scope of musical vision. This is an unusual and original take on the so-called “blues” music of the Greek diaspora of the early 20th century. This live set was recorded in 2006, first released as an exclusive download for the UK-based Seven Things download-only label, released on CD by Unsounds in 2010, and is now available on vinyl for the first time.

File Under: Greek, Rebetika, Guitar
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bedazzled

Dudley Moore: Bedazzled OST (Trunk) LP
A legendary soundtrack to a legendary film. Originally written by Peter Cook and Dudley Moore for the cult British movie Bedazzled (1967). A sublime musical mixture of pop, jazz, psyche and stupidity, this rare score sadly became the victim of terrible bootlegs in the late ’90s, when classic 1960s scores became very much in demand to the easy/jet-set/soundtrack in-crowd. First pressings have always been very hard to find. This is the first legal repress. It comes with the first ever repress of Peter Cook And Dudley Moore Cordially Invite You To Hell, an LP that was given out at the premier consisting of Cook And Moore’s improvised radio spots for the film. All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle. Limited pressing.

File Under: OST, Weirdness
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muslimgauzeMuslimgauze: Ali Zarin (Staalplaat) LP
With the massive amount of material Bryn Jones had left in the vaults when he passed away in 1999, it’s hard to truly assess his progression, stylistic or otherwise, over the years. And his reasons for choosing to release one tape’s worth of material over another’s were sometimes as mysterious as anything else about his work as Muslimgauze. But upon stumbling onto the material found on the undated tape known as Ali Zarin, it’s hard not to wonder how it would have been received if it had been released during Jones’s lifetime. The three-part, 43-minute title-track (the only part of the material to be given a proper title) makes for some of Jones’s most relentlessly driving work ever. As soundbites about occupation and Israel float in and out of the mix, a series of crashes and scrapes and a distorted beat contort themselves into shapes and patterns, wearing a cracked, scraping groove into the ground. For almost 22 minutes, the first part of “Ali Zarin” finds frantic beauty in the dense repetition of these elements; when the sounds remain but shift place and emphasis in “Part 2,” it’s almost shocking. Even more than most Muslimgauze releases, “Ali Zarin” sounds like it could have come out in the mid-’90s and remain equally contemporary. Although “Ali Zarin” could easily stand on its own, that doesn’t mean that the rest of the contents of the tape aren’t worth sharing as well. These four untitled demos and a brief “Rest Track” sketch show more directions in which Jones might have gone (but didn’t, at least based on what has been uncovered so far), especially the prowling late-night ambience and conventional drum kit loop of “Demo-01” and the densely looped bass pulses of “Demo-04.” It just serves to confirm the breadth of riches in Jones’s archive, and make the listener wonder what else is waiting to be unearthed. Limited edition of 500.

File Under: Electronic, Industrial, Techno
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nilovic

Janko Nilovic: Chorus (Underdog) LP
Following the recent reissues of Pop Impressions, Super America and Soul Impressions, Underdog Records label follows-up to the series with another brilliant album, Chorus, by French underrated composer and producer, Janko Nilovic. Janko Nilovic certainly was one of the greatest studio talents of Europe in the ’70s. He is a musician who devotes himself to music, which resulted in a great number of published works, but most of them made for library music labels and also not available for sale. His oeuvre stretches from classical, jazz and funk to pop, psyche and easy listening and has been sampled many times by hip-hop artists such as Jay-Z, Dre, Dafuniks or Guts.

File Under: French, Library
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pan sonic

Pan Sonic: Atomin Paluu (Blast First Petite) LP
Double LP version. Atomin Paluu features the final studio recordings made under the name Pan Sonic (Mika Vainio & Ilpo Vaisanen). Recorded per their usual working methods at Mika’s home studio in Berlin from 2005 to 2011 and subsequently edited into this album format by Mika in 2015. The film, Atomin Paluu (2015) is a Finnish production, created by Jussi Eerola and Mika Taanila, documents the building of the first nuclear power plant since the Chernobyl meltdown in 1986 – a project that fell foul of much bureaucratic wrangling and control which manifested itself in the need for over forty cuts of the film. Atomin Paluu, the soundtrack, shows Pan Sonic uniquely using selected third-party field recordings from filming at the building site. As the film’s soundtrack, these recordings were also bound up in a complex series of delays in the release of the film. The pre-release screenings of the film it won the highly coveted 2015 Nordic Dox Award at the world renowned CPH:DOX festival in Copenhagen. The soundtrack itself brought the greatest recognition and went on to win Best Soundtrack at the Jussi Awards Festival (known as the Finland’s Oscars). In typical Pan Sonic style neither member bothered to attend the awards to collect their statuettes.

File Under: Electronic, OST
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partchHarry Partch: Plectra & Percussion Dances… (Jeanne Dielman) LP
Born in Oakland, CA, but raised in New Mexico, Partch learned mandolin, violin, piano, reed organ, and cornet as a child. Clearly a unique talent, even that early on, Partch went to USC Music School but was dissatisfied with his teachers, and instead studied music on his own where he learned to reject many of the Western constructs of music and began experimenting with using scales of unequal intervals in just intonation, and was one of the first Western composers of the 20th century to use microtonal scales. These recordings were some of the first made after Partch settled in Sausalito and founded his legendary Gate 5 studio. Debuted in 1953 on KPFA radio, these compositions still sound otherworldly and cutting edge today. Essential American 20th Century composer Harry Partch, on Jeanne Dielman.

File Under: Classical, Contemporary
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porestPorest: Modern Journal of Popular Savagery (Nashazphone) LP
Porest’s fourth long-player, Modern Journal of Popular Savagery is a damning collection of parallel realities told in song and sound. Following 2006’s masterful Tourrorists, MJoPS pits post-globalized hate pop, cabalistic text-to-speech drama and violent tape music against soapbox anthems and swirling barbed-wire psychedelia — sometimes within the same track. The result: a terrifying and ridiculous audio shakedown that both avoids and completely indulges the inherent trappings of art and politics. Fuzzed out guitars and keyboards, epic modulated grooves, “samples” and far-out fucking field recordings index the colonization of our consciousness. You’re already dead — and none of your intellectual friends can save you. Guests include Richard Bishop (Sun City Girls), Peter Conheim (Negativland), and Jake Rodriguez (Bran?Pos). Recorded between California, Syria, Vietnam and points in between. Across decades, Porest (aka Mark Gergis) has issued a trail of confounding agitprop sound art, tilted pop, diabolical radio dramas and carefully rearranged realities on the Abduction, Seeland and Resipiscent labels. Porest’s blatant embezzlement of human syntax and cultural misunderstanding broadcasts vital mixed messages. Collaborations have included: Aavikko (Finland), Sun City Girls (USA), and Negativland (USA) among others. Gergis was a co-founder of the long-running experimental Bay Area music and performance collective Mono Pause — as well as its offshoot Neung Phak, performing inspired renditions of southeast Asian musics. Since 2003, with the Sublime Frequencies label, an ethnographic music and film collective out of Seattle, Washington — and more recently, with his own record label — Sham Palace, Gergis has shared decades of research and scores of archived international music, film footage and sound recordings acquired during extensive travels in the Middle East, South East Asia and elsewhere.

File Under: Experimental, Rock
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salemSalem’s Pot: Pronounce This! (Riding Easy) LP
This is a full length album. The format is a gatefold, double LP, and Side D is an etching. There is 6 songs and over 50 minutes of rock n roll. The new album by mysterious Swedish quintet Salem’s Pot delivers truly gritty and captivating heavy rock in high contrast technicolor: a sonic equivalent of The Last House On The Left, El Topo and Blood Feast. Similar to the way such films made up for their lack of flashy, expensive effects with dim lighting and implied violence, a hallucinogenic sense of true evil lurks in the dark corners of Salem’s Pot’s sound. Lest we forget, the band’s name itself is a pun on Stephen King’s stark, modernized vampire masterpiece. Where previous Salem’s Pot releases honed doom riffs to perfection, Pronounce This! sees the band expanding its horizons to the far corners of imagination. It’s a hazy fever dream of dark, thrilling excess. It’s equal parts of The Cramps’ Psychedelic Jungle, Pentagram’s Relentless, Roky Erickson’s The Evil One and The Stooges Raw Power, as much heirs to Deep Purple as Dead Moon – metal, garage punk, acid rock and a belladonna trip gone wrong. It’s not heavy metal, this is a mutant monster that cannot be tamed.

File Under: Metal, Psych
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shalabiSam Shalabi: Iris & Osiris (Nashazphone) LP
“Sam Shalabi presents Isis And Osiris; a dystopian fantasia for ud ruminations and iterated tape manipulations. Listening to Sam’s music or playing with him is always a psychedelic bliss. When Isis And Osiris penetrates my ears I am possessed by an emergent universe where immanence and alienation, abjection and love meet. Nothing will be the same. The transformative effect of Sam Shalabi’s cosmology is one of the most joyful and inspiring estrangement I experienced.” — Alexander St. Onge; Montreal, Quebec, March 2016. Sam Shalabi is an Egyptian-Canadian composer, improviser and guitarist living between Montreal and Cairo. Starting out during the late ’70s punk era, his work has evolved into an experimental synthesis of modern Arabic Music that incorporates free improvisation, traditional Arabic music, noise, classical, text, and jazz. He has released five solo albums, five albums with Shalabi Effect, a free improvisation quartet that bridges western psychedelic music and Arabic Maqam and three albums with Land Of Kush, an experimental 30-member orchestra for which he composes. He has appeared on over 30 albums and toured Europe, North America and North Africa. Projects include collaborations with Alvarius B, Stefan Christoff and The Dwarves Of East Agouza, a Cairo-based trio with Maurice Louca and Alan Bishop. He is a founding member of Shalabi Effect.

File Under: Experimental, Folk
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tak shindoTak Shindo: Mganga! (Modern Harmonic) LP
Afro-Asian Exotica. Jungle beats and lush rhythms from the famed film and television composer. An early stereo marvel from the original 1958 tapes. Takashi “Tak” Shindo was one of the most prominent purveyors of that gorgeous genre known as Exotica, a magnificent and surreal style of music which took the sounds of cultures at the time unknown or mysterious and blended it into a swingy, sexy stew. As a Japanese-American, Shindo brought a unique cultural perspective to the proceedings – he combined the sounds of his own heritage into a brilliantly orchestrated shabu-shabu that made him a highly in-demand arranger and composer (Shindo would later become known for his TV scores, including Gunsmoke). Nowadays, we’d call it “appropriation,” but at the time Exotica knew no such boundaries – anybody’s culture and sound was fair game, often leading to unusual and thrilling combinations of sound. Mganga! is Shindo’s exploration of African sounds – it’s obvious that his knowledge of African and Afro-Cuban musical forms was based not only on a knowledge of traditional native music but also from soundtracks and “fantasy” versions of music from the African diaspora. Drums and congas abound, as do guttural chants and thrilling Cuban rhythms (and the ever-present exotica sound effects!). But Shindo’s own love of Japanese sounds crop up here and there too – listen for Japanese scales and traditional instruments such as the koto. Modern Harmonic/Sundazed presents the thrilling Mganga! the way it was meant to be heard – thrillingly mastered from the master tapes, pressed onto gorgeous colored vinyl and wrapped in restored packaging that reproduces the groundbreaking neo-tribal graphics. Pour yourself an exotic cocktail, turn the lights down low and let Tak Shindo take you to his own crazy, sexy version of Africa!

File Under: Exotica
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slowSlow Season: Westing (Riding Easy) LP
Contrary to the band’s name, downtime is a rarity for Slow Season. Sandwiched between summer 2015’s extensive tour with their RidingEasy labelmates Mondo Drag and Electric Citizen, plus several short west coast jaunts, the hard-working quartet also found time to hammer out its most powerful and ambitious album yet. Written, engineered, produced and mixed themselves on their own equipment, entirely on analog tape, Westing is a hard-hitting and powerful reminder of how at one time a rock ‘n’ roll band could be a transcendent experience.

File Under: Metal
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tricoliValerio Tricoli: Clonic Earth (Pan) LP
The experimental Italian composer, Valerio Tricoli, returns to PAN with a new album, Clonic Earth. His ongoing output for the label has long-presented his electroacoustic sound compositions which utilizes analog live sampling and real-time editing of field and studio recordings by manipulation of 1/4 inch tape. Asides from being a founding member of the Italian avant-rock group 3/4HadBeenEliminated, he has worked extensively with various musicians, choreographers and multimedia artists including Thomas Ankersmit, Antoine Chessex, Werner Dafeldecker, Anthony Pateras, and Robert Piotrowicz. His studio compositions often explore themes of the internal – psychological and physical – and of the occult, which, with the use of spoken text, makes them often deeply existential works, self-investigations of the irrational horror within. Clonic Earth is a perturbing, yet compelling mind-expanding work, marked by compositional strategies of exploded narratives, psychological insight and oracular literary references, where questions about the boundaries of spatial perception in the decoding processes of acousmatic music. Tricoli’s allegorical and philosophical universe takes the form of an unhinged mind’s landscape swarming with estranged sound objects in the complexity of details and surrealistic effects of Hieronymus Bosch’s larger paintings. Compared to his previous works, the content of Clonic Earth explores more synthesized and heavily processed sounds, especially vocals, often appearing in the form of a religious, electrified chanting. The record is described by its author as a natural consequence of the internal collapse depicted in his previous record, Miseri Lares: “As if all the debris left inside my loudspeakers have been ignited to expand into the ether, to find a justification at the principle of Chaos, or Cosmos alike.” This movement is expressed by references to the theme of fire as original matter in the Chaldean Oracles which, together with the later work of Philip K. Dick, are the main sources for the vocal/text elements of the composition. Fire serves the author a metaphor for the acousmatic listening experience itself: a borderline perception of sounds eternally fixed in their spasmodic disappearance, which could eventually drag us into a different layer of reality, drastically changing, subverting, or expanding the space in which they are diffused. A ritual, somehow, which may link the listener and the perceptive space that he inhabits with whatever lies beyond the loudspeakers – beyond the vibrating surface of the world. Mastered and cut by Rashad Becker at D&M. Artwork by Bill Kouligas.

File Under: Experimental, Electronic
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turtleMichal Turtle: Phantoms of Dreamland (Music from Memory) LP
Following their release of the Michal Turtle 12″ Are You Psychic?/Astral Decoy, Music From Memory present Phantoms Of Dreamland; a compilation of works by the UK musician recorded between 1983-1985. This double LP features tracks drawn from the recording sessions for Turtle’s album Music From The Living Room (1983) and also collects material Turtle recorded shortly after that, for an album which would never materialize. With three tracks taken from Music From The Living Room and the rest of the compilation entirely made up of unreleased tracks, Phantoms Of Dreamland draws on an illustrious period for Michal. In 1982, at the age of only 22, Michal Turtle set up a portable four track studio in his family’s South London home, over-running his parents’ front room with synthesizers, amps and instruments. Here he would create layered and deeply hypnotic tracks that were often built around live jams with musicians he would invite to his home. Although the music can appear to be sample based, all instruments were played live and any voices or sound effects were recorded directly to tape or from tiny cassette loops. Combining electronics with live percussion throughout, Phantoms Of Dreamland reflects a deep sense of musical exploration and creates a uniquely other-worldly musical language of its own.

File Under: Electronic, Experimental
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uptightUp-Tight: s/t (Desastre) LP
Up-Tight are a three-piece psych group based in Hamamatsu, Japan with a history dating back to 1992 has released around 10 records. Up-Tight’s current line-up (2016) is original members T. Aoki (vocal & guitar) T. Ogata (bass) and T. Shirahata (drums). The ghosts of The Velvet Underground, Les Rallizes Dénudés and Amon Düül loom large over their personal feedback song-destruction universe. This LP is the first re-issue of their original CD-R-only release in Japan in 1999 in a very limited edition of 100 copies. It has been remastered in Berlin from original recordings and presented here in an edition of 300. Here is what David Keenan (Wire magazine) thought about this first CD-R released in 1999 : “Up-Tight are a noxious young trio from south Tokyo, all acolytes of the legendary Japanese psych group Les Rallizes Dénudés, who augment their sound with crushing, Sabbath-styled dynamics, earsplitting acid leads and beautiful Velvets-inspired ballads… Song structures are mostly kept loose, allowing for lots of noisy improvisation. Generally the album is anchored by heavy riffs. Just when you thought you’d got to grips with Tokyo’s paradigm destroying psych scene, this one hits like a sucker punch.” All songs are five to ten minutes long, varying from very melodic ballads to psychedelic journeys. The album ends with an epic track, “無題”, which is an 18 minutes tour-de-force, that takes you to another dimension as if the Velvet Underground’s “Sister Ray” would have a child with Acid Mothers Temple, while listening to Amon Düül under codeine. Up-Tight are from the generation that emerged with the madness of the Tokyo ’90s and the P.S.F Records scene. Close to Acid Mothers Temple (the two bands recorded an album together), Up-Tight has a unique sound and is one of the most important underground reference in the Japan psychedelic scene.

File Under: Psych, Japanese
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xennaisIannis Xenakis: La Legende d’Eer (Karlrecords) LP
The second release in the Perihel series is one of the most famous electroacoustic compositions by Iannis Xenakis. When Iannis Xenakis (1922-2001), who had fought against the occupation as part of the communist resistance, moved to Paris in 1947 it was the start of a highly creative and impressive career. Xenakis not only studied composition with Olivier Messiaen and became one of the most innovative composers of the 20th century, he also worked as assistant to Le Corbusier and realized a.o. the Philips Pavilion for the World Exhibition in Brussels, 1958. His compositions often are based on mathematical principles (in 1966 he founded the CEMAMu – Centre d’Etudes de Mathématique et Automatique Musicales), which give his music an unprecedented aesthetic and as The Guardian would say, a “shocking otherness”. The most famous works of Xenakis, who won the Polar Music Prize (considered the unofficial Nobel Prize for music) in 1999, are his compositions for orchestra Metastasis, Pithoprakta and Terretektorh (where the 88 musicians are spread within the audience) and the electroacoustic compositions Persepolis, Concret PH, Bohor and La Légende d’Eer where Xenakis integrated his stochastic synthesis sounds for the first time. As legendary as this piece is, there is an impenetrable thicket of versions and stories around La Légende d’Eer, it exists in different releases, with wrong sample rates or digitized backwards. This version uses the 8-track-version that Xenakis himself presented at Darmstädter Ferienkurse in August of 1978. As the automatic spatialization is lost, this became the only original version of this composition and is presented here (mixed down to stereo by Martin Wurmnest who tried to preserve the spatial movements as perceptible as possible. La Légende d’Eer not only became a milestone of electroacoustic music but is also an important reference for noise and industrial musicians up to the present day. Mixed by Martin Wurmnest, mastered & cut by Rashad Becker, La Légende d’Eer is available here as 180 gram vinyl. Includes download code. Includes insert with liner notes by Reinhold Friedl.

File Under: Avant-Garde, Electro-Acoustic
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zxbZomby x Burial: Sweetz (Hyperdub) 10″
VINYL-ONLY !! ONE-SIDED 10″ !! LIMITED EDITION !! Long time mutual admirers, Zomby and Burial get together for this one-sided white label taken from Zomby’s forthcoming album ‘Ultra’, with probably the most toxic track from either of their back catalogues to date.

File Under: Electronic
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britxoticaVarious: Britxotica Goes East! (Trunk) LP
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, A breathtaking follow-up to the successful Britxotica! LP (JBH 057LP) Britxotica Goes East!: Persian Pop And Casbah Jazz From The Wild British Isles! takes the listener on a magic carpet ride to a place where the sphinx, Sheiks, sand dances, tales of yashmaks, Turkish coffee, bizarre belly dances and caravans of camels are the magical, musical norm. But this is music made by post war jazz musicians and show girls from London. Yes, this is perfect Persian pop and killer Casbah jazz made by Eastenders. Features charismatic vocal cues about pyramids, late night desert tristes and outrageous Sutlans. It’s also British music as rare and as beautiful as Tutankhamun’s treasure. Offers a lost recording of “Caravan”, an insane Eastern Kazoo number, several fierce instrumental dance numbers (one penned by Basil Kirchin) that will get you sand dancing all over the shop. Mastered and sequenced by Jon Brooks, AKA The Advisory Circle. Features: Beverley Sisters, Chico Arnez, Stanley Black, Johnny Keating And The Z Men, Charles Blackwell, Philip Green And His Mayfair Orchestra, Kenny Day, Tony Osbourne, Yana, Johnny Keating Kombo. Laurie Johnson, Roy Tierney, Reg Owen and Ray Ellington.

File Under: Exotica
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divineVarious: Divine Disco 1974-1984 (Cultures of Soul) LP
“Cultures of Soul Records is proud to present Greg Belson’s Divine Disco – American Gospel Disco 1974 to 1984, curated and researched by Gospel Soul music authoritarian Greg Belson. Greg Belson’s Divine Disco is a snapshot in time encapsulating the raw power of a spiritual performance, set to the pulsating 4/4 rhythms that were in vogue with the dance floors of the day. Labels like Savoy played a key part in identifying artists that fit nicely into this brand new style with performers like Shirley Finney and The Gospelaires, both of whom were established within the scene, but carried the ‘Disco’ torch brightly with their tunes featured here. Divine Disco also paints a picture of the lesser known acts that privately released their message to the hopeful masses, such as the Gospel Ambassadors and the Inspirational Souls, whose recording budgets would have been significantly less than any ‘major’ label. As proven here, they had no less of an impact to the listener. Other tracks on this compilation such as Betty Griffin’s ‘Free Spirit’ have become big club spins for the likes of the NYC Downlow and Horse Meat Disco crews. Also included are recently discovered tunes like the Masters of Music’s ‘Trouble Don’t Last Always’ as well as a future classic by The Testimonial Singers, which features several young members of the Winans Family. We’ve got you covered too for those more modern soul, boogiefied moments with rarities from Delores Fuller, Herman Harris and two offerings from the killer LP by Enlightment. This compilation also includes remixes and edits by Steve Cobby (who was a member of Fila Brazillia) and Rahaan.”

File Under: Disco, Gospel
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sky girlVarious: Sky Girl (Efficient) LP
Sky Girl is a mysteriously unshakeable companion, a deeply melancholic and sentimental journey through folk-pop, new wave and art music micro presses that span 1961-1991. It’s a DIY collection of different genres, from different countries across different decades, that are all bound by the same longing sentiment. A concept compilation! A seemingly disparate suite of selections of forgotten fables by more or less never-knowns, Sky Girl forms a beautifully coherent and utterly sublime whole deftly compiled by French collectors DJ Sundae and Julien Dechery. From Scott Seskind’s adolescent musical road movie to Karen Marks’ icy Oz-wave, the charming DIY storytelling of Italian-American go-getter Joe Tossini and the ethereal slow dance themes of Parisian artists Nini Raviolette and Hugo Weris, Sky Girl resonates on a wide spectrum historically, geographically and stylistically. It unites in a singular, longing, almost intangible ambience. If the names sound wholly unfamiliar that doesn’t matter, the nature of the compositions swiftly nurtures an intimacy with these lonely, poignant, openhearted wanderers. Most were available in a very limited capacity at the time of their release, some were never really released at all – Gary Davenport declined to release “Sarra” after he split with the girl for whom the track is named – years later a friend convinced Davenport to allow him to put 100 copies online to sell and DJ Sundae was quick enough to snare one. Beyond their scarcity, these tracks are bound together by a certain raw beauty that’s achievable when music is made and no one is listening. Sky Girl comprises of fifteen officially licensed songs, a two year international scavenger hunt through long-folded home label operations, the depths of internet forums and traceless acetates. Both compilers are well trained record sleuths – DJ Sundae’s labels Hollie and Idle Press have reissued Arthur Russell affiliate Nirosta Steel and DIY relic Pitch, while Julien Dechery previously compiled Fire Star, a retrospective on Tamil film composer Ilaiyaraaja, for Bombay Connection. Released by popular NTS show “Noise In My Head” offshoot Efficient Space, Sky Girl is enriched with artwork from Perks and Mini mutant Misha Hollenbach and appropriately elegant sleeve notes courtesy of Ivan Smagghe. Includes digital download. Also features: Linda Smith, Bruce Langhorne, The Seraphims, Some of My Best Friends Are Canadians, The Rising Storm, Warfield Spillers, Joyce Heath, Angel, Nora Guthrie and Once.

File Under: Lo-Fi, New Wave
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…..Restocks…..

 Arcade Fire: Funeral (Merge) LP
Arcade Fire: Neon Bible (Merge) LP
Funkadelic: Maggot Brain (Westbound) LP
Mississippi John Hurt: 1928 (Yazoo) LP
Jurassic 5: Quality Control (Get on Down) LP
MF Doom: Special Blends 1 & 2 (Metal Face) LP
Janko Nilovic: Soul Impression (Underdog) LP
Janko Nilovic: Pop Impressions (Underdog) LP
Jim O’Rourke: Eureka (Drag City) LP
OST: Terminator (Milan) LP
Pere Ubu: Modern Dance (Fire) LP
Queens of the Stone Age: Rated R (Interscope) LP
Jack Rose:  Kensington Blues (VHF) LP
Shooting Guns: Brotherhood of the Ram (Riding Easy) LP
Soft Machine: s/t (Sundazed) LP
Soul of Mischief: 93 til Infinity (Traffic) LP
J Spaceman/Sun City Girls: Mr. Lonely (Drag City) LP
Suicide: Half Alive (Roir) LP
Sunn o))): Black One (Southern Lord) LP
Sunn o))): Monoliths & Dimensions (Southern Lord) LP
Swans: My Father… (Young God) LP
Swans: The Seer (Young God) LP
Swans: To Be Kind (Young God) LP
Swans: The Glowing Man (Young God) LP
Sword: Warp Riders (Kemado) LP
Jack White: Lazaretto (Third Man) LP
White Stripes: Icky Thump (Warner) LP
Various: Voodoo Party Volume 1 (University of Vice) LP

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…..news letter #751 – door…..

Alright, we are in the thick of the summer lull as far as new releases. Fortunately we’ve had a decent stream of used stuff trickling in and hitting the bins, so you should probably come down for a dig.

…..pick of the week…..

p2

Rega Planar 2
The Planar 2 turntable returns to the line-up. The new Planar 2 was developed over the past two years alongside the recently released Planar 3. Featuring the brand new RB220 tonearm which is packed with groundbreaking new features. A new 24v, low noise motor, acrylic laminated plinth, newly designed central bearing and so much more. Every feature of this innovative new turntable is designed to extract the maximum amount of information and detail from your vinyl collection.

Tonearm – Featuring the brand new RB220 tonearm which is packed with groundbreaking new features. Incorporating new ultra low friction, Rega designed, bespoke, zero play ball bearings (Patent Pending), housed within a brand new, stiffer and lightweight bearing housing which was developed with a new automatic bias setting negating the need for the user to set bias, making it almost completely plug and play apart from simple arm balancing. The new housing also includes an integrated arm clip and uses Rega’s latest custom aluminium arm tube.
Hub bearing – The Planar 2 has a new 11mm self securing brass bearing (Patent Pending) offering improved fit and less stress on the bearing preventing the transfer of potential energy.
Plinth – High gloss acrylic laminated plinth, stiffer and vastly improved appearance with ergonomically positioned power switch. Two plinth finishes at launch: gloss black & gloss white
Motor – New 24v low noise, low vibration motor assembly and new PCB.
Platter – New float glass ‘Optiwhite’ 10mm – Improved accuracy platter.
Other features :
Re-designed feet – New improved foot assembly to increase stability and reduce vibration transfer.
Carbon cartridge – supplied as standard on all Planar 2’s for simple plug and play convenience.
Motor cover tray – with integrated cooling.
Optional lid / plinth protectors – supplied to prevent marks on the plinth and keep it looking its best.
Instructions – Easy to use multi-lingual quick start guide for easy set up.

File Under: Gear

…..new arrivals…..

bill

Bloodshot Bill: Guitar Boy (Norton) LP
Bloodshot Bill is heir apparent to our own Hasil Adkins and now takes his own crown with his newest hot as Hades release GUITAR BOY. Slated as this summer’s sizzler, this slab slams the rock-n-roll hit parade just in time for the one man band roadshow circuit – catch him on tour in support of the album! TRACKLIST: The Wobble / Love Me Twice / Mary Ann / Be My Own / Big Eyes, Crazy Curls / I’m Telling You / That Lonesome Feeling / Hypnotize / Gonna Get Gone / Don’t Wanna See You Anymore / Bad Bad Girl / Last Call / Break My Heart / Pretty Little Gal Fro Mars / Tell Me You Love Me / Baby Farewell

File Under: Electronic
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khanate

Khanate: s/t (Hydrahead) LP
After being out of print for well over a decade, Khanate’s s/t 2001 debut is finally available on vinyl again. Khanate is Stephen O’Malley (Sunno))), etc), James Plotkin (Old, Jodis, etc), Alan Dubin (Old, Gnaw, etc), and Tim Wyskida (Blind Idiot God, etc). Expanded edition includes audio re-mastered by James Plotkin, the “No Joy” 12”, and deluxe packaging by Stephen O’Malley. This is music about power — the exaltation, manifestation, the consolidation, and the earth-shattering use of sound entwined with power as means to the insular mythologies of Khanate. Call it doom. Call it sludge. Call it drone-metal. Call it anything you like, as long as the neologism focuses on the gravitational axis of power and sound. Khanate’s collective history of slow corrosion and avant-metal practice lends to the supergroup conceit that was applied from afar. At that time, O’Malley had recently formed SunnO))) and come to the conclusion of Burning Witch; Plotkin’s presence in the more adventurous camps of metal and dark electronica is highlighted by his work in Old, Phantomsmasher, The Lotus Eaters (with O’Malley), etc; Tim Wyskida providing the convoluted rhythmic foundation to Blind Idiot God; and Alan Dubin’s distinctive tortured invocations had been nakedly displayed in Old (with plokin). Together, they produced an immensely influential body of work that stands as an endurance test of crushing torpor, beginning with this self-titled album. Two versions of “No Joy” land on the remastered repress of the eponymous record, taking Iggy’s snarl about “No Fun” to one logical extreme of negation for the human condition under the duress of a slow choke.

File Under: Metal, Doom
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khanate1

Khanate: Things Viral (Hydrahead) LP
Expanded edition includes extra tracks, audio re-mastered by James Plotkin and deluxe packaging by Stephen O’Malley. Khanate — the quartet of Stephen O’Malley (guitar), James Plotkin (bass), Tim Wyskida (drums), and Alan Dubin (vocals) — released their second album, Things Viral, in 2003 to considerable international acclaim. This still stands as an opus of systematically deconstructed metal and crawling avant-rock tropes. The slow pace of these recordings follows that of Khanate’s eponymous debut, with the band sterilizing much of the grime and distortion to highlight the space between. Things Viral deliberately vacates and erases the sustained tone that is often liberally employed as a doom/drone standard, leaving behind an emaciated structure of rhythmic heft, subharmonic progressions, and Dubin’s torturous vocalizations. Thanks to this reductive ethos, these demonic vocals puncture through like knives blindly stabbed into the dark. His poetics of psychopathic delusions and death-blink finality require such a harsh scrape from throat and larynx to achieve the dismal affect. This re-issue expands the original to include the track “Dead” (not on the Southern Lord cd) and a reprised version of “Commuted” (not on the Load 2LP).

File Under: Metal, Doom
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mstrkrft

MSTRKRFT: Operator (Last Gang) LP
After a five year hiatus, Canadian electronic music agitators MSTRKRFT (Jesse F. Keeler & Al-P) return with the highly anticipated new album Operator. The duo quietly began work on Operator in late 2013 at their Toronto studio, optimizing their analog attack with an arsenal of synths, 808s, 909s and other equipment to track and perform what would eventually become Operator. They left the computer set to “record” and banged out hundreds of hours of music to draw from. “The ‘operator’ concept for us was essential in the creation of the music on this album, but I’m not sure what came first, the title or the idea,” says Keeler. “While browsing military related websites and blogs, mostly consisting of vets talking to each other like any civilian I suppose, I noticed repeated reference to something they called ‘operator culture.’ It seemed to be something that was sometimes laughed at, sometimes caused disdain, but was referenced constantly and seemed to be understood by everyone. I came to believe the operator concept is one of detachment.” “For example, an operator of a tank referring to himself as merely the operator, rather than defining himself by what he is actually doing with the tank,” he continues. “‘Operating’ a sniper rifle would seem to be a much easier concept to deal with than the reality of what being a successful sniper means. In the comfort of our rehearsal space, we had been going through a similar phase of discovering detachment. As we had decided to work entirely with hardware, all our old drum machines and modular synth collection, we had begun to feel more like operators than musicians.”

File Under: Electronic
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neon

OST: The Neon Demon (Milan) LP
The Neon Demon is the latest film from acclaimed director Nicolas Winding Refn (Drive, Only God Forgives). Starring Elle Fanning (Maleificent, Trumbo), The Neon Demon follows Jesse, a young woman who moves to the neon-drenched city of Los Angeles to pursue a career in fashion modeling. Soon thereafter a group of beauty-obsessed women begin to circle her, hungering for her youth and vitality. Before long, Jesse finds herself caught in the sinister world of Los Angeles’ unforgiving underbelly. Keanu Reeves (The Matrix, John Wick), Christina Hendricks (Drive) and Jena Malone (The Hunger Games series) round out the principal cast. Director Refn turned once again to his frequent collaborator Cliff Martinez (Drive, Traffic) for scoring duties. Martinez has created a powerful, modern tapestry of sound utilizing synthesizers as a framework for the dark corners and vibrant vistas that make the City of Angels. The soundtrack also features the dark electro piece “The Demon Dance” by Julian Winding, as well as “Mine” a pop track by Sweet Tempest. “Waving Goodbye,” an original song written by Australian singer Sia and produced by the Grammy Award-winning producer Diplo serves as a bookend to the album. The vinyl release features two colored 180-gram vinyl LPs, housed in a pair of Euro sleeves and a double tip-on jacket. A download card for a digital version of the album is also included.

File Under: OST
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…..Restocks…..

13th Floor Elevators: Psychedelic Sounds (Snapper) 2LP
Aesop Rock: Impossible Kid (Rhymesayers) LP
Aphex Twin: Cheetah (Warp) CS
Avalanches: Wildflower (Astralwerks) LP
The Band: The Last Waltz (Rhino) LP
Bathory: s/t (Black Mark) LP
Black Mastiff: Music Machine (New Damage) LP
Burzum: Filosofem (Back on Black) LP
Neko Case: Blacklisted (Anti) LP
Johnny Cash: American Recordings (American) LP
Johnny Cash: American VI (American) LP
City & Colour: If I Should Go Before You (Dine Alone) LP
Clipse: Hell Hath No Fury (Get on Down) LP
Death Grips: Money Store (Sony) LP
Doors: s/t (Rhino) LP
Faith No More: Angel Dust (Rhino) LP
Charlie Feathers: Tip Top Daddy (Norton) LP
Charlie Feathers: Wild Side of Life (Norton) LP
Charlie Feathers: Honky Tonk Kind (Norton) LP
Charlie Feathers: Long Time Ago (Norton) LP
Flaming Lips: Transmissions From The Satellite (Warner) LP
Flying Lotus: Cosmogramma (Warp) LP
Flying Lotus: Los Angeles (Warp) LP
Flying Lotus: Until the Quiet Comes (Warp) LP
Lauryn Hill: Miseducation of… (Sony) LP
Massive Attack: Mezzanine (Virgin) LP
MF Doom: Mm… Food (Rhymesayers) LP
Misfits: Earth A.D. (Caroline) LP
Misfits: Static Age (Caroline) LP
Mos Def/Talib Kweli: Black Star (Universal) LP
Mumford & Sons: Sign No More (Glassnote) LP
Nirvana: Nevermind (Geffen) LP
Parquet Courts: Light Up Gold (What’s Your Rupture) LP
Red Hot Chili Peppers: Getaway (Warner) LP
Pharoah Sanders: Karma (Impulse) LP
Andy Shauf: Party (Arts & Crafts) LP
Wayne Shorter: Night Dreamer (Blue Note) LP
Slayer: God Hates Us All (Universal) LP
Slayer: Seasons in the Abyss (Universal) LP
Smiths: Hatful of Hallow (Rhino) LP
Smiths: Meat is Murder (Rhino) LP
Smiths: Strangeways Here We Come (Rhino) LP
Regina Spektor: Soviet Kitsch (Warner) LP
Them Crooked Vultures: s/t (Interscope) LP
Venom: Possessed (Back on Black) LP
White Stripes: Complete Peel Sessions (Third Man) LP
Amy Winehouse: Back to Black (Universal) LP
Amy Winehouse: Lioness (Universal) LP

 

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…..news letter #750 – bags…..

Once again, not a huge list this week. This will likely be a running theme for the next few weeks, as it is every summer. But all that 90s stuff is priced and available now. And, I just bought a bunch of 80s hard rock/metal. More mainstream than last summer’s metal haul, but still some cool stuff to look for in the bins soon.

…..pick of the week…..

mtumeMtume Umoja Ensemble: Alkebu-Lan – Land of the Blacks
(Live at the East) (Strata-East) 2LP

180-gram exact repro reissue, originally released in 1972. Hyper-afro spiritual jazz teetering between avant-garde inventiveness and free jazz madness. “This album is a mean motherfucker. It’s an amazing document of the pure fire of Black Nationalist Free-Jazz. I discovered it during a period when I was picking at the outer reaches of Leroy Jenkins’ discography (he’s a member of this ensemble). At the time I had exhausted his output as a band leader and as a member of the Revolutionary Ensemble and was desperate to hear more. It begins with an Afro-Spiritual/Political monologue. Even before the music started, I knew I was onto a good thing. When its first notes cried out, I nearly fell out of my chair. It’s astounding. I spent years desperately trying to track down a copy. It doesn’t turn up often and when it does, it’s rarely cheap. I waited it out and got lucky. The ensemble is lead by James Mtume, a percussionist who during this period was playing regularly with with Miles Davis, Buddy Terry, Sonny Rollins, Pharoah Sanders and others. He released two albums as a leader. Both are great representations of 1970’s New York Free-Jazz, and among the best displaying the possibilities of larger ensembles. Alkebu-Lan – Land Of The Blacks was recorded at The East, a radical venue in the Clinton Hill Neighborhood of Brooklyn, remembered for the Pharoah Sanders album bearing its name, and notable for not allowing White people to pass its doors. Mtume left the world of Jazz in the late 70’s and went on to have a fairly successful career as a Modern Soul and Disco artist. This phase in his career didn’t produce many things I like, and is probably most noted for the track Juicy Fruit, which was famously sampled by Notorious B.I.G. Of all the albums I’ve chosen for this list, Alkebu-Lan stands slightly at odds. Most of the artists featured here, like Mingus, use complex orchestration to capture the depth of their anger and emotion. To achieve this, they exacted remarkable control over the emotional realization of their music. Alkebu-Lan is the other end of the spectrum. It is a howling storm set forth on the world. There isn’t an ounce of restraint on its four sides. It makes the emotional onslaught of Punk and Hardcore sound like a childish temper tantrum. Despite all that it unleashes, somehow its sound still returns me to Mingus. It’s not only the scale of the ensemble, but how the musicians play off each other. The album embraces the rising tide of the whole rather than the brittle interplay of single musicians. The dissonances they create despite their energy and emotion feel considered and composed. It’s a rare and wonderful thing. If you spend the time it takes to hunt it down, you won’t be disappointed.” The Hum

File Under: Free Jazz
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…..new arrivals…..

aphex

Aphex Twin: Cheetah (Warp) LP
In tomorrow…. The new Aphex Twin Cheetah EP uses digital sound generation techniques combined with wave sequencing technology to bring you sounds with movement and depth rarely found on records today. To assure you that your Cheetah EP will give you many years of enjoyment, please be sure to read the owners manual carefully before attempting to operate. All forms of the EP come encased in high gloss packaging with silver foil detailing to ensure a high quality product experience.

File Under: Electronic
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avalanches

Avalanches: Wildflower (Astralwerks) LP
In tomorrow... Sixteen years after the release of their critically acclaimed, award winning debut Since I Left You, The Avalanches return with their second album, Wildflower. Astralwerks is thrilled to be releasing the long-awaited album from the influential and genre-defying Australian band stating, “It is an absolute honor to be working with The Avalanches on their return. They made an incredible impact with their first album and fans all over the world have been waiting for this. The wait is over.”  Created by the band’s core duo – Robbie Chater and Tony Di Blasi – Wildflower is like The Beach Boys’ Smile re-imagined in the Daisy Age: a mind-bending cartoon road movie that’s best viewed with closed eyes and an open mind. The first single, “Frankie Sinatra,” draws from a variety of eras, cultures and genres, and exemplifies the rich tapestry of samples and sonics that is distinctly The Avalanches. An infectious, old world, carnival-inspired rollercoaster of a song, “Frankie Sinatra” features Danny Brown and MF Doom on vocals and masterfully weaves in 20th century works by influential calypsonian Wilmoth Houdini and the musical theatre team of Rodgers & Hammerstein. Since I Left You – released in Australia in 2000 and in the U.S. and the U.K. in 2001 – perfectly captured the hazy millennial zeitgeist. Pitchfork awarded it a 9.5/10 rating, noting, “Since I Left You sounds like nothing else…this is an album brimming with spontaneity, joy, sadness, humor, reflection, and general human-ness” while NME hailed the album as a “joyous, kaleidoscopic masterpiece of sun-kissed disco-pop.” Since I Left You was named one of 2001’s best albums by numerous critics – and its enduring influence was underscored when it placed in the top 10 of Pitchfork’s Top 200 Albums of the 2000s. The Avalanches, meanwhile, have become the stuff of folklore. The announcement of the release of Wildflower comes after years of speculation and rumors. “What kept us going during the making this record was a belief in the day-to-day experience of music as a life force – as life energy,” says The Avalanches’ Robbie Chater. “Hearing a certain song on a certain morning can change your day; it can make the world look different, changing the way you perceive light refracting through the atmosphere for the rest of the afternoon. Literally changing the color and feeling-tone of your world.”

File Under: Electronic, Hip Hop
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barreca

Marc Barreca: Twilight (Palace of Lights) LP
“Marc Barreca has been creating and performing electronic music since the mid 1970s. Following recent vinyl reissues of Barreca’s 1983 cassette Music Works for Industry via the RVNG spin-off Freedom To Spend, and a compilation of early cassette tracks on Vinyl On Demand’s acclaimed American Cassette Culture, Palace of Lights has reissued the artist’s first album for the label. 1980’s Twilight was one of the earliest releases on Palace of Light, and is part of an ongoing program of documenting the roots of the Pacific Northwest independent impulse. This remastered and expanded edition includes one previously unreleased track on the LP and an additional six bonus tracks via the enclosed download card. Twilight struck out in a distinct direction, taking steps into the ambient and industrial while carrying along a phonographic sensibility. Using sounds derived from a variety of acoustic as well as electronic sources, Twilight foreshadowed the diversity and pliability of sampled, industrial and lowercase musics, ensuring the album was remarkably prescient and remains resiliently fresh to this day. Textura (reviewing Tremble) said ‘Barreca’s lava-like soundworlds are heady constructions whose sounds spill forth in thick clusters and collectively present themselves as heaving conglomerations of shape-shifting sound… a word like organic is less applicable than geologic, given the immense tectonic force with which its material convulses.'”

File Under: Electronic, Ambient
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fantasy

Sharon ‘Mhati’ Chatham: Fantasy (Cinedelic) LP
Cinedelic Records presents a reissue of Fantasy (1973) by Sharon “Mhati” Chatam. Originally released in 1973 on RCA, this obscure library music title was produced by Maestro Gian Franco Reverberi using the pseudonym of Ninety as previously done before for other records like Psycheground Group Library on Lupus and the two Underground Set releases. The style is different from the aforementioned albums and is closest to the style of murky erotic cult soundtracks created for Renato Polselli as “Fire Shadows In The Sunset” features congas, groovy piano, spacey synthesizers and vocals. It contains many other amazing tracks like “I’ve Got An Idea” which includes insane fat drums, hypnotic bass, trippy piano and beautiful phased flutes, or the jazz groove “Closed In a Drugstore”, the up-tempo funk “You’re So Vain” (Carly Simon), the hip-hop drum on the cover versions of “Daniel” (Elton John, Bernie Taupin), “Sylvia’s Mother” (Shel Shilverstein) and “Vincent” (Don McLean), and the slow psychedelic cinematic lounge of “Quel Che Non Saprei Dirti Mai A Parole”. Comes in glossy cover. Includes digital download code. Edition of 500.

File Under: Library
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CNLP047LP_PROD

Stelvio Cipriani: Rhythmical Movement (Cinedelic) LP
Cinedelic Records presents a reissue of Rhythmical Movement (1980) from Stelvio Cipriani. Maestro Cipriani is one of the most known and appreciated composers of Italian soundtracks, whose unmistakable style makes it one of the most appreciated and collected. Rhythmical Movement came out only as a promo-library LP for CAM records in 1980 and is therefore a very rare album pressed in limited quantity. But what impresses most is the high level content and, as explicitly expressed in the title, no rhythm decreases. After a jazz intro depart sequentially tunes full of funk, soul, samba and disco, with references also to the classic tradition of Italian poliziotteschi films for which Cipriani is the absolute master. Alternating on a drum and congas base are wah-wah guitar, but also often distorted as in fierce riffs of “Storm In A Teacup” and “Do Not Tamper With My Things”, piano-electric and horns. Two tracks, “What Can I Do” and “Living And Loving” were composed with Michael Fraser, the famous UK musician and producer very active in Italy since the early ’70s. Also of note are the curious “Percussion Gun” and “Chicago U.S.A.” built on the popular bassline of “In-a-Gadda-da-Vida” by Iron Butterfly. An unmissable record to listen and dance to. Comes in a wonderful minimal mirror-cover. Includes a digital download code. Edition of 500.

File Under: Library
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miles ahead

Miles Davis: Miles Ahead OST (Legacy) LP
Miles Ahead tells the story of a few lost days in the life of Miles Davis (Don Cheadle), the virtuoso, fighter and genius, as he bursts out of his silent period, conspires with a Rolling Stone writer (Ewan McGregor) to steal back his music, and relives the years he had with his great love, Frances Taylor (Emayatzy Corinealdi). Davis’ mercurial behavior is fueled by memories of his failed marriage to the talented and beautiful dancer. During their romance and subsequent marriage, Frances served as Davis’ muse. It was during this period that he released several of his signature recordings including the groundbreaking Sketches of Spain and Someday My Prince Will Come. “Miles was many things…a supreme artist and a national treasure but also an enigma to those around him, especially during his so-called quiet period,” said director and star Cheadle. “With the family’s blessing and Miles’ tenets on creativity as our guide, we used these cloistered years as a jumping off point to compose the story of a self-exiled artist creating his own ‘centrifugal adventure’ to spin himself back into playing music again.” The accompanying original motion picture soundtrack features 11 essential tracks spanning 1956 to 1981, select dialogue from the film featuring Cheadle in character, and five original compositions written, co-written, produced and/or performed exclusively for Miles Ahead by Robert Glasper. These include “What’s Wrong with That?” (a jam that closes the movie imagining Cheadle as Miles playing in the present day with guest performers Glasper, Herbie Hancock, Wayne Shorter, Gary Clark, Jr., Esperanza Spalding and Antonio Sanchez) and “Gone 2015,” an end-credits song featuring guest verses from rapper Pharoahe Monch. Comes complete with revelatory new liner notes penned by Cheadle.

File Under: Jazz, Soundtrack
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inter

Inter Arma: Paradise Gallows (Relapse) LP
After already having taken forward-thinking extreme music to unprecedented heights over the course of their short but propulsive career, Richmond’s Inter Arma are back with another opus of epic proportions. Like the band’s previous works, the new album Paradise Gallows is direct and foreboding while maintaining a nuanced, artful perspective. Inter Arma’s signature palette of dissonant high-end and abyssal low-end has been augmented with swathes of thick, impressionistic melody that lend Paradise Gallows a truly biblical sense of scale, both lyrically and in terms of the album’s sonic content. Harsh and acoustic passages (including the band’s first-ever foray into clean vocals) spar with complex rhythmic structures across nine sweeping tracks over 71 minutes of expansive, progressive heaviness. Dense, funereal, and richly evocative, Paradise Gallows is a vibrant blend of doom, post-metal, sludge, avant-garde, black and death metal, and is a singular and powerful new addition to the band’s already monumental discography.

File Under: Metal
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leimerK. Leimer: Closed System Potentials (Palace of Lights) LP
“Following the RVNG reissues of A Period Of Review (ranked the #7 reissue of 2014 by The Wire) and Artificial Dance (ranked the #2 reissue of 2015 by The Wire), Closed System Potentials, recorded in 1979 and originally released in 1980, finds its way back to vinyl in a completely remastered and expanded edition. The LP includes two previously unreleased tracks, and the download card includes an additional two unreleased tracks, all taken from the original Closed System Potentials sessions. In their review of A Period of Review, Pitchfork said, ‘These pieces most closely evoke the work of Roedelius and Moebius in Cluster: meditative, wistful, lovely, giving off gentle glimmers of light. In trying to think if the closest American corollary for this set, the possibility emerges that Kerry Leimer is one of the lone examples of American kosmische music, that elegant hybrid that falls somewhere between the Velvets-style mesmerism of Can in the early ’70s and the placid tones of new age music that arose in the next decade. It’s a sound that applies to mid-’70s Cluster, Ash Ra Tempel, Popul Vuh, the second side of Kraftwerk’s Autobahn, and others.’ K. Leimer founded the Palace of Lights label in 1979. Leimer’s early work was reissued by Autumn and RVNG in 2014 and 2015, and his early cassette work is in the critically acclaimed Vinyl On Demand box set American Cassette Culture. He has been actively producing music since the mid 1970s – his current catalog includes 16 still-in-print albums plus two collaborative albums with Marc Barreca.”

File Under: Electronic, Ambient
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crash

Dave Matthews Band: Crash (Legacy) LP
RCA Records and Legacy Recordings celebrate Dave Matthews Band’s 25th anniversary in July 2016 with the first-ever vinyl release of Crash, the group’s best-selling second studio album. Newly re-mastered from the original flat analog tapes, Crash will be available as a 2LP set, pressed on 180g 12″ vinyl and housed in a gatefold jacket that features an eight-page booklet packed with previously unpublished photographs of the band. Produced by Steve Lillywhite (U2, The Rolling Stones, Peter Gabriel, The Pogues), and originally released on RCA Records on April 30, 1996, Dave Matthews Band’s Crash brought the band three Grammy nominations and one award for Best Rock Vocal for the hit single “So Much To Say.” The album peaked at No. 2 on the Billboard 200 and has been certified seven times platinum by the RIAA, in recognition of seven million copies sold. Following its success with Crash, the Virginia-based Dave Matthews Band – singer/guitarist Dave Matthews, drummer Carter Beauford, saxophonist LeRoi Moore, violinist Boyd Tinsley and bassist Stefan Lessard – became the first band in history to have six consecutive studio albums debut at No. 1 on the Billboard 200 – Before These Crowded Streets, Everyday, Busted Stuff, Stand Up, Big Whiskey and the GrooGrux King and Away from the World. The group has sold a collective 38 million albums and DVDs combined and more than 20 million tickets to its live performances.

File Under: Alt-Rock
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minor

Minor Victories: s/t (Fat Possum) LP
Comprised of Mogwai’s Stuart Braithwaite, Slowdive’s Rachel Goswell, Editors’ Justin Lockey and his brother James, Minor Victories were born out of Justin’s desire to create an extreme noise EP topped off with delicate female vocals. It became quickly apparent that the power of the resulting tracks was more than enough to lay the foundation stones of a full album, and so Minor Victories became a cinematic ten-track LP. Masterfully crafted by four band members who have somehow never all been in the same room together, it was also produced and engineered by Justin.

 File Under: Shoegaze
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drive

OST: Drive (Lakeshore) LP
Available again! Original Motion Picture Soundtrack to the acclaimed 2011 Nicolas Winding Refn film Drive compiled and composed by Cliff Martinez. The film stars Ryan Gosling as a Hollywood stunt driver moonlighting as a wheelman who discovers that a contract has been put on him after a heist gone wrong. In addition to Martinez’s own late-’60s German experimental inspired compositions, the soundtrack features material by French DJ Kavinsky (“Nightcall”), The Chromatics (“Tick of the Clock”) and College featuring Electric Youth (“A Real Hero”). “[Driver] is half man, half machine,” says Refn. “But the machinery, his car, is an antique. Late ’70s bands like Kraftwerk inspired my idea of making a movie where the score was electronic, but at an infant stage – crude in its technology, yet extremely poetic. Drive is like Pretty in Pink with a head smash. When I was cutting the movie, people kept asking, ‘Why are you using the entire songs?’ I said, ‘Because John Hughes did.’ He never played just a clip. It almost becomes a musical in that sense.” “One thing that was unique for me about this project was having songs exert such a strong influence on the score,” said Martinez. “That helped to create a unified, one-size-fits-all, style of soundtrack…the 80s electronic pop style made a lot of sense to me. I knew that Nicolas (Refn, director) was in love with that sound and I saw a way to acknowledge it with vintage synth sounds and cover most of the dramatic food groups while referencing that style.”

File Under: OST
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rodier

Roger Rodier: Upon Velveatur (Sagara) LP
Canadian folk-rock from Roger Rodier, featuring acoustic guitar, lush orchestral arrangements, and fantastic female backing vocals. Drawing inspiration from British contemporaries such as Al Stewart and Nick Drake as well as a major talent to the south in Crosby, Stills, & Nash, Rodier is a talented crafter of songs, ranging from lilting to eviscerating, and all points in between. Fetching outrageous sums in the online market, this Canadian singer-songwriter rarity is finally back in print on LP.

File Under: Folk Rock
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sonic youth

Sonic Youth: Murray Street (Geffen) LP
Murray Street is Sonic Youth’s twelfth full-length studio effort and first to feature the all-out collaboration (writing, playing and production) of the great Jim O’Rourke. Named after the New York street where the band’s studio was situated and where a plane engine landed on September 11, 2001, Murray Street finds the band building their signature avant garde explorations within a more song oriented framework. The results are obliquely melancholic yet tuneful and the album moves effortlessly and enjoyably between tones, structures, textures and melodies with new found purpose and precision. Songs like “The Empty Page,” “Disconnection Notice,” and “Rain On Tin”) easily hold their own among the many highlights in SY’s vast and varied catalog.

File Under: Indie Rock
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…..Restocks…..

Aesop Rock: Impossible Kid (Rhymesayers) LP
Air: Moon Safari (EMI) LP
Alabama Shakes: Boys & Girls (ATO) LP
Black Mastiff: Music Machine (New Damage) LP
Black Mountain: IV (Jagjaguwar) LP
Boards of Canada: Geogaddi (Warp) LP
David Bowie: Heathen (Columbia) LP
Can: Future Days (Mute) LP
Nick Cave: Push the Sky Away (Bad Seeds) LP
Miles Davis: Birth of Cool (Waxtime) LP
Dr. Dre: The Cronic (Interscope) LP
Durutti Column: LC (Factory Benelux) LP
Earl Sweatshirt: I Don’t Like Shit… (Columbia) LP
Ella Fitzgerald/Louis Armstrong: Ella & Louis (Waxtime) LP
Dexter Gordon: Our Man in Paris (Blue Note) LP
Iron Maiden: Number of the Beast (BMG) LP
Iron Maiden: Powerslave (BMG) LP
J Dilla: Jay Love Japan (Vintage Vibes) LP
Shelia Jordan: Portrait of Shelia (Blue Note) LP
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) LP
Kendrick Lamar: Good Kid… (Aftermath) LP
Kendrick Lamar: To Pimp A Butterfly (Aftermath) LP
Love: Forever Changes (Rhino) LP
M83: Junk (Mute) LP
John Mayall: And Blues Breakers (Sundazed) LP
MF Doom: Special Herbs 1 & 2 (Metal Face) LP
Hank Mobley: No Room for Squares (Blue Note) LP
Modest Mouse: Lonesome Crowed West (Glacial Pace) LP
Thelonious Monk: Brilliant Corners (Original Jazz Classics) LP
Thelonious Monk: Monk’s Dream (Waxtime) LP
Mumford & Sons: Babel (Glassnote) LP
Joanna Newsom: Have One On Me (Drag City) LP
Nine Inch Nails: Downward Spiral (Interscope) LP
Jim O’Rourke: The Visitor (Drag City) LP
Iggy Pop: Post Pop Depression (Loma Vista) LP
Public Enemy: Fear of a Black Planet (Def Jam) LP
Lou Reed: Transformer (Legacy) LP
Terry Riley/Don Cherry/Karl Berger: Live in Koln (Modern Silence) LP
Sigur Ros: Takk (Krunk) LP
Sturgill Simpson: A Sailor’s Guide to Earth (Atlantic) LP
Soul Asylum: Grave Dancer’s Union (Brookvale) LP

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…..news letter #749 – more lies…..

Well, I’ve got some good news, and some bad news for you this week. The good news, is that this week’s list isn’t nearly as big as the last few. Don’t get me wrong, there’s some killer wax this week, but just less than the last couple of weeks. Now the bad news… I purchased a lovely batch of some killer high end 90s-00s indie rock/alternative original pressing LPs and a boatload of 45s. The likely won’t start going out until next week but, be warned, bring a hanky.

If you haven’t listened to it yet, our pal Jeff interviewed me about the ins and outs of running a record shop for his excellent podcast Cups n Cake last week. AND as an added bonus, they also interviewed James and Lee from Slates about their upcoming tour. Check it out here.

Did you know you can receive this weekly update in your email inbox? Click here to subscribe.

…..pick of the week…..

iwc

Ian William Craig: Centres (Fat Cat) LP
HIGHLY RECOMMENDED! ‘Centres’ is the stunning new album from Vancouver-based vocalist / composer Ian William Craig, and his first release for Fat Cat (Max Richter, Hauschka, Dustin O’Halloran, Jóhann Jóhannsson, etc) following two critically lauded back to back albums for Recital Program. Ian William Craig is a trained operatic vocalist who combines his voice with analogue synthesizers, reel-to-reel machines, and faulty tape decks to create sublime cascades of unpredictable decay and beauty. Though classically trained and grounded in the choral tradition, Craig’s early albums were centered significantly around the piano, with his voice merely a marginal presence. But in recent years his practice has come to focus increasingly around his powerful voice, as can be witnessed on ‘Centres’. Fundamentally distressed yet texturally lush, ‘Centres’ is an immensely deep, rich and rewarding listen. It was recorded in an assortment of studio and other locations across his Vancouver hometown: in concert halls and classrooms; train-yards and live rooms, as well as Craig’s own home. It was created using a mixture of sources – synthesizer, Hammond organ, guitar, accordion, wire recorder, loop station, Craig’s array of re-purposed tape decks and “cassette choir”. The songs were created manipulating tape loops through two or three decks at once to create strange deteriorating delays with different colors. Craig would then circuit-bend the bias to create odd kinds of distortion, or bend the sound back into itself so it feeds back in unpredictable ways.  Continually honing and pushing this process, the album shows a quite brilliant attention to textural detail. Morphing, swirling, scouring, shimmering, it continually expands and contracts around you. Forging a harmonically gorgeous and utterly immersive listening experience, it pulls you from the rousing, slow-build of the opening ‘Contain (Astoria Version)’ through the standout ‘A Single Hope’, with its huge bass and Hammond organ swells, and through shifting cloud-zones of ‘Drifting to Void on All Sides’ or ‘Power Colour Spirit Animal’, the Nico-esque accordion opening of ‘The Nearness’, and back to the cyclical ending of ‘Contain (Cedar Version)’, one of the cleanest and sparest tracks here – pared back to the purity of a single voice and guitar. ‘Centres” is a stunning album that stands with a similarly unique sense of vision and integrity as the likes of William Basinski or Colin Stetson.

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

big business

Big Business: Command Your Weather (Joyful Noise) LP
Big Business’ 5th studio album Command Your Weather. Recorded in Joshua Tree, CA, Command Your Weather sees Big Business return to its original two-man lineup of Jared Warren and Coady Willis.  It’s a haunting dream about the struggle for dominance of will over the power and unpredictability of nature. Or it’s just a really great rock record, it depends on how weird you’re willing to get. But you’ve never had so much fun being crushed in the cogs of the universe’s great machine, that much is for sure! I mean, there’s no law against having a couple cold beers while we all burn in the fire of time, am I right?! Founded in 2003 in Seattle, WA., Big Business has spent the last 13 years touring the world and making records. In 2006 Jared and Coady joined forces with the Melvins and moved to Los Angeles. Performing as members of the Melvins and staying autonomous as their own band, they have been there ever since.

File Under: Metal, Stoner
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boris

Boris: Pink (Sargent House) 3LP
Pink, the landmark 2006 album by Boris, which earned widespread critical praise – including Pitchfork’s Top 10 Albums of 2006 – will be reissued in a deluxe edition in the summer of 2016 to commemorate the album’s 10th anniversary. The deluxe 3LP box set features an entire album of previously unreleased tracks recorded during the Pink album sessions in 2004-2005. The bonus Forbidden Songs collects 9 tracks of the same hyperactive, accessible and aggressive caliber of the original album, available here for the first time, mixed (with additional editing and arrangement) in 2015 and mastered in January 2016. Like the original U.S. vinyl release, the Pink (Deluxe Edition) LP set also has three longer edits of songs that were truncated on the original CD issue (“Farewell”, “Pseudo-Bread” and “My Machine”). And, Pink (Deluxe Edition) additionally features the artwork of the original Japanese release, made by the band members themselves. Pink was Boris’ tenth album and a major breakthrough that earned new fans outside of the underground metal community – the track “Farewell” was even featured in Jim Jarmusch’s classic film The Limits of Control. The album landed on countless “best of the year” lists from underground metal sites to mainstream rock magazines. And the praise was certainly well deserved for its more accessible sound and explorations into shoegaze and ambient structures alongside brutal noise, searing psychedelia and apocalyptic doom. Pink succeeds at what most bands cannot do: swiftly changing styles from song to song, while always sounding distinctly like themselves. The seamless, explosive set of fan favorites from the classic longtime lineup of drummer/vocalist Atsuo, guitarist/vocalist Wata and bassist/guitarist/vocalist Takeshi still sounds as mindblowing as it did a decade ago. And, Forbidden Songs continues with the same unbridled creativity and ferocity. These songs aren’t outliers, they’re rather more like the director’s cut version of the original album.

File Under: Psych, Japanese
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comet control

Comet Control: Center of the Maze (Tee Pee) LP
Toronto space rock cosmonauts Comet Control re-enter the atmosphere with their stargazed sophomore album, Center Of The Maze. Flooded with swirling synths, ghostly vocals and fuzz-bomb guitars that burst into flames in electrifyingly airborne ways, the record effortlessly merges the ethereal and the terrestrial; the end result a 43 minute collection of blinding explosions and brilliant fade-outs. Overdriven riffs reign supreme and songs build with mantra-like power before collapsing into majestic dreaminess. Like watching a rocket take off at close range, the sound of Comet Control is both exhilarating and mesmerizing, propelled into orbit by unwavering melody and unhinged creativity. Comet Control features Andrew Moszynski (guitar) and Chad Ross (vocals/guitar), formerly of Canadian psych rock champions Quest For Fire. For fans of: Black Mountain, Swervedriver, The Black Angels, Catherine Wheel, The Brian Jonestown Massacre and Medicine.

File Under: Space Rock
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headwound

Head Wound City: A New Wave of Violence (Vice) LP
Head Wound City might just be the supergroup to end all supergroups. Not just end them, scorch the earth behind them. Armed with Jordan Blilie and Cody Votolato of The Blood Brothers, Nick Zinner of Yeah Yeah Yeahs, Gabe Serbian of Cattle Decapitation and The Locust on drums, and – thrown in for good measure – Justin Pearson, known for his work in every band ever to obnoxiously violate your eardrums. Their aptly titled debut album, A New Wave of Violence (taken from the Raymond Pettibon zine), sounds like what one might imagine the sum total of five people known for innovation in discordant audio assault would sound like. Just an unwavering offensive launched on your brainwaves. Head Wound City has been kicking around more or less since 2005 when they released a debut EP, but now they’re back full-length style courtesy of Vice Records.

File Under: Indie Rock, Yeah Yeah Yeahs
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SOREN-JUUL-PUSHING

Soren Juul: This Moment (4AD) LP
Danish artist Søren Juul releases his new album, This Moment, on June 17th. This is the first album under his own name, having previously recorded as Indians. It’s a deeply personal account of Juul’s life over a tumultuous three-year period, and a first taste of the record, ‘Dear Child’ can be heard at 4ad.com. Recorded mainly in Copenhagen and finished in Los Angeles with producer and fellow Dane Peter Stengaard, ‘This Moment’ is an uplifting and redemptive work. The immersive soundscapes of the songs reach heights Juul’s work as Indians only hinted at. As Indians, Juul scored the song “Oblivion” for the major motion picture The Fault In Our Stars, composed works for the Copenhagen Philharmonic, and was nominated in four categories for the prestigious Danish music awards, Gaffa Prisen. Juul has toured the world with Julia Holter, Beirut and Perfume Genius.

File Under: Indie Rock
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kayodot

Kayo Dot: Plastic House on Base of Sky (Flenser) LP
Kayo Dot has never made the same record twice. From chamber music to progressive black metal, from goth to jazz and avant-garde classical, Kayo Dot is undeniably experimental and utterly unclassifiable. Since its inception in 2003, the band has released seven full-length albums, including their debut Choirs of the Eye (2003), the conceptual double-album Hubardo (2013) and most recently Coffins on Io (2014, The Flenser). Now, Kayo Dot is gearing up for the release of a new LP: Plastic House on Base of Sky, due out June 2016 from The Flenser. On Plastic House on Base of Sky, Kayo Dot fully embraces Coffins on Io’s electronic allusions, incorporating a variety of synthesizers (many of them vintage analog) to create another work of ambition and magnitude that fuses the explosive musical imagination of a band like Magma with the forward-thinking experimentalism of Conrad Schnitzler or Morton Subotnick. This 40 minute-long, 5-song LP goes beyond the future-noir theme of Coffins on Io and is an innovative and biomechanical work of art. Think seemingly impossible architecture, dead satellites, trashed space stations, wasted old lady heroin addicts hanging out by cheap motel pools, broken people, and a hopeless dead and polluted world transitioning into artifice and mechanism and reacting by being self-destructive, either to the point of utter obliteration or a glorious transhuman condition. Toby Driver, the primary composer and bandleader of Kayo Dot, has been fiercely productive over the years, and while that usually refers to how many songs or albums an artist has made, with Driver the productivity is in the realm of ideas as much as music itself. In the course of a single Kayo Dot song, the amount of risks and liberties taken with form and convention usually outnumbers what other artists cover in a full album. For as much ground as they cover, it’s always in the service of a carefully curated mood and this is apparent on Plastic House on Base of Sky’s exploration of our mechanical post-human future-present. The core of Kayo Dot might be that mood – one that lies at the crossroads of darkness and mystery. In film, music that accompanies mystery is often nocturnal, playing on a primal relation in our brains between the unknown and the night. It’s this intersection that is the essence of Kayo Dot. Driver, who recorded Plastic House on Base of Sky in various locations from August 2014 to December 2015, again collaborates with lyricist Jason Byron. Byron, a lifelong student of the occult, gives the listener a feast of words to unpack that are as elusively satisfying as the labyrinths of sound they travel through. Whether by way of menacing guitars, ethereal woodwinds, or aggressive electronics, there’s always a sense that a new passage could open, that around the next corner could be anything.

File Under: Experimental, Prog
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king gizzard

King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) 2×10″
In tomorrow… Double Custom Die Cut Picture Disc in Clear Plastic Gatefold / Limited to 1,000 Units. “Nonagon infinity opens the door,” sings Stu Mackenzie, frontman of Australian psych-rockers King Gizzard & The Lizard Wizard. It turns out, though, that once the door’s open, it never closes. That’s because the Melbourne septet has ingeniously crafted what may be the world’s first infinitely looping LP. Each of the nine, complex, blistering tracks on Nonagon Infinity seamlessly flows into the next, with the final song linking straight back into the top of the opener like a sonic mobius strip. It’s exactly the kind of ambitious vision that prompted Rolling Stone to dub the band “one of the most compelling collectives of art-rock experimentalists in recent years.” But far from a simple conceptual experiment, the album is both an exhilarating shot of adrenaline and a remarkable feat of craftsmanship, the result of painstaking planning and an eye for detail years in the making. The roots of Nonagon Infinity stretch back to 2014, when King Gizzard recorded their critically acclaimed album I’m In Your Mind Fuzz. “We actually wanted to do this with ‘Mind Fuzz,’ but it just didn’t work,” explains Mackenzie. “We ended up writing songs that needed to be on that record but didn’t connect to the others, so we had to abandon the idea, but the seeds were sown.” To an outsider, it may have seemed like the band had completely given up on the concept, as the ever-prolific group quickly followed Mind Fuzz with two more records in 2015, Quarters and the stripped-down Paper Mache Dream Balloon. The truth, though, was that King Gizzard was honing in on the Nonagon Infinity material the whole time, test-driving various tracks in their explosive live shows to prep for the monumental task of stitching them all together into one searing, multi-movement epic. Recorded at Daptone Studios in Brooklyn, the final result is an intricate and immersive listening experience. Lyrical refrains and musical motifs establish themselves and then submerge beneath the chaos, only to resurface unexpectedly later like familiar companions on a labyrinthine journey. Motorhead-grade riffs give way to King Crimson and Yes-levels of prog complexity, as songs churn through unusual time signatures and shifting rhythms with blunt force, laying waste to everything in their path. “Big Fig Wasp” references a particularly macabre insect that must kill itself in order to perpetuate the species, while “Gamma Knife,” with its 11/8-time drum solo, is named for a surgical tool that burns cuts into the skin, and “People-Vultures” plays like a sinister film soundtrack. Album opener “Robot Stop” pulls more directly from the band’s recent experiences, inspired in part by their relentless work ethic and tour schedule. The record is a force to be reckoned with on par with the road trains Mackenzie references in the album’s final track. “In the Australian desert, in the outback, there are what’s called road trains, which are these massive trucks pulling heaps of carriages that can end up being 50 meters long,” he explains. “They drive on the road really, really fast, and they’re deadly, with these bars in the front to kill kangaroos and anything else in their path.” Nonagon Infinity has opened the door for King Gizzard & The Lizard Wizard, and they’re barreling ahead with more momentum than ever before now. Much like those road trains, with a band this good, the safest place to be is onboard.

File Under: Psych
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landing

Landing: Third Sight (El Paraiso) LP
Connecticut’s Landing have specialized in a mild and rural kind of psychedelia since the late ’90s; they have since moved closer to post-punk and shoegaze territory, but Third Sight — recorded specifically for El Paraiso Records’ Impetus series — builds on the hallucinatory soundscapes of the band’s earliest days. There’s a unique sense of motoric drift to these four long pieces, and an organic blend of rock instrumentation and analog electronics that brings to mind Eno’s best collaborations in the 1970s. But the group’s flair for fuzzy drones and commune-folk also betrays their affiliation with the experimental American east coast scene — these guys have played shows with their friends in Bardo Pond, released a split EP with Windy & Carl, and played numerous Terrastocks throughout their existence. And despite releasing one brilliant album after another, the band remains appallingly underappreciated. Perhaps because the tryyps Landing take are rooted in self-exploration. As trends in krautrock, drone, folk, and psychedelia ebb and flow, Landing remain unfazed. The door to Landing’s world is open, but there isn’t a flashing neon sign above it. These guys are far removed from the hustle and bustle of geographic cultural bubbles, both physically and spiritually. Listening through this LP is likely to stimulate mental images of rural winds blowing across vast American fields of grass, bonfires, blue rivers and power lines sailing through rolling hills. Landing’s psychedelia possesses a rare timelessness.

 File Under: Ambient, Post Rock
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macchi

Egisto Macchi: Biologia Animale e Vegetale (Cinedelic) 3LP Box
Cinedelic records present a reissue of one of Egisto Macchi’s major works, Biologia Animale e Vegetale, produced by Renato Pent. Biologia Animale e Vegetale was recorded in Torino in 1976 and originally published as double LP. Egisto Macchi, often remembered as a member of Gruppo di Improvvisazione Nuova Consonanza, the historic Italian improvising collective (that also included Franco Evangelisti and Ennio Morricone, among others), was a major figure within the contemporary music field from the fifties to the eighties. The life path of Egisto Macchi seemed to be devoted to the multiplicity of aesthetic choices and musical expressions. While tracing his life and work, one notices an interesting duality based both on a very inclusive approach towards all kind of expressive needs and full control of the level of communication. A complex personality revealing the coherence of a man trying to connect elements usually kept separate; the inherent need for approaching different sources and the ability to be inspired by a wide range of intuitions. Macchi has explored and experimented in the field of sound and music without ever forgetting about his moral and civil engagement. His compositional work takes shape from the idea that music and arts should be able to create a symbiotic contact between the creator (composer) and the beneficiary (listener). All his work finds its origin in the need to integrate the sound language with the feeling of a new developing society. In fact music was just one factor in a more complex chain which included his humanistic and sociological engagement; a syncretic philosophical narrative and a symbolic tale revealing deep anthropological aspects. The 3LP box set is a limited edition of 600.

File Under: Italian, Library
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metallica

Metallica: And Justice For All (Blackened) LP
Metallica’s 1988 release …And Justice For All is the thrash giants’ commercial breakthrough. The follow-up to 1996’s Master Of Puppets and the band’s fourth full-length overall, it was Metallica’s first album to reach the Top 10 (#6), first to earn a Top 40 single (“One”), and first to win a Grammy Award (“One”). Having gone platinum in just nine weeks, …And Justice For All has since sold over 8 million copies in the U.S. alone. The ambitious album is also Metallica’s first without original bassist Cliff Burton, who passed away in 1986 when the band’s tour bus overturned in Sweden while they were on tour promoting Master of Puppets. Seldom has a band recovered from such tragedy with such a triumphant statement of power, aggression, speed, and heightened social awareness. Replete with stunning riffs and immense songwriting, …And Justice For All is a landmark record in every sense of the word. …And Justice For All produced three singles (“Harvester of Sorrow,” “Eye Of The Beholder” and “One”), bringing the band unknown levels of success. They also chose this time to delve into new territory with their very first music video for “One” which was hardly the typical music video of the time. A dark, monochromatic, violent, and emotional piece, which pulled no punches, Metallica continued to prove that they were anything but typical.

File Under: Metal, Thrash
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omni

Omni: Deluxe (Trouble in Mind) LP
Omni – the band, not the hotel – are from the former home of the Braves: Atlanta. Playing lo-fi pop that channels the spectre of the late ‘70s and early ‘80s, Omni brings you back to an era where any sane person was reeling from the unfulfilled promise of the Space Age and Age of Aquarius bleeding into the looming threat of “Morning in America.” Omni distills the buzz and grit that snakes through the best of Television, Devo, and Pylon into surprisingly danceable, hook-laden slabs of raw, angular, sonic bliss. It’s still the summer of ’78, and pushing the roots of rock & roll to its limits remains in vogue. “Deluxe” serves as a fresh reminder that rock music can work outside of blues rooted, formulaic progressions without playing it safe behind a wall of effects. Arty enough to impress record enthusiasts, yet melodically attractive enough to transcend to those who’ve never asked: “’Sister Midnight’ or ‘Red Money’?” “Deluxe” is a decidedly hometown affair, recorded by Nathaniel Higgins (Carnivores) in their Atlanta practice space & mastered by Travis Thatcher. Released by Trouble In Mind Records on compact disc & black vinyl & includes a download code.

File Under: Indie Rock
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starwarsOST: Star Wars – The Force Awakens (Disney) LP
In tomorrow… Lucasfilm and visionary director J.J. Abrams joined forces to take you back again to a galaxy far, far away with the return of the Star Wars franchise via the worldwide phenomenon that was Star Wars: The Force Awakens. Five-time Academy Award-winning composer John Williams also returned to score the film which is presented here on limited edition Holographic 3D 180g double vinyl. Williams’ ubiquitous Star Wars “Main Title” theme has become part of popular culture since it was first heard accompanying Star Wars: A New Hope in 1977. It is no surprise that Williams’ orchestral compositions for Star Wars are among the most beloved and recognizable themes in cinematic history, from the classic “Main Title” theme introduced in Star Wars: A New Hope to the ominous “Imperial March” from Star Wars: The Empire Strikes Back to the stirring “Duel of the Fates” from the prequel trilogy. After creating the scores for all six of the previous Star Wars films, Williams returned to compose and conduct his signature sweeping music for The Force Awakens. “I’ve loved doing the Star Wars films with all their fanfares and flourishes,” says Williams. “I actually feel as though I am still in the galaxy far, far away. I really never left it, having worked on all of the films. I’m happy to be continuing to be part of the whole fun of doing it. This is new. This is different. But it’s wed perfectly with the corpus of what Star Wars is. I’ve been lucky in my working life, especially with situations like Star Wars. It’s been a challenge, and fun and it’s been a privilege. I don’t think there’s anything quite like it in the history of film.” The Force Awakens was the first Star Wars score to be recorded in the United States as all the previous films in the saga were scored at Abbey Road with the London Symphony Orchestra. For the recording of the score in Los Angeles, Williams worked with members of the highly regarded freelance orchestra with which he’s recorded numerous film scores over the years. The music for The Force Awakens was recorded over several months while working in tandem with the film’s editorial and special effects teams on the West Coast. Audiences can expect to hear quotations from earlier Star Wars themes as Williams musically explores the story in the new film. For Williams, incorporating the previous themes is part of the fun of scoring film after film in the Star Wars saga and helps create what he calls “the fabric of the films.” Director J.J. Abrams comments, “Of the many unreal opportunities working on The Force Awakens provided, none was more thrilling than collaborating with John Williams. His mastery of his craft has never been more evident than on this soundtrack, which embraces his earlier, classic Star Wars themes while creating soaring, powerful new cues that, amazingly, integrate seamlessly. How he does it, no one will ever know!”

File Under: OST
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space dimension

Space Dimension Controller: Orange Melamine (Ninja Tune) LP
In early 2008, age 18, Space Dimension Controller (R&S, Clone, Royal Oak) made his first album in his bedroom in Belfast, now set for a release in May 2016 via Ninja Tune. Crunchy, tattered and enjoyably odd – Orange Melamine is a lovingly produced and deeply personal album that laces supernatural sounds and translucent synths with a sense of overflowing harmony. Washed in reverb and draped in hiss, the album draws influence from the old VHS tapes handed down to Space Dimension Controller from his older brother and cousins, as well as artists like Boards of Canada, Brian Eno and William Basinski. The album is also steeped in audio and visual references from 80’s and 90’s sci-fi films and animations; from The Guyver, Short Circuit, The Gobots, and Ghostbusters through to The Fifth Element, Escape from New York and Power Rangers – also reflected in the album’s visual identity created by Jacob Chabeaux.

File Under: Electronic
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stockhausen 1

Karlheinz Stockhausen: Kontakte (Modern Silence) LP
Modern Silence presents Kontakte written by Karlheinz Stockhausen. Kontakte (1959-60) was Stockhausen’s first piece to use both electronics and traditional instruments together, marking a turning point in his career, when his music was beginning to show the influences of American avant-garde jazz and composers like John Cage. In Kontakte, live musicians play alongside a tape recording of percussion sounds that have been altered by different electronic devices (i.e. a ring modulator or a reverberator). Stockhausen wanted the musicians to improvise over the prepared tape, but the musicians were at such a loss that Stockhausen eventually had to score the instrumental parts as well. 180 gram vinyl. Edition of 500.

File Under: Avant Garde, Experimental
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stockhausen 2

Karlheinz Stockhausen: Studie I & II (Modern Silence) LP
Modern Silence presents Studie I & II, Gesang der Jünglinge, Zyklus für zwei Schlagzeugern featuring compositions written by Karlheinz Stockhausen. A collection of Stockhausen’s most important works from the 1950s, particularly “Gesang der Jünglinge” (“Song of the Youths”) (1955-56) which is probably the most iconic piece of electronic music ever written. Only because of Stockhausen’s complete understanding of electronic equipment, along with his creative genius, was he able to produce this masterwork, the first piece of music to unify vocals and electronics. 180 gram vinyl. Edition of 500.

File Under: Avant Garde, Experimental
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stockhausen 3

Karlheinz Stockhausen: Beton-Studie (Modern Silence) LP
Modern Silence presents Beton-Studie / Zeitmass für fünf Holzbläser / Klavierstuck XI compositions written by Karlheinz Stockhausen. A collection of some of Karlheinz Stockhausen’s earliest work, including his earliest piece of musique concrète “Beton-Studie” (aka “Étude”) written by Stockhausen in 1952-53 at Pierre Schaeffer’s studio at the RTF in Paris. Until 1992 this piece was believed to have been lost. The LP also includes the celebrated “Zeitmass” (1955), and “Klavierstück XI, parts I-IV” (1956), both of which helped to cement Stockhausen’s role as one of the leading German composers of the 20th century. 180 gram vinyl. Edition of 500.

File Under: Avant Garde

…..Restocks…..

A Tribe Called Quest: Low End Theory (Jive) LP
Air: Moon Safari (EMI) LP
Alabama Shakes: Sound & Color (ATO) LP
Kevin Ayers: Joy of a Toy (Vinylissimo) LP
Bat For Lashes: Bride (Parlophone) LP
Nick Cave: Dig! Lazarus Dig! (Mute) LP
Converge: You Fail Me Redux (Death Wish) LP
Descendents: Milo Goes to College (SST) LP
Descendents: Somery (SST) LP
Dinosaur Jr.: Dinosaur (Jagjaguwar) LP
Dinosaur Jr.: You’re Living All Over Me (Jagjaguwar) LP
P.J. Harvey: Let England Shake (Island) LP
Kendrick Lamar: To Pimp A Butterfly (Aftermath) LP
Lumineers: Cleopatra (Dine Alone) LP
Hailu Mergia & Dahlak Band: Wede Haraer Guzo (Awesome Tapes From Africa) LP
Moondog: s/t (4 Men with Beards) LP
Radiohead: A Moon Shaped Pool (XL) LP
Radiohead: OK Computer (XL) LP
Joe Strummer: Global A Go Go (Anti) LP
Kamasi Washington: The Epic (Brain Feeder) 3LP

Tagged , , , , , ,

…..news letter #748 – dam…..

Another killer week here in the salt mines! A new slab from my favorite folk/fingerpicker/blues cat and a bleak as all fuck double slab from ex-factory worker Abul Mogard. And then there’s all them library reissues! And the long lost Betty Davis record featuring Miles and crew, WOAH! We are open over the long weekend, so come down and get some new (or used) wax for your Canada Day party!

Also, our pal Jeff interviewed me about the ins and outs of running a record shop for his excellent podcast Cups n Cake this week. AND as an added bonus, they also interviewed James and Lee from Slates about their upcoming tour. Check it out here.

Did you know you can receive this weekly update in your email inbox? Click here to subscribe.

…..picks of the week…..

ignatzIgnatz: The Drain (Feeding Tube) LP
HIGHLY RECOMMENDED! “For the last decade, Belgian guitarist Bram Devens has been releasing solo recordings under the name Ignatz. A couple of cassettes have come out in the States, but most of his releases have been elusive imports. Thus, we have taken it upon ourselves to do a public service and release a domestic version of an LP that will appear on the (K-RAAK-K) label in Belgium. This must be something like the sixth or seventh studio album Ignatz has cut, and it’s a remarkably solid slab of mysto-folk/blues invention. There are more vocals than noted on previous Ignatz slabs we’ve encountered, and they manage to remind us of everyone from early Townes Van Zandt (‘The Watertower’) to Karen Dalton covering ‘Play with Fire’ (‘People in This Town’). The way Bram’s voice lazily combines with the loose guitar playing sometimes makes the album sound like a mutant hybrid of early Jandek and mid-period Hurley. The rhythms and melodies go in and out of focus with a beautiful irregularity that demonstrate them to be the work of a true original. Playing what sounds like a mix of acoustic and lightly amped guitars, Ignatz hits Krazy Kat square in the bean with this one. And we all see stars. Tell Officer Pup the news.” –Byron Coley, 2016. Limited edition of 500.

File Under: Folk, Blues
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mogardAbul Mogard: Works (Ecstatic) LP
HIGHLY RECOMMENDED! Ecstatic offer a deeply arresting and definitive collection of Works by erstwhile Serbian factory worker-turned-synthesist Abul Mogard; containing selections from two cassettes released in 2012 and 2013 on Steve Moore and Anthony Paterra’s VCO Recordings, as well as a cassette only release on Ecstatic, never before available on vinyl. Abul Mogard’s relatively unusual path to releasing music is well documented, but bears repeating here. Upon taking retirement from a job at a factory which he held for decades, Mogard craved the mechanical noise and complex harmonics of the industrial workplace, and found that the best way to fulfil that need was through electronic music – using a limited set-up of Farfisa organs, voices, samplers and a self-built modular system to realize a peaceful yet haunting, sweetly coruscating sound that resonates uncommonly with music from Leyland Kirby to Alessandro Cortini, or Fennesz and Tim Hecker. The nine tracks on Works are soused in an emotional richness that’s hard to forget once experienced. Broad daubs of distorted bass and naturally glorious harmonic progressions paint panoramas of wide open, grey-scaled skies whilst equally conveying the intimate feel of a person with their nose to the machine, toiling for a sound or feeling that really means something to them, and by turns, us. The fact that Mogard hails from an area hardly well-known for its synth music, and that he’s of an age where most people take up gardening or lawn bowls, rather than synth music, only helps to aid the enigma and magic surrounding this remarkable artist and his layered, emotional music. RIYL: Alessandro Cortini, The Caretaker, Fennesz, Tangerine Dream, Brain Eno, Tim Hecker.

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

75dollar

75 Dollar Bill: Wood/Metal/Plastic… (Thin Wrist) LP
75 Dollar Bill, a project by Che Chen and Rick Brown present Wood/Metal/Plastic/Pattern/Rhythm/Rock. “Che’s interest in the Arabic modes of Mauritanian music has marked our sound quite a bit but I have brought some things, too. The plywood crate I play is a big factor, defining, by its positive qualities (a nice warm ‘boom’ sound) as well as by its simplicity, what we’re likely to do in the percussion realm. Wood/Metal/Plastic/Pattern/Rhythm/Rock, this new record, differs quite a bit from the previous one, notably in the rhythmic ‘tone.’ Wooden Bag (2015) was all forward momentum, stomping and shaking, but the new record explores a long-standing interest of mine: odd and ‘compound’ meters. In most of my previous musical activities, I’ve convinced my partners to delve into this, but in 75 Dollar Bill it has just felt natural and I believe Che’s modal investigations and melodic/harmonic tendencies enhance (and are enhanced by) this combination. The current record differs from the last in another big way: reinforcements! Over our few years together, Che and I have frequently had friends play with us at some of our gigs. There have been all sorts of permutations of instruments and some great friends/players who don’t all appear on this record but here we are lucky to have a bunch of them: Cheryl Kingan (of The Scene Is Now) on baritone and alto saxes, Andrew Lafkas (of Todd Capp’s Mystery Train) on contrabass, Karen Waltuch (of Zeke & Karen) on viola, Rolyn Hu (of True Primes) on trumpet and Carey Balch (of Knoxville’s Give Thanks) on floor tom. Please enjoy Wood/Metal/Plastic/Pattern/Rhythm/Rock. ‘Earth’ saw is one of our earliest tunes and, I think, the first result of this ‘compound meter’ approach. It’s a slow 9 beat phrase Che came up with for this odd groove. ‘Beni Said’ has no fixed rhythmic cycle but a roughly unison melodic phrase and a pulsing, loose feeling of 3s and 4s played using a box full of bottle caps. ‘Cummins Falls’ features Carey Balch on Diddley-beat floor tom and me reprising the maracas. ‘I’m Not Trying To Wake Up’ is another of our compound meter songs, this one using an 18 beat scheme.” – Rick Brown

File Under: Experimental, Drone
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amt

Acid Mothers Temple: Wake to a New Dawn of Another Astro Era
(Important) LP
Acid Mothers Temple – the next generation begins! With the departure of long time bass/drum duo Shimura Koji and Tsuyama Atsushi, AMT now have a new rhythm section featuring two young Japanese musicians, Satoshima Nani on drums and S/T on bass. Thus, Wake To A New Dawn of Another Astro Era is the first record in the second chapter of this legendary Japanese psychedelic rock group. Wake To A New Dawn Of Another Astro Era finds a rejuvenated Makoto Kawabata encompassing the best of what AMT has come to mean in the last twenty-one years. Deep ambient synth passages fade into deftly composed anthemic jams worthy of crowd favorite status like “La Novia” and “Pink Lady Lemonade”. Makoto’s guitar prowess reaches unfathomed apexes in epic crescendos while the new rhythm section holds down heavy Kraut-influenced repetition. Straddling the line between composition and improvisation, this is a legendary AMT record for sure. Features light show artwork by LiquidbiupiL. Acid Mothers Temple & The Melting Paraiso U.F.O. at the time of this recording were: Kawabata Makoto : electric guitar, acoustic guitar, fretless bass, bouzouki, electric saz, sitar, synthesizer, electronics, tape, short wave, voice, speed guru; Higashi Hiroshi : synthesizer, noodle king; Tabata Mitsuru: electric guitar, guitar-synthesizer, acoustic 12 strings guitar, tape, voice, maratab; Satoshima Nani : drums, another dimension; S/T : bass (on “Meridian Dimension ~ Lost Milky Way”), space & time. Produced and mixed by Makoto Kawabata.

File Under: Psych, Japanese
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agitation free

Agitation Free: Malesch (Made in Germany) LP
“A vinyl re-release of the debut-album by legendary krautrock avant garde band Agitation Free, starring Lutz ‘Lüül’ Graf-Ulbrich on guitar, who late became part of Ash Ra with Manuel Goettsching.” Authorized, official remaster (same as the 2008 version on Reviisted/SPV), with printed inner sleeve and liner notes.

File Under: Kraut Rock
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ust 370

Alessandro ALessandroni: Ust 370 – Caratteristici Vari (Sonor Music) LP
180 gram vinyl. Remastered sound. Released 500 copies. Italian funky library monster from the infamous Fonit Usignolo series. Ust 370 – Caratteristici Vari contains many outtakes from the Inchiesta jam reissued in 2013, so it was most likely fully recorded in 1977. “Foggy Place” easily explains why this album is on top levels, hip hop funky with scat vocals. 20 tracks of several score and various themes, jazz-funk and funky vibes all over, Fender Rhodes and sexy scat vocals, bossa, easy listening, blues jazz, Hammond funk, tense cinematic and lively groovy vibes for the full album. Killer!

File Under: Italian, Library, Funk
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bride

Bat For Lashes: The Bride (Warner) LP
Bat For Lashes – aka multi-instrumentalist and visual artist Natasha Khan – will release her latest album, The Bride, via Parlophone/Warner Brothers in July 2016. The Bride follows the story of a woman whose fiancé has been killed in a crash on the way to the church for their wedding. The Bride flees the scene to take the honeymoon trip alone, resulting in a dark meditation on love, loss, grief, and celebration. Written as the soundtrack for a feature length film in mind, The Bride is Khan’s most ambitious work to date, sonically and visually incorporating an entire world inhabited by The Bride, along with the characters and places she encounters on the way. The Bride was conceived of and produced by Khan alongside a host of long-time collaborators and friends including Simone Felice, Dan Carey, Head and Ben Christophers. Inspired by a short film Khan wrote and directed entitled I Do, which made its debut at the 2016 Tribeca Film Festival in NYC , The Bride was created over the course of 18 months across London, Los Angeles, and Brighton. Finally last Autumn, Natasha headed to the mountains of Woodstock, NY, where she built a studio into the ground floor of a big old house and lived there for two months, finishing the record with co-producer Simone Felice (Lumineers, Felice Bros). The album was mixed by Head in London and mastered at Metropolis Studios. The lush narrative of the artwork was conceived as a visual partnership between Natasha and Neil Krug over a period of two years. The Bride’s universe was the product of intense collaboration and experimentation.

File Under: Indie Pop, Electronic
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belarisk

Belarisk: Moments in Shapeshifting (Type) LP
New England’s Lee Tindall has been a mainstay of the noise/electronic scene for some time. Working as Zerfallt and Belarisk, and in a variety of groups (including Astronaut with Daniel Lopatin), Tindall has been perfecting what he calls “Hy-Fy mutant music” for a decade, working on the fringes of a sound that has slipped in-and-out of focus. Moments In Shapeshifting is Tindall’s most fully-realized release to date, bringing together his interest in abrasive noise, abstract electronics and haunting ambience. It follows a long spell in a maze of his own confusion, navigating the labyrinth of corporate tech support, hell-to-reach, complete mental and physical exhaustion. The tracks came together from vivid dreams and nightmares during this time, as Tindall embraced the negativity of the New England mindset, crafting the songs as an escape or moment of clarity. Referencing ’80s sci-fi and body horror, the album concerns itself with duality, betrayal and paranoia – many of the tracks have more than one title and some pivot mid-way through, shifting focus and transforming completely. As Tindall fixated on dreams, surrealist art and fiction, the nature of rural New England landscape gave him something tangible to reflect on, and the result is a beguiling collection of tracks that flow into each other without fixating on a certain genre or other. At times reminiscent of Tim Hecker’s dense ambience and at others closer to M.E.S.H. or Oneohtrix Point Never, Moments In Shapeshifting offers an enticing distortion of reality – a cracked mirror for us to gaze into and obsess over. It might be the most human electronic record of the year. Mastered and cut by Matt Colton. Edition of 500.

File Under: Electronic, Drone, Ambient
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brotzdrake

Brotzmann/Parker/Drake: Song Sentimentale (Otoroku) LP
Song Sentimentale, featuring unique material on each format, was recorded on January 27-29, 2015, at Cafe OTO. Outside of the 2CD release Never Too Late But Always Too Early (2003) there has been scant documentation of one of the most dynamic pairings in all free jazz. Song Sentimentale rectifies this anomaly with a full-blown audio account of the breathtaking communicative heights obtained by these three legends of the living. Over three nights in January 2015, the trio seduced a winter-worn crowd with the kind of organic interplay only these three can conjure. Warm and urgent, the material unveils a wide range of techniques and emotions. This is music on the edge of itself; a living, breathing and existing force documented for repeated visits. Peter Brötzmann – tenor saxophone, B flat clarinet, tarogato; William Parker – double bass, guembri, shakuhachi, shenai; Hamid Drake – drums, frame drum, voice. Recorded Live at Cafe OTO on the 27th, 28th and 29th of January 2015.

File Under: Free Jazz

iancraig

Ian William Craig: Meaning Turns to Whispers (Aguirre) LP
Aguirre Records present Ian William Craig’s Meaning Turns to Whispers. Ian is a trained opera singer and painter out of Vancouver, Canada. Over the last few years he has proved to be one of the most original artists active in the ambient/experimental genre. His debut A Turn Of Breath (2014) and the follow-up, Cradle For The Wanting (2015) received high acclaim. Meaning Turns to Whispers is a combination of piano improvisations and FM feedback loops, recorded over various winters from 2009 to 2011 and edited down, manipulated and degraded to reveal some of their hidden spaces. The discreet piano layers mixed with waves of white noise are intriguing making you long for more. Meaning Turns to Whispers is a record rooted in a gorgeous neo-classical tradition, but totally fucked up by tape manipulations that made it anything but pretty. For Craig, the use of reel-to-reels is a way of decaying sentimentality: any time his music has come too close to meeting his expectations, he uproots it, creating impervious walls or bursts of modest but stupefying noise. In choice moments on Meaning, you can hear Craig trying to imagine the lived lives of his inanimate instruments; you hear him beam down on the piano, its wooden infrastructure revealed, sounding like it has its own set of motivations. “I was living with my sister in Edmonton, and during the ridiculously cold winter, I gutted her piano and mic’d it up in a whole bunch of weird ways. I recorded probably twenty hours of material, and after listening to it I was amazed at how much it sounded like sentimental crap. At that point I was really trying to express something, and afterwards I thought the only way through would be to destroy the recordings, and that’s what Meaning Turns To Whispers is. It’s completely mangled to remove that struggle for expression. I realized at the end of that album that I didn’t want to express, I just wanted to explore.” Mastered by Sean McCann at Recital. Lacquer cut by Christoph Grote-Beverborg at Dubplates & Mastering. Edition of 500.

 File Under: Ambient, Classical, Tape
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betty

Betty Davis: Columbia Years 1968-1969 (Light in the Attic) LP
HIGHLY RECOMMENDED! “One can hardly imagine Prince, Erykah Badu, or Outkast without the influence of Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli have rhymed over her intensely strong but sensual music. Betty penned the song ‘Uptown’ for The Chambers Brothers and wrote the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending DIY ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1968, she married Miles Davis and quickly influenced him on the magic of psychedelic rock along with introducing him to Jimi Hendrix — personally inspiring the classic album, Bitches Brew. Miles and Betty fans have long debated the truth of a near mythological session recorded in Studios B and E at Columbia’s 52nd Street Studios on May 14th and 20th, 1969. The landmark session was produced by Miles and Teo Macero and featured Betty on vocals, accompanied by Jimi Hendrix Experience drummer Mitch Mitchell, guitarist John McLaughlin, Herbie Hancock on keys, and Dylan/Miles session bassist Harvey Brooks. Other players included bassist Billy Cox (Band of Gypsys), saxophonist Wayne Shorter, and organist Larry Young. Now, Light In The Attic, with full support from Betty herself, presents these recordings to the public for the very first time. These historic sessions — never heard, never bootlegged — predate Miles’ revolutionary album, Bitches Brew, and are the true birth of Miles’ jazz-rock explorations, along with the roots for Betty’s groundbreaking funk that came years later, starting with her self-titled debut in 1973. While, ultimately, these recordings would go unreleased for nearly half a century, they would greatly shape each of their careers. The vibe is intrinsically unique, fresh, and futuristic — jazz heavyweights playing psychedelia, rock, and jazz-fusion long before the term became commonplace. The songs include Betty originals and covers of classics by Creedence and Cream. The concepts explored on these previously unheard sessions fueled concepts that wouldn’t be fully realized until years later with Miles’ seminal On The Corner. Additionally, included here is the first time rerelease of a 1968 Columbia single, recorded in October 1968 at Columbia Studios in Los Angeles. The session was produced by Jerry Fuller and featured South African maverick Hugh Masekela on trumpet and arrangements, plus members of jazz-funk pioneers The Crusaders — including trombonist Wayne Henderson and pianist Joe Sample. All tracks previously unreleased (except track B5/8). Production by Miles Davis & Teo Macero with performances from Hugh Masekela, Mitch Mitchell (Jimi Hendrix Experience), John McLaughlin, Herbie Hancock, Harvey Brooks, Wayne Shorter, Billy Cox (Band of Gypsys), Larry Young, and members of The Jazz Crusaders. Remastered from the original analog master tapes.New interviews, rare photos, and unseen historical documents from the Teo Macero archive.”

File Under: Funk
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dies

Dies Irae: s/t (Monster Melodies) LP
Monster Melodies present Dies Irae featuring Dies Irae. A flagship group of the French progressive underground from the ’70s, based on the French Riviera (Monaco). This record is the first record of this group to be released (not to be confused with the German namesake training krautrock record release on the Pilz label in 1971). It consists of tracks recorded on stage and in the studio from 1976 and 1978, when Dies Irae was at the top of its game. A record that will allow you to judge the qualities of this little-known group that claims its influences (including notorious groups of the era King Crimson, Van der Graaf Generator and Magma) nevertheless has a very personal and original touch which deserves to be included in the history of French rock. Gatefold sleeve. Transparent vinyl. Includes many inserts. Edition of 1000.

File Under: French, Prog
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ust 86

Dindo Bembo Orchestra: Ust 86 (Sonor Music) LP
180 gram vinyl. Remastered sound. Released 500 copies. One of the rarest and best library albums from the Fonit Usignolo series. Actually the full soundtrack for an obscure Italian movie, this is one of the finest jazz-funk scores to come out of Italy in the 1970s. Full of poliziesco-styled sounds, sexy giallo & thriller grooves, dark cop themes with infectious flute stabs, clipped wah-wah, elegant spy jazz waltzes, funky drums, dope Rhodes, vertigo psychedelic guitars and basslines, panoramic lounge, eccentric funky-baroque, romantic themes and so on. The pinnacle of Italian arranger Alberto Baldan Bembo, a complete masterpiece!

File Under: Italian, OST, Funk, Spy
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eclosionEclosion: s/t (Monster Melodies) LP
Monster Melodies presents the self-titled album from Eclosion. A legendary recording in the history of Underground French Rock from 1972 released for the first time. Eclosion is a musical project by friends Leon Cobra (founder of the counter culture magazine Le Treponeme Bleu Pale), guitarist Bernard Stisi and Mark White (drummer and guitarist of Ame Son). Psychedelic entrancing music with an experimental, Indian influenced and noisy sound recorded in analog in early 1973 on a Revox tape recorder (the same used by Red Noise to record the sound effects of the album Sarcelles-Lochères in 1970) with the help of a an echo chamber for a highly innovative outcome. But the trio ended up having different destinies. The project remained on a shelf, along with the planned design of the cover by illustrator Henri Aspic. 10 tracks specially selected and restored. Blue vinyl comes in a cover which folds open, with numerous illustrations. It also contains a separate illustration of a collage by Leon Cobra and an anniversary edition of the magazine Le Tréponème Bleu Pâle of 20 pages. Edition of 1000.

File Under: French, Prog

exploit

Exploit: Crisi (Sonor Music) LP
180 gram vinyl. Gatefold sleeve. Remastered sound from the original master tapes. Released 500 copies. Italian prog holy-grail and one of the most prized records of the genre. Impossible to find in its original edition, Exploit’s Crisi remains a fleeting appearance of Italian discography and a fair object of desire in the record collectors circle. Musically influenced by symphonic rock legends of the period like Emerson Lake And Palmer and Italian top prog bands like Le Orme. Features a stunning progressive suite on the first side followed by a more commercial pop-rock vibes on side B. Released in 1972 on the small library label CGO with faint distribution and signed by Italian library players and session men of the time like Walter Rizzati. Screaming organ, whirling drums/percussion/sounds and overflowing bassline. A legendary, Italian progressive-pop album.

File Under: Italian, Prog
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farlocco

Farlocco: Tecnologia (Intervallo) LP
Intervallo present a reissue from Amedeo Tommasi’s Rotary Records label, Farlocco’s Tecnologia (1974). The niche occupied by libraries in the history of Italian music is full of amazing stories, such as Rotary Record’s, which is actually one of the most interesting and peculiar. The label, created and led by renewed composer Amedeo Tommasi, released seven albums in just one year – between 1973 and 1974 – of material ranging from futuristic experimentations to classic and jazz (the latter being one of the biggest passions of Tommasi). He wasn’t just the boss, he also played piano and electronic instruments in all the records he released. He also took care of all the brilliant artwork (the original ones can easily be found online) and of pressing duties. The first three volumes of the series were released in 300 copies each, the other four in a humble press of 100 each: numbers that show how rare these records are nowadays, and how scarce their circulation was at the time. Tecnologia by Farlocco (an alias of the great Stefano Torossi, meaning “fake” in italian) is the second of the two Intervallo reissues dedicated to Rotary’s experimental vein, the first being Narassa’s Tensione Dinamica (INTER 005LP). This album is one of the first instances of electronic libraries: a perfect example of how, sometimes, Italian libraries were a stunningly fertile ground for experimentation and foretaste of future sounds. It’s not a blasphemy to say that the three versions of “Superpotenza”, opening the album, are techno tracks before techno was even born. Or that the heavy mood of “Silicosi” (in two different versions), “Geosonda” and “Pressione” are prehistoric examples of industrial music. But there are, also, the experimentations of “Lavoro Veloce” (once again, in two very different versions) with its pure sonic sci-fi, and the electro-glitch of “Virus” and “Biodegenerazione”. Probably the future was not what we meant it to be, but a part of it can be found in the grooves of this album.

File Under: Italian, Library
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fennesz orourke

Fennesz & Jim O’Rourke: It’s Hard For Me To Say I’m Sorry
(Editions Mego) LP/CD
Despite decades of activity and having crossed paths in various collaborations, this release presents the first-ever duo recording from two of the most highly regarded citizens of planet experimental electronic. Individually, Jim O’Rourke and Christian Fennesz have been responsible for numerous legendary works that merge the traditional avant-garde with contemporary sensibilities. On It’s Hard For Me To Say I’m Sorry these giants of experimental electronic practice come together for an immensely powerful sonic experience. The signatures of both O’Rourke and Fennesz cohabit this release, with O’Rourke’s gurgling harmonies swimming among the shimmering frequencies and strummed melodies produced by Fennesz. The two tracks situate themselves as a warm electronic adventure; simultaneously radical and comforting, these works shift from gentle sonorities to fully distorted explosions, all of which reside within a template of tension between musical and non-music matter. Timeless in execution and presentation, It’s Hard For Me To Say I’m Sorry is a deeply rewarding sonic experience from two of the most romantic gentlemen active in experimental music today. Recorded in Kobe, Kyoto, and Tokyo in September 2015. Photos by Jim O’Rourke. Layout by Shunichiro Okada.

File Under: Electronic
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ferraro

James Ferraro: Rerex (Aguirre) 3LP
Aguirre Records present a reissue and the first vinyl release of James Ferraro’s Rerex, originally released in 2009. James Ferraro is an experimental musician, composer and virtual atmospherist born in Bronx, New York. Ferraro has released material under a wide array of aliases, and was a member of the Californian two-piece avant-garde project The Skaters. His album Far Side Virtual (2011) was chosen as “Album of the Year” by the UK’s Wire Magazine in 2011. Ferraro has been producing small runs of releases on cassette, CD-R, and VHS with a wide variety of styles all representing different dreams of a demonic mind tower spanning from freak flesh bodybuilder atmospheres to ambient modern world/psych. First on New Age Tapes and later on MuscleWork Inc., self-run cassette/CD-R labels primarily used for releasing small runs of his solo work. In the summer of 2009, Ferraro composed and recorded the “Summer Headrush Series” in Antwerp, Belgium for Musclework Inc. The series is loosely based on visualizations that came to mind while receiving self-induced hypocapnia (aka, choking oneself) or as it’s commonly called “free fall”. The albums being representatives of the free fall head space. Other albums from the Headrush Series are: Body Fusion 1 and 2, iAsia, Wild World, Son of Dracula and Hacker Track. The Rerex album is vintage hypnagogic Ferraro and with its length (almost three hours), it may be considered a “magnum opus” of his. Using cheap casio keyboards, loops, effects and difficult to trace samples, Ferraro creates a slightly haunting but oh-so beautiful musical world. Please use headphones for a dynamic HD headphone experience. Artwork by James Ferraro. Mastered and lacquer cut by Christoph Grote-Beverborg at Dubplates & Mastering. Lay-out by Jeroen Wille. Edition of 500.

File Under: Electronic, Psych
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fille

Fille Qui Mousse: Trixie Stapleton 291 (Monster Melodies) LP
Monster Melodies Records presents a reissue of Trixie Stapleton 291 – Se Taire Pour Une Femme Trop Bell by Fille Qui Mousse, originally recorded in 1971. The group was created from the culmination of a movement born after the Second World War, counter culture and the apparition of Lettrism, founded by Isidore Isou who wrote the book The Uprising Youth accompanied by Gabriel Pomerand, Maurice Lemaitre, Jean-Louis Brau, Guy Debord, Gil Wolman. The band consisting of Barbara Lowengreen (vocals), Bernard Gilson (guitar), Sylvie Péristéris (sound effects), Henri-Jean Enu (guitar, vocals), Denis Gheerbrandt (vocals), Daniel Hoffmann (guitar), Benjamin Legrand (piano, vocals), Dominique Lentin (percussion), Jean-Pierre Lentin (guitar, bass), Léo Sab (violin), François Guildon (guitar) recorded its only album in one day on July 8th, 1971. Fille Qui Mousse is on the list established by Steven Stapleton, John Fothergill and Heman Pathak of the 291 musicians who influenced the band Nurse With Wound. Comes as a red translucent vinyl comes in a sleeve which opens up, presenting unpublished photos of the group and containing two postcards reproducing the vintage concert posters and an insert with an unpublished text by Henri-Jean Enu. Edition of 500.

File Under: French, Experimental, Psych
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geerken

Hartmut Geerken: Orpheus (Holidays) LP
Holiday Records presents Orpheus by Hartmut Geerken. Fantastic sound poetry piece by Hartmut Geerken restringing the “Sun Harp”, the Ukranian bandura that Sun Ra gave him in 1971 when he visited Egypt for the first time. The acoustics of his manual workings emerge without any esthetic intention: the bandura’s voluminous resonating body forms the reverb of the room. Each manual action and each contact of the tuning key with the wooden body is “reverbed”. The instrument creates its audio space. A mythic dream play is evoked: the myth’s space of reverb. An ear ready to absorb, hears the labor pains of voice and string ahead of language and music. A human voice in search for language and thus for communication. A string instrument in search for sound and thus for music. Based on this phonemic pre-space, words do rise only sporadically. Through certain techniques of vocal chords the phonemes move close to the meditative Indian Dhrupad-singing, as well as to lunacy and disturbance. Animal languages, signals, shepherds’ calls, silvered drum-language, ham-boning, calls, litany, subconscious voicings, sirens: the search for Eurydike and the search for the origin of letter and syllable, out of the breath. Besides one single “superimposition” no further mounting, no computer-generated sounds, no digital gimmicks, no remix or art mix do exist in this live-recorded dream play. Edition of 200.

File Under: Experimental, Sound Poetry

Untitled-8

Highest Order: Still Holding (Idee Fixe) LP
The Highest Order are Simone Schmidt, Paul Mortimer, Kyle Porter and Simone TB, veterans and ambassadors of Toronto’s downtown underground and collaborators with kindred souls Jennifer Castle, Slim Twig, US Girls and Milk Lines. Three years after the release of  their critically acclaimed and well travelled debut album If It’s Real the band return with Still Holding. If their debut was a work of cosmic country then the band have doubled down on the cosmic. Highlighting the band’s growing mastery of the recording studio, smashed tape collages, phase shifted psychedelic guitar duels and varisped everything surround Still Holding’s mastery of song. It’s the songs that stay with you, fully realized as though they have always existed, vessels for Schmidt’s words. Deep truths. Athletic metaphors. The Highest Order are Still Holding and they saved some for you.

File Under: Cosmic Country, Psych
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inter1

Intersystems: Number One Intersystems (Alga Marghen) LP
Alga Marghen presents a reissue of Intersystems’ Number One Intersystems (1967). Intersystems’ works evoke the heightened awareness, intermittent psychosis, intellectual over-stimulation and giddy nihilism of an acid expedition. “Orange Juice and Velvet Underwear” may indeed be the most typically “Psychedelic” cut of Intersystems entire catalog. Its saturated crypto-Indian drone and bent acoustic guitar notes, are upstaged by Parker’s lurid-sounding declamations and Mills-Cockell’s fierce industrial clatter. From there, it all spirals further into a vortex of frayed cacophony and sober-yet-surreal orations. The sixteen-minute “Blackout Mix” is a perfect demonstration of just how tenuous their relationship was to even the furthest-out reaches of psychedelia in spite of their own pronounced use of related terminology. All curdled puddles of synth noise and caustic electronic howls, Parker’s fragmentary deadpan bark both penetrates, and is enveloped by, the sticky sonic tapestry. He unfurls a series of disparate images, more-than-flirting with the mundane horror enumerated later (and more explicitly) by the likes of Throbbing Gristle. “Vox 3/13/67” is Number One Intersystems’ second longest and arguably most varied piece. John’s contributions span dimly elegiac textures, evoking distant chimes and striated choral voices. Parker delivers his writing as staunchly as ever, yet hacks certain words into syllabic mincemeat that spills violently and incoherently into the middles of sentences. It’s by no means less anxious than other pieces on the album, but its tension is achieved through an eerily pronounced sense of breath and movement rather more aggressive means. Where elsewhere Number One Intersystems seems to forecast post-punk excursions into avant-noise antagonism, here there’s more indication of Mills-Cockell’s training and more canonical influences in its careful phrase-shaping. Featured throughout the album was a homespun instrument devised by John, dubbed “The Coffin”, which was also employed live in their “presentations”. Mills-Cockell recalls: “It was a 6 foot long box line with purple satin, housing a long plank strung with many parallel lengths of piano wire held in place with tuning pegs which were adjustable with a wrench we kept on board for the purpose. There were contact mikes which were switchable, just like on a Telecaster except that the switches could permit not only selection of different harmonic spectra when the instrument sounded, but of a variety of loudspeakers in various locations in a performance space.” Re-mastered by John Mills-Cockell. Mastered for cutting by Giuseppe Ielasi. Edition of 300. Presented in the original Allied Records sleeve.

File Under: Electronic, Experimental, Avant-Garde
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inter2

Intersystems: Peachy (Alga Marghen) LP
Alga Marghen presents a reissue of Intersystems’ Peachy (1967). The sound work of Intersystems cannibalized stray bits of McLuhanism, psychedelia, Cagean experimentalism, and even the modernist gestural strains of nascent electronic music, yet it was all couched within a very particular DIY ethos. Peachy pushes the meticulousness of Number One Intersystems even further and, as such, represents a more balanced amalgam of Intersystems’ various disparate stylistic and emotional elements. The truncated opening cut “Experienced Not Watched” is deceptive, beginning with lush, tuneful organ swells that almost border on the ecclesiastical and washed-out metallic pulsations. Yet, the track comes to an abrupt end. What follows is thinner and more gestural, imbued with both poise and awkward buoyancy, owing more to musique concrète than anything on Number One Intersystems. Each sound is framed within ample negative space, inviting listeners to savor each moment, yet its dynamism, and boisterousness, mischievous character steer it well away from being too precious. This impression is reinforced by the decidedly rugged and opaque timbre of much of the sonic activity. Peachy’s balance can also be attributed to its consistent flow. The album may superficially be divided into discrete tracks yet the pieces follow one another seamlessly, conveying a single arc, with many continuities and recurring motives. Many of these motives are just mere pithy jolts or shudders of white noise that dart in and out of the aural scenery. In “So They Took The Guns”, it matches the gestural profile of the opening cut – it’s suddenly lopped off, shifting decisively back toward a slice of Parker’s grim narrative, planted squarely in the foreground amidst various percolating abstract chatter. Just as the musical textures have a more unified logic, Parker’s texts are also more integrated into the total picture, both aurally and thematically. Despite its sharp veerings into death and violence, the abrupt leaps have a more absurd timbre, than one of abjection and morbidity. And the sudden shifts, of course, are complemented well by the restless intensity of Mills-Cockell’s contributions. Parker’s voice is subject to a wider spectrum of electronic treatments than before. They’re also situated in various places, both spatially and within the mix. Re-mastered by John Mills-Cockell. Mastered for cutting by Giuseppe Ielasi. Edition of 300.

File Under: Experimental, Electronic, Avant-Garde
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inter3

Intersystems: Free Psychedelic Poster Inside (Alga Marghen) LP
Alga Marghen presents a reissue of Intersystems’ Free Psychedelic Poster Inside (1968). Intersystems occupied a difficult-to-reach critical nook between the many tropes that had established to frame the various artistic trends of 1960s. Announcing itself with a quivering beam of fluorescent sound, the beginning of Intersystems’ Free Psychedelic Poster Inside feels as though it’s slowly piercing right through your frontal lobe. Blake Parker’s poetry is a dark glimpse into mundane domesticity and the suburbs. One can’t help but sense that they’re being brainwashed: the slow metamorphosis of sound is juxtaposed against Parker’s even-tempered yet electronically-tampered-with speech. There are occasional hints at the twitchy energy of Peachy, but everything is braced by a spine of lean, cool tones, making Free Psychedelic Poster Inside a far more stark outing than either of its predecessors. Yet the sense of impending danger and general volatility found in the rest of the catalogue is still present – if not amplified. In contrast to Peachy, the shapes the music cuts are smooth rather than jagged, but one is never sure just when Parker’s strangely uninflected voice will emerge from the blinding aggregates of pure color. While these clusters of glowing sustain assert an aggressive mesmerism, they serve as a primer for the ears, ominously readying them for virtually anything to happen. When something does, there’s often a sense mild alarm on the listener’s part even when said change comes in the form of a reprieve from the relentless swarms of high frequency – cascades of synthetic giggles, sliding slow elastic melodies, vigorous strobing modulations and bubbling passages of electronic fizz. Musician and insatiable collector Julian Cope, on his exhaustive online chronicle of all things rare and psychedelic, “Head Heritage” calls Intersystems third LP “one of the densest, most oblique collections of sound ever”. Re-mastered by John Mills-Cockell. Mastered for cutting by Giuseppe Ielasi. Comes with original LP graphics as well as a new insert. Edition of 300.

File Under: Experimental, Electronic, Avant-Garde
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kalma

Ariel Kalma: Interfrequence (Black Sweat) LP
After the 1978 exploits of Osmose, Ariel Kalma returned to the studio in 1980 to create the space-ambient library record Interfrequence, reissued here for the first time. In a continuation of Kalma’s personal research into the combination of electronic machines with natural sounds and acoustic instrumentation, the French musician plays the master of ceremonies with his synths, but he diverges from the symphonic, galactic suites composed by other standard-bearers like Richard Pinhas and Klaus Schulze. One finds 18 short sound-pictures (a few of them in collaboration with M. Saclays) that emanate an unparalleled variety of ideas and ethno-cultural influences. Kalma’s distinctive compositional style always returns in a crescendo of ecstatic emotions reflecting on the hidden and secret aspects of the micro- and macro-cosmos. If in Osmose the sampling from the mother Gaia was more explicit, here nature is investigated not only in terms of pure tones, but also in the dynamics of flows and movements dictated by the frequency of Moogs and organs. Complete with embellishments of hyper-space flutes, trumpets, and clarinets, Interfrequence is yet another chapter in Kalma’s personal saga of sound imagery discovery.

File Under: Electronic, Ambient, Library, New Age
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france demo

Les Rallizes Denudes: France Demo Tapes (Bamboo) LP
Bamboo presents the first vinyl release of France Demo Tapes. “This just might be the single greatest side of OTT psych/noise guitar oblivion ever put to disc from the most legendary Japanese underground group of all time, Les Rallizes Denudes: the mysteriously-named France Demo Tapes have previously only circulated on wildly dubious CD-R burns, often with contradictory and conflicting track listings/material but the session (whether it was actually recorded in France or not) is consistently dated as being from some time in the late ’80s. This gloriously out-of-nowhere release finally delivers on the hype surrounding this much whispered-about session, two massively deformed versions of their classics “Night Of The Assassins” and “The Last One”. You have heard nothing” like this and when Mizutani is on this kind of form it’s hard to believe that any other rock music exists outside of this singular, blasted universe. If you buy one electric guitar album this lifetime…” — David Keenan. 180 gram, colored vinyl. Includes detailed liner notes. Edition of 1000.

File Under: Psych, Japanese
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HOL093LP_PROD

Arrigo Lora-Totino: Trio Prosodico (Holidays) LP
Holiday Records presents a reissue of Trio Prosodico (1978) by Arrigo Lora-Totino. Arrigo Lora-Totino is considered one of the fathers of Italian sound poetry. He’s mostly known for having curated the anthology Futura: Poesia Sonora (1978), where he collected the voices of the most interesting sound poets of the twentieth century, but also for being a key figure in the Italian experimental poetry. Active since the late sixties, he gave more than 200 performances of “Gymnastic Poetry” and “Liquid Poetry” (using the Idromegaphone, a tool invented on purpose to let the voice sound through water) and a series of mimic declamations of avant-garde texts, from futurism to dadaism, Russian ‘zaum, expressionism, surrealism, lettrisme and concretism. This sound poem in six movements – performed as a vocal trio together with Sergio Cena and Laura Santiano – was recorded in 1976 in Torino at Studio di Informazione Estetica (S.I.E.) and is considered by the author himself one of his most important works. First volume in a series of sound poetry releases on Holiday Records coordinated by Luca Garino. Comes in a deluxe edition with the complete reproduction of the handwritten original scores. Edition of 250.

File Under: Sound Poetry, Italian

molino

Mario Molino: C 364 – Antico E Moderno (Sonor Music) LP
180 gram vinyl. Remastered sound. Released 500 copies. A totally insane Italian killer library album reissued for the joy of collectors and sample hunters from the highly-collectible Fonit Usignolo series. Famed album Mario Molino’s for the mental breakbeats hailing from the track “Traffico Caotico”, a simply mind-melting electronic hip hop beat which seems to be written nowadays. Spaced-out deep electronic and experimental sounds with another atomic shot “Iceland Bossa” featured. More avant-garde, tv-score themes, industrial vibes and space electronics madness on the rest of the album. Top Molino recording! From 1975.

File Under: Italian, Library
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moving

Moving Gelatin Plates: s/t(Monster Melodies) LP
Monster Melodies presents a collaboration with Moving Gelatine Plates with Moving Gelatine Plates. 45 years after the start of Moving Gelatine Plates, Monster Mélodies and the legendary band release an album of unreleased tracks recorded between 1970 and 1978. Comes as a translucent pink jelly colored vinyl. Comes in a sleeve which opens up, containing a flyer with a family tree illustration of the different components of the band, a post card of a vintage promotional poster rand a plus a record which is an identical reproduction of the one originally made in 1970.

File Under: Prog
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mystery lightsMystery Lights: s/t (Wick) LP
RECOMMENDED! In an era when the city kvetches that there are no good NYC bands, when half of the music scene has split for sunny California, The Mystery Lights are an anomaly. Not only did these bold young men reverse the direction – optimistically migrating east against the tide from the west coast, but they also landed in the wormy apple to immerse themselves in the action and diversity of New York City. Hot on the heels of the “Too Many Girls”/”Too Tough To Bear” single, Wick Records (Daptone’s new rock subsidiary) officially rolls out The Mystery Lights’ debut LP, recorded at Daptone Records’ House of Soul studio, in June 2016.

File Under: Psych, Rock
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narassa

Narassa: Tensione Dinamica (Intervallo) LP
Intervallo present a reissue from Amedeo Tommasi’s Rotary Records label, Narassa’s Tensione Dinamica (1974).The niche occupied by libraries in the history of Italian music is full of amazing stories, such as Rotary Record’s, which is actually one of the most interesting and peculiar. The label, created and led by renewed composer Amedeo Tommasi, released seven albums in just one year – between 1973 and 1974 – of material ranging from futuristic experimentations to classic and jazz (the latter being one of the biggest passions of Tommasi). He wasn’t just the boss, he also played piano and electronic instruments in all the records he released. He also took care of all the brilliant artwork (the original ones can easily be found online) and of pressing duties. The first three volumes of the series were released in 300 copies each, the other four in a humble press of 100 each: numbers that show how rare these records are nowadays, and how scarce their circulation was at the time. Tensione Dinamica by Narassa (an alias of Sandro Brugnolini), is the first of two Intervallo releases dedicated to Rotary’s experimental vein, the other being Farlocco’s Tecnologia (INTER 006LP). This lost gem by the duo Brugnolini/Tommasi is a work ahead of its time – pretty much as it happened to the almost-twin album Tecnologia. It’s characterized by a lighter use of technology and a more traditional approach. Creative tension (be it static or dynamic, like the first two song titles of the album) is always headed toward experimentation, even if touches of jazz and of the great tradition of Italian libraries can be found in the album. “Vacuum” (in two versions), “Conflittuale” and “Filterband” introduce electro touches, but the biggest surprise comes with “Spleen”, the opener of side two: a perfect track to be sampled for hip-hop… for example, Mobb Deep. But Tensione Dinamica is also enhanced by the precious liquid piano and the synth mumbles of “Subtone”. And let’s not forget the invention of Stereolab in “Aflogelia”.

File Under: Italian, Library
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SME022LP_PROD

Orchestra Ollamar/Rino De Fillippi: Atmosfere (Sonor Music) LP
180 gram vinyl. Remastered sound. Released 500 copies. One of the darkest and in high-demand Italian Library. From the infamous Fonit 7001 series, is the most obscure and deepest of Rino de Filippi’s creations, Atmosfere, composed along with maestro Giancarlo Chiaramello. Obstinated dark breakbeats like in the killer “Ostinazione” with fuzz psychedelic guitar and amazing drumming tempo. More dark samples on “Pulsazioni”. Spookiest guitar and basslines ever and scary atmospherics with screaming sophisticated vocals too. Insane record!

File Under: Italian, Library, Fuzz
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raimeRaime: Tooth (Blackest Ever Black) LP
Raime presents their second album, Tooth. The widescreen melancholia of their 2012 debut, Quarter Turns Over A Living Line, gives way to an urgent and focused futurism, in the shape of eight fiercely up-tempo, minimal, meticulously crafted electro-acoustic rhythm tracks. The DNA of dub-techno, garage/grime and post-hardcore rock music spliced into sleek and predatory new forms. No let-up, no hesitation. Needlepoint guitar, deftly junglist drum programming, brooding synths and lethal sub-bass drive the engine. The production is immaculate, high definition. No hiss, no obscuring drones or extraneous noise: the music of Tooth is wide-open and exposed. The seeds of its supple dancehall biomechanics can be found in the self-titled 2013 EP by Raime side-project Moin, an ahead-of-its-time synthesis of art-rock and sound-system sensibilities, but Tooth pushes the template further, binding the disparate elements together so tightly that they become indistinguishable from one another. If Quarter Turns was an album that confronted total loss and self-destruction, even longed for it, then Tooth is the sound of resistance and counter-attack: cunning, quick, resolute; calling upon stealth as much as brute-force. At a time when so many pay lip service to experimentation without ever fully committing themselves or their work to it, Raime return from three years of deep, dedicated studio research with a bold and original new music: staunch, rude, and way out in front.

File Under: Electronic, Industrial, Darkwave 
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rampanziTeresa Rampazzi: Images for Diana Baylon (Die Schachtel) LP
The long and mesmerizing single piece of analog electronic music that develops over the two sides of Images for Diana Baylon (1972), the latest Die Schachtel “Silver Series” LP is a soundscape composed by Teresa Rampazzi for the artist Diana Baylon’s 1972 exhibition at the modern art gallery Il Fiore in Florence, Italy. Diana Baylon (1920-2013), a friend of Rampazzi’s, was a cross-disciplinary artist who transformed various materials (ceramics, glass, metal, paper, paintings, graphics, jewelry) into figurative and – later in the ’60s – abstract and programmatic art objects. In the summer of 1969 she appeared – along with Alberto Burri, Pablo Picasso, Jean Dubuffet and Lucio Fontana – at the Festival dei Due Mondi di Spoleto exhibition “Maitres Et Jeunes D’aujourd’hui”. For the 1972 Florence exhibition, Teresa Rampazzi realized this long “soundtrack” (in her words) to be played in loop. Sounds were made with the analog equipment she used at the time. “The inner space of the exhibition” she wrote, “is made of sound, for the whole duration of the exhibition. The work is composed by a series of sound events, with both informal and aleatory features, in a continuous flux, and there is no planned predetermination in any of the various sections. This choice has been made for the sound space to adjust to the sculptor’s plastic and loose images.” Immagini per Diana Baylon was in fact the third time Teresa Rampazzi realized music for an exhibition. The first was also the very first experimental composition that Rampazzi and Ennio Chiggio composed in 1965, a sound collage for the opening of an exhibition of the Gruppo Enne at the International Biennale d’Arte in Venice. The second soundscape piece, “Environ” (1970), was realized for the presentation of a 360 degree round modular couch in foamed resin designed by Chiggio, presented at a furniture shop in Padova in 1970. The piece is featured on the Die Schachtel Musica Endoscopica LP by Teresa Rampazzi released in 2009. Immagini per Diana Baylon is the eighth LP release in the Die Schachtel “Silver Series” dedicated to the pioneers of early Italian electronic music. Limited deluxe vinyl LP edition. Silver printed cover with silver-foil print, with a red inner sleeve and booklet. Edition of 450.

File Under: Early Electronic
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elzaElza Soares: The Woman at the End of the World (Mais Um Discos) LP
Septuagenarian Brazilian music icon Elza Soares teams up with the cream of São Paulo’s avant-garde musicians for an album of apocalyptic, experimental samba sujo (“dirty samba”) that tackles the burning issues of 21st century Brazil: racism, domestic violence, sex, drug addiction and global warming. The Woman at the end of the World is Elza’s 34th studio album and her first to feature previously unrecorded material, exclusively composed for her. Voted “Best Album of 2015” by Rolling Stone Brazil after its domestic release, it will now be released worldwide by UK based label Mais Um Discos. Over a sprawl of distorted guitars, squalling horn, taught strings and electronic shards, samba is savaged by rock ‘n’ roll, free jazz, noise and other experimental music forms. A true legend of Brazilian music Elza has an incredible musical oeuvre that stretches back over seven decades mixing samba with jazz, soul, funk, hip hop and electronica, whilst her life story is a rags-to-riches-to-rags rollercoaster of triumphs and tragedies that has made her a voice for Brazil’s repressed female, black, gay and working class populations. Her music career began in the late 1950s as she sung in clubs and hotels, sometimes being forced to perform off stage because of her skin color. The ’60s was a career defining period with a run of classic albums for Odeon. After decades of hardships and artistic exploration, her latest muse is São Paulo’s hyped samba sujo scene. Soares presents an album that walks a tightrope between post-rock and post-samba. “I knew this album would be a bold, modern sound” she says. “These songs are tense they do not allow you to relax”. The album opens with “Coracão do Mar (Heart of the Sea)” with Elza reciting a poem from celebrated Brazilian modernist poet Oswald de Andrade. Title track “Mulher do fim do Mundo” uses carnival as a metaphor for the apocalypse and according to composer Romulo Froes “translates Elza’s strength and indestructability”. With The Woman at the End of the World, Elza forces the joy and sadness that personifies samba to confront the dirty truths of modern day São Paulo.

File Under: Brazilian, Experimental, Samba
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tazartesGhedalia Tazartes: 5 Rimbaud 1 Verlaine (Holidays) 10″
Holiday Records presents the vinyl reissue of Ghedalia Tazartes’ 5 Rimbaud 1 Verlaine (2006). This is a great tribute to the poetry of Rimbaud and Verlaine made by a favorite French sorcerer, who exceptionally abandoned his typical imaginary language to reinterpret six small poems in his own way, jumping from one musical genre to the other and happily letting them crunch together in a childish, enthusiastic play. Recorded in Paris in his flat around the same time he recorded the wonderful Hystérie Off Music (2007) and previously available in an almost unnoticed mini CD edition published by the French label Jardin au Fou. Available here in a remastered vinyl version – with an excellent 45 rpm cut made by SST in Frankfurt. Edition of 350.

File Under: Experimental, Gypsy

SME023LP_PRODFranco Tonani: Confluenze (Sonor Music) LP
180 gram vinyl. Remastered sound. Released 500 copies. Italian free jazz milestone. Here’s Franco Tonani (Night In Fonorama) (1964) at the drums together with top Italian jazz musicians of the time for a full free jazz/avant-garde session. Tracks like “Shepping”, “Odd Piece” and “Whisper” are high-class bopping jazz cues with Tonani killing at the drums. Other weird and avant-garde themes on both of the sides. Legendary Italian jazz album!

File Under: Italian, Library, Jazz
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wake 1Various: Wake Up You! Vol. 1 (Now Again) LP
HIGHLY RECOMMENDED! “The Western world was in the throes of peace, love and flower power as Nigeria descended into Civil War in 1967. The rock scene that developed during the following three years of bloodshed and destruction would come to heal the country, propagate the world-wide ideal of the Modern Nigerian, and propel Fela Kuti to stardom after the conflict ended in 1970. Wake Up You! tells the story of this time, pays homage to these now-forgotten musicians and their struggle, and brings to light the funk and psychedelic fury they created as they wrested free of the ravages of the late 1960s and created thrilling, original Nigerian rock music throughout the 1970s. This ‘standard’ 2LP set follows the now-OOP Record Store Day edition. It comes with a download card with full audio and a 104 page digital booklet (as a .pdf) filled with never-seen photos and detailed liner notes by Nigerian musicologist and researcher Uchenna Ikonne (Who Is William Onyeabor?; Brand New Wayo: Nigerian Boogie and Disco, etc.), with all tracks fully licensed from the bands themselves.”

File Under: Psych, Nigerian
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…..restocks…..

Chvrches: Bones of What You Believe (Glassnote) LP
Miles Davis: Cookin’ (Waxtime) LP
Dead Kennedys: Frankenchrist (Manifesto) LP
Dead Kennedys: Give Me Convenience (Manifesto) LP
Fabio Fabor: Aquarium (Sonor Music) LP
Godspeed You Black Emperor: Lift Your Skinny Fists… (Constellation) LP
Godspeed You Black Emperor: F#A# (Constellation) LP
Godspeed You Black Emperor: Allelujah! (Constellation) LP
Godspeed You Black Emperor: Asunder… (Constellation) LP
Grizzly Bear: Shields (Warp) LP
Grizzly Bear: Veckatimest (Warp) LP
Billie Holiday: Carnegie Hall (Pan American) LP
Billie Holiday: Stay With Me (Pan American) LP
Holy Fuck: Congrats (Last Gang) LP
Jerusalem in my Heart: Mo7it Al-Mo7it (Constellation) LP
Jerusalem in my Heart: If He Dies, If If If If If (Constellation) LP
July Talk: s/t (Sleepless) LP
Kendrick Lamar: Good Kid… (Aftermath) LP
Kendrick Lamar: To Pimp a Butterfly (Aftermath) LP
LCD Soundsystem: London Sessions (DFA) LP
LCD Soundsystem: This is Happening (DFA) LP
Lumineers: Cleopatra (Dine Alone) LP
Thelonious Monk: Monks Dream (Waxtime) LP
Thelonious Monk: Straight No Chaser (Music on Vinyl) LP
Lee Morgan: Search For A New Land (Blue Note) LP
Pearl Jam: Ten (Epic) LP
Pearl Jam: Vitalogy (Epic) LP
Pearl Jam: Vs. (Epic) LP
Iggy Pop & The Stooges: Raw Power (Epic) LP
Purity Ring: Shrines (Last Gang) LP
Lou Reed: Transformer (Sony) LP
Emitt Rhodes: Rainbow Ends (Omnivore) LP
Royal Headache: s/t (What’s Your Rupture) LP
Sturgill Simpson: A Sailor’s Guide.. (Atlantic) LP
Vince Staples: Summertime ’06 (Universal) LP
Stooges: Funhouse (Rhino) LP

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…..news letter #747 – jooklo…..

Some really killer slabs in this week. Who’d have thought there’d be a week where both the Silver Apples and Suicide would be reissued! And I swear we were just talking a couple of months ago how necessary some early Fall reissues were. And the major label Melvins LPs! Crazy days! If you aren’t in Calgary for Sled Island, then drop in and let us drain your wallet.

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…..picks of the week…..

fall

The Fall: Live at the Witch Trials (Superior Viaduct) LP
In tomorrow… The first full-length album of The Fall, Live At The Witch Trials, is not actually a live album. Emerging out of a two-day studio session at Camden Sound in North West London during a sickly December of 1978, Witch Trials amounts to the sinister foundation of the band’s diverse sound. Every song explores drastically different styles and wild terrain, leaving much to decipher over its eleven tracks. “Frightened” has magnetic attraction / repulsion that shifts between Martin Bramah’s skeletal guitar, Yvonne Pawlett’s plastic keyboards and the lurching rhythm section of Marc Riley and Karl Burns. Mark E. Smith’s mesmerizing bark and eerie lyrics warp the cosmic context with each repeated non-chorus. “Rebellious Jukebox” takes yet another turn and showcases the band’s more melodic leanings. One gets the sense that The Fall are in a time-travel hallucination (from 19th century witch trials to a scathing critique of the late-70s punk scene) where the band’s snot-nosed scrabble afflicts the shape of pop to come. As Smith dictates, “We are The Fall, northern white crap that talks back.” Superior Viaduct’s edition is the first time that Live At The Witch Trials has been available on vinyl domestically since its initial release in 1979. Liner notes by Brian Turner.

File Under: Punk
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melvinsMelvins: Houdini (Third Man) LP
180 Gram, bonus track, analog tape masters, 6 tracks produced by Kurt Cobain, first time on vinyl since 1993, gatefold. Signed to Atlantic Records in the hubbub after Nirvana’s Nevermind exploded, the Melvins’ fifth album Houdini was a conscious attempt by the band to make a record that wouldn’t alienate their fans but that the band members themselves would also enjoy. Their best-selling release by a country-mile, this album crested at number 29 on on the Billboard Heatseekers chart. Houdini would be most folks introduction to the band and songs like ”Honeybucket” received MTV airplay.

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

bbc 21

BBC Radiophonic Workshop: 21 (Silva Screen) LP
In 1958 the BBC Radiophonic Workshop opened with the aim to enhance the main drama output on the Third Programme (now Radio 3) following the development of new electronic music techniques emanating from Europe. Their work expanded across the BBC to take in TV drama (especially sci-fi), schools programmes and themes. The latter being their most celebrated and well known work: Delia Derbyshire’s treatment of Ron Grainer’s theme for Doctor Who. This collection was originally released on vinyl by BBC Records in 1979 to celebrate 21 years of the workshop’s creative output. From The Goons (Bloodnock’s Stomach), to the Interval Signal, to Doctor Who and Great Zoos of the World, this is a fascinating chronicle of some of the most innovative music ever made. These ground-breaking compositions have provided a major influence on music from The Beatles and Pink Floyd and onwards into the contemporary world of Aphex Twin, Orbital and The Chemical Brothers.

File Under: Early Electronic, Library, OST
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case

Case/Lang/Veirs: s/t (Anti) LP
case/lang/veirs, a true collaboration between three phenomenal, self-driven artists: avant-rock icon Neko Case, legendary musical nomad k.d. lang, and indie folk star Laura Veirs. The women wrote all 14 songs and shared lead vocals equally, sometimes even within the same track. Full of stunning harmonies and spellbinding rhythms, case/lang/veirs travels through aches and eras, torch songs and tributes to the undersung. They worked over two and a half years in Portland, Oregon, where lang and Veirs both live, sometimes in lang’s loft with a view of Mount St. Helens, others in Veirs’ dining room or backyard studio. The album was written from the ground up without any real plan beyond a desire to make music together and a faith that it would reveal itself. They produced the album with Tucker Martine, at his Portland studio in November 2015. “The combination of spirits, the combination of artistry, is very unique, because we have definite similarities, but we are very, very different, and it creates a really interesting thing,” says lang. “It’s a truly collaborative record where our individual essences are firmly in place.”

File Under: Folk, Indie
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ccr

CCR Headcleaner: Tear Down the Wall (In The Red) LP
In tomorrow… “I’d seen CCR Headcleaner several times before, usually an entertaining mess of fucked-up rock racket that emerged from the ashes of a Georgia band I liked called Long Legged Woman. But at their Hemlock show opening for Human Eye back in September, CCR somehow transmuted themselves from an unevenly good local band into a marauding gang of Scanners-style head-exploder telepaths and delivered a defining, transcendent, next-level performance. CCR’s hypnotic and malevolent psychedelia wasn’t faux-fun party-psych or disingenuously mellow Zen Center nature psych—it was more of a Jim Thompson’s Killer Inside Me psych with elective self-surgery K-hole romps and post-hate-fuck cuddle balladry. The band was possessed, the room was juiced, the audience transfixed. At points, CCR’s set was suffused with a prosaic evil vibe that reminded me of the Rembrandt Pussyhorse / Locust Abortion-era Butthole Surfers live shows. Musically, CCR are way different than the Buttholes—I’m referring more to the air of all-pervading cathartic menace. Shortly afterward, CCR went with Fuzz on a national tour (huge props to Fuzz for that act of public service) and I caught them a month later at Death By Audio in Brooklyn. They were in top road shape, which only underscored how special that show with Human Eye had been.” —Anthony Bedard, Bay Bridged

File Under: Psych Rock

converge

Converge: You Fail Me Redux (Death Wish) LP
Includes bonus track “ Wolves At My Door” – first time on CD. You Fail Me from CONVERGE is the classic follow up to their landmark Jane Doe full length album. Originally released in 2004, the brute force and emotional power on You Fail Me is unparalleled. Solidifying their reign in the genre that they have defined for over two decades. Never quite content with the original mix, You Fail Me Redux was remixed by guitarist Kurt Ballou at his God City studios. The release was also remastered by Alan Douches (Motörhead, Mastodon), and repackaged by vocalist/artist Jacob Bannon.

File Under: Metal
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deerhoof

Deerhoof: The Magic (Polyvinyl) LP
After all the accolades from press and peers, what’s a legendary band to do? Forget the recording studio, rent out an abandoned office space in the middle of the New Mexico desert, set up, plug in and play really loud. Starting with hardly a notion of the outcome, by seven days later Deerhoof had found (you guessed it) The Magic: a raw and refreshing 15-song wallop of an album about what happens when you leave your comfort zone. The version of Deerhoof you hear on The Magic is a most punch-drunk proposition. Everyone showed up in the mood to sing. Satomi Matsuzaki, John Dieterich, Ed Rodríguez and Greg Saunier dream up alchemies of punk, pop, glam, hair metal, doo-wop, hip hop, and R&B, late-night car rides, long days, attitude and spandex. Poetry into noise. Volume knob into gratification. Friendship into rock band. According to drummer Greg, the music on The Magic was lurking in the shadows of “what we liked when we were kids – when music was magic – before you knew about the industry and before there were rules. Sometimes hair metal is the right choice.” For singer/bassist Satomi The Magic is but the latest episode of an ongoing gamble: “I joined Deerhoof a week after I arrived in San Francisco from Japan. I hopped on a MUNI bus to have a first meeting but got off at a wrong stop. I was lost and confused. They found me on a dark street corner after I called for help from a pay phone. Since then my adventure expanded. Deerhoof is a vehicle with four powered wheels that takes me through forest, desert and buildings. My life is adventure!” The Magic is a mixtape imbued with Deerhoof’s sorcery – boldness, wonder, technical know-how, risk. It is a mixtape by the kid with the biggest music collection you’ve ever seen, who will take you camping and show you how to pull a rabbit out of a hat.

File Under: Indie Rock
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deux

Deux Filles: Silence & Wisdom/Double Happiness (Dark Entries) LP
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule’s mother died of an incurable lung disease and Forque’s mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo’s albums betrays no hint of the sorrow that framed their personal lives. This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo’s career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker’s Papier Mache label, 1982’s “Silence & Wisdom” and 1983’s “Double Happiness”. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they’re a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing. “Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise” (Sounds, 03/1983)

File Under: Electronic, Ambient
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dj shadow

DJ Shadow: The Mountain Will Fall (Mass Appeal) LP
DJ Shadow, widely acknowledged as a crucial figure in the development of experimental, instrumental hip-hop, returns in 2016 with The Mountain Will Fall, his first full length release since 2011. The 12-track album finds DJ Shadow exploring new realms in addition to the deep samples and kinetic soundscapes that helped to launch his career 25 years ago. On The Mountain Will Fall he’s shifted further toward original composition, a vast experimentation of beats and textures, synthesizers and live instruments including horns and woodwinds. The album features Run The Jewels, Nils Frahm, Matthew Halsall, Ernie Fresh and more. The seeds for the The Mountain Will Fall were planted after two years of touring and DJ Shadow’s last full length and retrospective box set releases. While taking some time to recalibrate, he was invited by the Low End Theory to do a DJ set, something he hadn’t done in over a decade. It led to festival DJ sets, performing with Diplo, listening deeply to several subgenres of electronic music, doing remixes and the exploration of Ableton Live software – a new way for this profoundly original voice to compose and create. DJ Shadow also launched his own label for the release of his work and other artists, called Liquid Amber. The title track and album opener is smoldering – an opening salvo of sounds, beats and pitches that shift, phase, shimmer and implode. A falling cascade of picked guitar notes opens “Nobody Speak,” a blazing statement-maker featuring Run The Jewels. The warped, jazz-tinted “Ashes To Oceans” features Matthew Halsall, and “The Sideshow” is Shadow’s unbridled scratch track/old school hip hop send up with MC Ernie Fresh. The album artwork was designed by UK street artist Paul Insect, who also designed the art for Shadow’s 2006 album Outsider.

File Under: Hip Hop
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dragnet

The Fall: Dragnet (Superior Viaduct) LP
In tomorrow… Dragnet is arguably The Fall’s best-known album. With the departure of Martin Bramah after Live At The Witch Trials, the band underwent yet another lineup shift in late 1979. Marc Riley switched to guitar and Steve Hanley joined on bass; the latter’s signature basslines would become a major part of The Fall for the next two decades. Opening track “Psykick Dancehall” strikes like an elusive, working-class anthem with its bouncy tempo changes and Mark E. Smith’s unfiltered vocals raining down on the dance-floor. “Dice Man” takes its direction from disheveled beats, stuttering lyrics and asymmetrical phrasing. Somehow Dragnet manages to be even more lo-fi than The Fall’s debut, yet reveals a cohesive sound and fierce songs that would further build the band’s cult following. Superior Viaduct’s edition is the first time that Dragnet has been available on vinyl domestically since its initial release in 1979. Liner notes by Brian Turner.

File Under: Punk
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jansch

Bert Jansch: From the Outside (Earth) LP
Recalling the elegant simplicity of Jansch’s early works, ‘From The Outside’ sees Jansch return to the uncomplicated yet supremely effective sound of his eponymous debut. This is Bert laid bare – eschewing the more intricate arrangements of his surrounding works for the holy trinity of guitar, banjo and voice, perhaps reflective of his state of mind at the time. Stand-out tracks include ‘River Running’ and ‘Blackbird In The Morning’ which were both (amazingly) omitted from the original vinyl release. One of Bert’s rarest releases, this 1985 LP was originally issued as an edition of just 500 copies on the small Belgian label, Konexion. This issue unites the varied track listing of previous versions – both LP and CD, with many cuts appearing here on vinyl for the first time. Remastered from original tapes by Brian Pyle.

File Under: Folk
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laraaji

Laraaji & Sun Araw: Professional Sunflow (W.25th) LP
In tomorrow… Professional Sunflow is the first-time collaboration between Laraaji & Sun Araw, two colossal forces in contemporary electronic music. Laraaji’s musical radiance has continued to shine brightly over four decades since being discovered by Brian Eno in New York’s Washington Square Park in 1979. Sun Araw emerged out of Los Angeles’ experimental scene in 2008 with transformative releases on a variety of trend-setting labels (Not Not Fun, Drag City and more). The live performances on this double LP – recorded in Germany and Switzerland – combine prewritten elements and improvisation. Laraaji’s soulful vocals and signature instrument, zither, blend beautifully with the free-floating rhythms of Sun Araw’s Cameron Stallones (guitar / keyboards) and Alex Gray (computer synthesis) to shape Professional Sunflow’s unique sound: dreamy layers of percussion, ambient textures and vibrant melodies. W.25TH is proud to present Professional Sunflow as our inaugural release. As a sub-label of Superior Viaduct, W.25TH will focus on inventive sounds from current artists. Forthcoming releases include Nazoranai (Keiji Haino, Stephen O’Malley and Oren Ambarchi) and the (as yet unnamed) collaboration between Richard Pinhas, William Winant, and Comets On Fire’s Noel Von Harmonson and Utrillo Kushner.

File Under: Psych, Drone, Improv
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lungfishLungfish: Sound in Time (Dischord) LP
In tomorrow… A reissue Lungfish’s fourth full-length, Sound in Time, on LP. Originally released in 1996, the album was recorded at Inner Ear Studios in Arlington, Virginia by Don Zientara. Long out of print, this version has been remastered for vinyl by TJ Lipple. From their inception in 1988 until their hiatus in 2006, Baltimore’s Lungfish music band released 11 full-length albums and played concerts across the United States and in Europe. At the time of this recording, Lungfish was Daniel Higgs, Asa Osborne, Sean Meadows and Mitchell Feldstein.

File Under: Indie Rock
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marijata

Marijata: Pat Thomas Introduces (Academy) LP
Born in 1951 in Kumasi, Ghana, the highlife vocalist, Pat Thomas, made his name with his band the Sweet Beans. He began his career in 1969 with the Broadway Dance Band, leaving a year later to join the Uhuru Dance Band. Then he played with Ebo Taylor’s Blue Monks and finally formed the Sweet Beans in 1973. They released ‘False Lover’ in 1974, then split and-reformed as Marijata, releasing ‘Marijata’ and ‘Pat Thomas Introduces Marijata’. What a story – to sum it up this rare and famous album that can be sold at more than one thousand dollars… (Source : orogod.blogspot.com) Here’s what Voodoo Funk says on his blog: “I know I’ve been promising this one for years but now. Academy Lps and Voodoo Funk will release this record as their first joined release of 2015. We have managed to secure the licensing from band member Kofi ‘Elecric’ Addison who also provided us with some mind bending band pictures. Stay tuned for one of the most anticipated Afro Funk releases ever.”

File Under: Afrobeat, Highlife, Funk
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stoner witch

Melvins: Stoner Witch (Third Man) LP
180 Gram, analog tape masters, gatefold. The stellar seventh studio album by the Melvins is one of the most cohesive and beloved in the band’s catalog. With fan favorites like ”Revolve” and ”Queen” balanced with the impressive sound explorations of ”Lividity” and ”Shevil,” the result is one of the most praised albums of the band’s 30+ year career. First time on vinyl since 1994!

File Under: Metal, Stoner
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stag

Melvins: Stag (Third Man) LP
180 Gram, first time on double vinyl, analog tape masters, gatefold. The final album in the Melvins’ major label span, Stag finds the band fully spreading their wings (and budget) to create what is arguably their most wide-ranging and diverse album among the nearly two-dozen full-length studio albums the band has released since 1987.

File Under: Metal, Stoner
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nite jewel

Nite Jewel: Liquid Cool (Gloriette) LP
Internationally lauded chillwave originator and indie darling Ramona Gonzalez aka Nite Jewel returns in 2016 with her first album in four years following her critically acclaimed 2012 effort One Second Of Love. Performed and produced entirely on her own, the album is intimate yet danceable, DIY yet radio ready. Imagine if Janet Jackson was produced by Kraftwerk. Liquid Cool will be issued in June 2016 via Gloriette records, Nite Jewel’s own imprint. Free from the constraints of corporate backing, Liquid Cool is poised to cut through the din of 2016 and move listeners in incisive and deeply personal ways.

File Under: Electronic, Pop
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ohseeslive

Thee Oh Sees: Live in San Francisco (Castle Face) LP
In tomorrow… Perched in the belfry of The Chapel we caught thee mighty Oh Sees, alive and in their natural element, with our shutters aflutter and our tapes on a roll. After a short incubation period, the beast has reached full maturity and it is hideous. Over three nights they pummeled, and we’ve culled some great photographs, a wicked recording, and even a little live video action. Castle Face is happy to announce the first double LP in the Live in San Francisco series, presented on two discs, in a handsome double gatefold jacket, with live video shot by Brian Lee Hughes and his crew of merry gentlemen on an included DVD. Finally you depraved Oh Sees freaks have something to take home with you when you lose your shoes and your girlfriend at the show. Put it on at home and pretend to wait in line for the bathroom and it’s like you’re really there. The thrash, the throb, the mob is all present and pushed to the front. Dual drummers synced in each ear, Tim Hellman rounding out the bottom and Castle Face’s own John Dwyer up front on guitar, lasering young brains off and fomenting the crowd to a froth—it’s a great band, in a great room, with a great crowd and it’s cooked to perfection… Take a little bit of it with you this time.

File Under: Punk, Garage, Psych
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tp0004c_Double_Gate_Cover_only

OST: My Bloody Valentine (Waxwork) LP
Waxwork Records is proud to announce the new double LP release of My Bloody Valetine (1981). Praised by director Quentin Tarantino as his favorite slasher movie of all time, My Bloody Valentine (1981) tells the story of a small mining town and it’s residents that fall victim to a vengeful, homicidal maniac on Valentine’s Day. The film has garnered a cult following and has also sparked a major-studio remake in 2009. By working directly with composer Paul Zaza (Prom Night, Curtains, Porky’s), Waxwork was allowed to work directly from the original master tapes to source the complete, haunting score. This release marks the very first time the score to the 1981 slasher-horror classic has been released in any format. The foreboding score by Paul Zaza is a mix of both minimal synth and orchestral compositions intertwined with bluegrass and country soundtrack cues. Expertly mastered by Thomas DiMuzio at Gench Mastering, the complete score clocks in at over one hour and spans two 180 Gram opaque blood red vinyl records.

File Under: OST
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MOND079_JKT

OST: Naked Lunch (Mondo) LP
In collaboration with Howe Records, we’re excited to announce celebrating the 25th anniversary for the score to Naked Lunch. Composed by three-time Oscar-winner Howard Shore collaborating with both jazz legend Ornette Coleman and the London Philharmonic Orchestra. The soundtrack is a dazzling mix of a traditional Hollywood Orchestral score with incredible free jazz flourishes from Coleman , here he works with the London Philharmonic creating incredible textures over Shore’s beautiful , edgy and moody orchestrations that recall Bernard Herrmann’s work on Taxi Driver and occasionally lets loose without them (Bugpowder, Interzone Suite) backed only by his son Denardo on drums, these tracks are thrilling and offer a perfect counterbalance to the more measured tracks with the Orchestra, showcasing the incredible and fearless free jazz stylings that made him a legend.

File Under: OST
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9th gate

OST: The Ninth Gate (Silva Screen) LP
Making its debut on vinyl, Wojciech Kilar’s haunting soundtrack to Polanski’s disturbing film The Ninth Gate (1999) features at its core the vocals of Korean born soprano, Sumi Jo. Kilar established himself as a horror score composer with Bram Stoker’s Dracula and his work here on Polanski’s film achieves a creeping sense of menace worthy of Polanski’s dark tale of Satanic worship. “If menacingly haunting horror music is your delight, then The Ninth Gate is not a score to miss.”

File Under: OST
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prometheus

OST: Prometheus (Mondo) LP
Mondo is pleased to present the premiere vinyl soundtrack release to Ridley Scott’s 2012 film Prometheus. Picking up the reigns of the franchise he created, Prometheus tells a genesis tale, setting the stage for events to come in the Alien franchise – exploring the origins of the Space Jockey, and the Xenomorph – while simultaneously telling a fractured tale of the perils of meeting ones creator. Composed by Scott’s longtime collaborator Marc Streitenfeld, the music of Prometheus is as haunting as it is meditative and triumphant: a fresh approach to scoring a familiar universe – keeping with the trend of bringing a new sound to each successive Alien film, this one sounding like it was written to be heard blasting from the speakers of an IMAX theater. Streitenfeld takes advantage of the locales, writing music for lush landscapes and barren caves, occasionally writing compositions backwards, reversing them in post to produce a sense of uneasiness inherent with exploring the unfamiliar. Prometheus is a unique listening experience that fits perfectly side-by-side with the sagas other films.

File Under: OST
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witch

OST: The Witch (Milan) LP
Any great horror film has an equally impressive composer. The Witch is no different. Mark Korven has created a one-of-a-kind spectral affair that draws the listener into the misty world of the family’s farm as horror permeates throughout. Now available as an LP, The Witch is pressed on stunning 180 gram black and silver starburst vinyl and packaged handsomely in new artwork based on 16th century woodcuttings.

File Under: OST, Horror
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silver apples

Silver Apples: s/t (Jackpot) LP
Highly Recommended! Formed in 1967 as a psychedelic electronic duo featuring Dan Taylor on drums and Simeon on a homemade synthesizer consisting of 12 oscillators (and an assortment of sound filters, telegraph keys, radio parts, lab gear and a variety of second hand electronic junk), Silver Apples quickly gained a reputations New York’s leading underground musical expression. Their pulsating rhythmic beats with the use of electronics laid the groundwork for what would become “Krautrock” Silver Apples was released in 1968 and still remains an innovative and revolutionary album. Their highly influential sound has influenced countless bands from Stereolab, Beastie Boys, Blur and more. The first remarkable trait of Lazy Smoke’s sound is the lead vocal’s similarity to John Lennon. Upon digging just a little deeper below the surface, we instead find a darker tone and a patient, eerie feeling resonating through the songs. While bands like The Beatles and Love were singing about love, lament and hallucinated travel experiences, the songs on Corridor of Faces get sincerely dark right away. Even the seemingly-light teenage love-themed “Sarah Saturday” shares an undercurrent of on-the-edge uncertainty. It’s this undercurrent that calls to mind comparisons to Forever Changes era Love. Originally privately pressed in MA in an edition of only 500 copies in 1968. Now repressed again in 2016 on Blue Sky Colored Vinyl.

File Under: Psych, Electronic
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sleeping

Sleeping Beauties: s/t (In The Red) LP
In tomorrow… Spawned in the same creepy corner of the Pacific Northwest, from the remains of the fantastically under-appreciated The Hunches, Eat Skull and The Hospitals, are the Sleeping Beauties. Big basement rock opens up “Bobby and Suzie” with its gluey, flypaper tempo changes bringing to mind Alex Chilton’s “Like Flies on Sherbert” and the Electric Eels mashed into a ball. Rhythm piano played with an icepick is next on “Meth” and though it may be a tale of warning, the track adds allure to having “got a weekend sack and it’s Saturday / Sunday my life is crumbling.” Under the moss-covered tremolo glam of “Wheeler” is a map to one of the catchiest choruses of the record. The smell of bleach in the bathroom leads to “Potter’s Daughter” with an invitation to relax and go “swimming in tampons” but in the last minute Rod Meyer’s and Rob Enbom’s scraping guitars peel back the skull again. Sounding poppy, primal and carsick at once, drug mules and biblical references tiptoe sweetly onto the bus on “Merchants of Glue.” The windows steam up in the Rocket from the Tombs-eque “Slumber Party” as the garbage boogie slides into an early Butthole-Surfers-like stream of unconsciousness. “Hands Across America” continues to showcase singer Hart Gledhill as one of the most distressing throats since Captain Beefheart while competing with guitar solos louder than Teengenerate. These burns are soothed on “Southie,” evoking some kind of 13th Floor Elevators groove followed by the sad, warped, almost country-tinged “Addicted to Drugs.” This respite is short lived, however; the terrific push-pull / future-primitive rhythm section kicks in on “50’s Haircut / Gold Shoes.” After a while, the gutter puzzles start to make sense, like a schizophrenic does if you actually sit down and listen. When the last sands gently, mercifully slide through the hourglass on “South Eugene,” it’s over too soon. It is exciting to see a new band in 2016 sing about their unique pain and pleasure, not hidden by delay pedals and not seeming to care if you like it or not. This record probably makes you smarter for listening to it, and the only problem is it erases your mind as well. —Lars Finberg, 2016

File Under: Psych, Rock

syss

Sonic Youth: Spinhead Sessions (Goofin) LP
In tomorrow… The slow-burn sounds of Sonic Youth’s 1986 rehearsals to score Ken Friedman’s spooky highway film Made In USA are yet another mile marker in the band’s long and varied existence, now being issued as Spinhead Sessions (named for the North Hollywood studio used by SST label acts like Black Flag and Painted Willie). These jams were later built upon for a full-on (and quite different) soundtrack production, but the rough sketches here find the band taking time with truly new and introspective sound worlds. It was basically a brand new way of working for Sonic Youth, albeit a challenging one, under the auspices of major Hollywood film production overlords, routing their way into the world of soundtrack scoring. And it all comes at a key time and place. It’s no secret that 1986 was a transformative year for the band in many ways. The gravitation to the beloved SST stable, in addition to Steve Shelley, now drumming, certainly gave Sonic Youth a renewed vigor and vocabulary. They were already an international touring machine, and gaining considerable steam with critics (even spinning the heads of detractors who had dismissed their arty downtown boho sensibilities prior to ’86’s EVOL). Their cultdom with fans had concrete roots by this point, and the influences that were swarming in the band’s orbit marked an exciting time, where almost any trajectory seemed possible, and they were going for it. Friedman’s film worked on a relatively darker frame for a mainstream Hollywood flick; characters played by stars Chris Penn and Adrian Pasdar made a cross-country journey that started out in Centralia, Pennsylvania, a real-life, anthracite coal producing town that had to relocate all its residents due to a decades-long, inextinguishable underground fire. The Sonics passed through this haunted-looking locale on their next tour after the sessions, and are pictured on the sleeve standing amidst smoldering embers. For the sounds they made at Spinhead, this image seems a fitting mental picture. Guitar harmonics billow like smoke, heavily reverbed drumming and shimmering cymbals echo from what sounds like the bottom of a deep mine. This newly born Spinhead Sessions release once again defines Sonic Youth in a raw and engaging state of discovery at a terrific time. Is it a missing link between the complex, crafted cavernosity of EVOL and the frayed-electric powerline sizzle of Sister? Yes and no. It’s an entirely unique animal, a meditative album where you can soak in the template of tapping overtones, sedate explorations of new chords, even sounding at times like AMM trying to play the VU’s Sweet Sister Ray bootleg or something similar. It’s trademark Sonic Youth at the core, and in an unfettered, dreamy state and time, there and gone like smoke.
—Brian Turner, WFMU Music Director

File Under: Indie Rock
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suicide

Suicide: s/t (Superior Viaduct) LP
In tomorrow… Highly Recommended! Suicide’s landmark self-titled LP was originally released in 1977, seven years after the group’s initial conception as part of the performance art scene on the Lower East Side. It is hard to overstate the importance of the seven tracks on Suicide, which paved the way for punk, industrial, hip hop, noise and beyond. “Ghost Rider” accelerates with brutal anguish and desire for everything rock ‘n’ roll. Martin Rev’s utterly singular “instrument” pounds out a synthetic soundscape, while Alan Vega’s oversaturated vocals obsess over motorcycle getaways. “Rocket U.S.A.” distills the duo’s dynamic power down to a ghostly pulse, while the psycho-drama of “Frankie Teardrop” (Bruce Springsteen’s all-time favorite song) delves even further into cinematic storytelling and, at the same time, clears the room at the end of the night. Superior Viaduct is honored to present Suicide – restored from the original mixes, fully sanctioned by the band and with liner notes by Thurston Moore. If there can be a quintessential New York band, it is without a doubt Suicide.

File Under: Electronic, Punk
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truth

Truth & Janey: No Rest for the Wicked (Lion) LP
Limited edition, high quality vinyl reissue of this underground hard rock monster from 1976, by this legendary power trio led by guitarist Billy Lee Janey. Since the release of “No Rest for the Wicked’s” in 1976, it’s stature among collectors of 60’s and 70’s hard rock and psychedelia has grown steadily over the years, with original copies now fetching a large sum in the collector’s market. It has often been lauded as perhaps the best independent U.S. heavy rock release of the entire 1970’s.

File Under: Psych, Hard Rock
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umberto

Umberto: Alienation (Not Not Fun) LP
In tomorrow… The origin story behind Matt Hill’s perplexingly stark and melancholic new full-length is suitably cryptic: “I had a vision of a man experiencing a series of alienating situations.” Whatever the impetus, Alienation stands as the most fascinatingly atypical Umberto album to date: downcast, subdued, haunted, ethereal. In the wake of several extensive international tours and a string of high-profile collaborations with Antoni Maiovvi for the Death Waltz imprint—including a harrowing live score of The Texas Chainsaw Massacre—Hill began expanding his palette, exploring divergences from his classic Giallo-paranoia mode. The record’s nine tracks flow between winter garden ambience (“Elimination,” “Lost Night”), lofty insomniac reverie (“White Night,” “Passage”), and shivering dirge (“Black Sea”), only two of which echo the pulsing synthesizer night-stalks for which he’s best known (“Drifters,” “Dawn of Mirrors”). Hill also commissioned vocalists Victoria Gokun and Edward Tonoyan to weight certain songs with heavier emotion, using lyrics inspired by condemned Russian poet Anna Akhmatova. The combined effect feels out of time, intertwining currents of memory, delusion and beauty, an unplaceable soundtrack for untraceable sorrow.  Alienation was recorded and mixed in 2015 by Hill in Los Angeles, and mastered in 2016 by Alex Nagle in Philadelphia. The expressionist cover painting is Geoffrey Sexton, the metallic gold-foil layout was designed by Tim Goodwillie.

File Under: Electronic, Ambient
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units

Units: Animals They Dream About (Futurismo) LP
In 2015 Futurismo brought you the first ever reissue of Units 1980 electronic cult classic Digital Stimulation. This year Futurismo bring you something by the Units never ever released before!! Coming to turntables for the first time – Units unreleased 2nd album Animals They Dream About, co-produced by legendary musician/producer Bill Nelson, also of Be-Bop Deluxe fame. Shelved since 1982 due to label issues at the time, Units unreleased sophomore LP Animals They Dream About finally sees the light of day for all to hear. Whilst Digital Stimulation forged a sound now known as synthpunk, this time San Francisco’s Units take things in a slightly more synthpop/new wave direction. At this point a four piece, Units still employed the live components and arch observation that were a key to their contemporary punk tinged electro sound, whilst embracing a greater sense of mood and melody. As the Eighties progressed some of the synth textures present on Animals They Dream About would become commonplace, but the UNITS were doing it way back in 1981 for the recording of this lost synth gem, making their 2nd LP something of a testament to what could have been, had it not been for the cruel mistress that is the ‘music biz’. Coming Spring 2016 for a Worldwide release Futurismo present this rare unreleased LP on 180g limited edition coloured vinyl, as well as a digipak CD version. Salvaged and Remastered, this release also contains new artwork, unseen images, a huge poster, liner notes and hidden musical extras…this is your chance to grab a piece of electronic history that was almost lost forever.

File Under: Electronic, New Wave
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white stripes

White Stripes: Complete Peel Sessions (Third Man) LP
2LP, Red & White Vinyl, download, old-school tip-on gatefold, first-ever official release, limited. Capturing Jack and Meg at the precipice of international renown in the hubbub of ”White Blood Cells”, their two live sessions with famed BBC DJ John Peel are arguably the best document of the White Stripes at that time. Having been widely bootlegged since their initial broadcast in 2001, these recordings are enjoying their first official and authorized release in celebration of their 15 year anniversary. The standard black vinyl version of this release will be available later this year.

File Under: Indie Rock
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coxsoneVarious: Coxsone’s Music 2 (Soul Jazz) LP
Coxsone’s Music is a stunning new two volume vinyl collection featuring over two and half hours of early Jamaican proto-ska, rhythm and blues, jazz, rastafari and gospel music – charting the earliest recordings produced by Clement Dodd, in the years before he launched the mighty Studio One Records, brought together here for the first time ever! Dodd’s Sir Coxsone The Downbeat Soundsystem ruled Kingston’s dancehalls during this era and these recordings strongly reflect the influences of American rhythm and blues and jump jazz on Jamaican music fans. By the time the new record company formed in Brentford Road, Kingston in 1963, the young Clement had already managed to release an incredible wealth of recordings by the talented musicians and artists on the island of Jamaica and this collection reflects just that: Featuring Don Drummond, Roland Alphonso, Derrick Harriott, Owen Gray, Clancy Eccles, Count Ossie, Monty Alexander, The Blues Busters, Ernest Ranglin, Rico Rodriguez and many, many more all captured here in their formative early years. Before Studio One, Clement Dodd released this music on a variety of his early record labels such as Worldisc, All Stars, Coxsone, D Darling (named after Coxsone’s mother, who received a production credit on the label), Muzik City (named after Dodd’s record store on East Queen’s Street), Port O Jam, Supreme and Sensational. Sleevenotes to this collection are by Studio One authority Rob Chapman, author of the Never Grow Old and Downbeat Special books cataloging the many recordings of the label.

File Under: Reggae, RnB, Ska
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heartwornVarious: Heartworn Highways (Light in the Attic) LP
Sometimes, a documentary maker is present at precisely the right moment to capture lightning in a bottle. It happened with essential punk doc The Decline of Western Civilization, it happened with Dylan’s Don’t Look Back and Chet Baker’s Let’s Get Lost, and it happened with 1976’s Heartworn Highways. The iconic performance documentary saw filmmaker James Szalapski travel to Texas and Tennessee to capture the radical country artists reclaiming the genre via an appreciation for its heritage in folk and bluegrass and a rejection of the mainstream Nashville machine. Townes Van Zandt, Guy Clark, Steve Young, David Allan Coe, Steve Earle and many others appeared on both screen and soundtrack, where musical highlights include Clark’s brilliant “Desperados Waiting For A Train”, Young’s stirring “Alabama Highways” and Van Zandt’s emotional “Waiting Around To Die”. The hard living – and hard partying – lifestyles of outlaw country’s figureheads are played out on screen as we visit Van Zandt’s Austin trailer, see Coe play in Tennessee State Prison, join the gang in Nashville’s notorious Wig Wam Tavern and witness a liquor-fuelled Christmas at Clark’s house. No wonder the film’s original tagline read: “The best music and the best whiskey come from the same part of the country”. Outside of a couple festival screenings, the movie remained unreleased for five years after its completion, finally hitting screens in 1981 and finding a cult audience ever since.

File Under: Country
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hillbillies 2Various: Hillbillies in Hell Volume 2 (Iron Mountain) LP
We travel further and deeper to bring you more unknown and unheralded Hillbillies, Rockabillies and Hayseeds, as they joust with the Infernal Infinite. Often cut on microscopic or private-press labels and distributed in minuscule amounts, these Tortured Balladeers sing of Satan, suicide, murder, infernal visitations, demonic locomotives, corrupt visions and hard-scrabble redemption – all in one convenient LP package. Years in the making – ‘Hillbillies In Hell’ (Volume Two) presents a further 16 timeless testaments of troubles, sins and El Diablo’s whims. Originally issued on forgotten 45s, some of these sides are indescribably rare and are reissued here for the very first time. All for your prurient listening pleasure.

File Under: Country

ven70Various: Venezuela 70 (Soul Jazz) LP
Soul Jazz Records’ new Venezuela 70 compilation is the first ever album of its kind to take a look at the groundbreaking experimental rock music made in Venezuela in the 1970s, during a time when the country was both a modern cultural and economic powerhouse in Latin America on account of wealth from its vast oil supplies. Venezuela lies at the northern part of South America, with neighboring Colombia to its west and Brazil to its south. The north coast borders the Caribbean. Whilst much of ’60s Venezuelan rock music emulated British and USA styles, the ’70s saw the evolution of a new generation of creative artists such as Vytas Brenner, Angel Rada, Pablo Schneider and Miguel Angel Fuster, who all explored the possibilities of mixing together rock with elements of electronica, funk, jazz and Latin rhythms simultaneously exploring their links with Venezuelan roots music. These Venezuelan artists looked to the future while exploring their country’s own musical heritage to create a new cultural identity. Similarities can be drawn with then contemporary movements around the world, such as the Trópicalia and post-Trópicalia 1970s scene in Brazil of Os Mutantes, Novos Baianos, and Secos e Molhados. A similar parallel can be made in Europe with the experimental German groups of the ’70s like Can, Amon Duul, Harmonia, and Neu who deconstructed and reconstructed the links between rock music and electronics to define a new German cultural identity. Most of the artists featured on Venezuela 70 remain practically unknown outside of Venezuela’s borders and yet their progressive, forward-thinking music is some of the most sophisticated in the world – a stunning ‘melting pot’ mix of underground rock, synthetic electronics, funk, jazz and Latin American rhythms, all of which explored new sounds and broke down musical boundaries to create a distinct and unique Venezuelan music and cultural identity.

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

Angry Angles: s/t (In The Red) LP
Beirut: Gulag Orkestar (Ba Da Bing) LP
Beirut: Flying Club Cup (Ba Da Bing) LP
John Bender: I Don’t Remember Now (Superior Viaduct) LP
Black Keys: Chulahoma (Fat Possum) LP
Black Keys: Rubber Factory (Fat Possum) LP
Black Keys: Thickfreakness (Fat Possum) LP
Electric Citizen: Higher Time (Riding Easy) LP
Fever Ray: s/t (Mute) LP
Fucked Up: Hidden World (Deranged) LP
Funkadelic: Maggot Brain (Westbound) LP
France Gall: Double Best of (Back in Black) LP
Steve Gunn: Eyes on the Line (Matador) LP
Lemonheads: It’s A Shame About Ray (Plain) LP
Monoshock: Walk To The Fire (S-S) LP
Joanna Newsom: Milk-Eyed Mender (Drag City) LP
Nine Inch Nails: Ghosts i-iv (Halo) LP
Oh Sees: Castlemania (In The Red) LP
Oh Sees: Help (In The Red) LP
Oh Sees: Master’s Bedroom (In The Red) LP
Oh Sees: Putrifiers II (In The Red) LP
Oh Sees: Warm Slime (In The Red) LP
Parquet Courts: American Specialties LP
Pig Destroyer: Painter of Dead Girls (Robotic Empire) LP
Ty Segall: Melted (Goner) LP
Smog: Julius Caesar (Drag City) LP
Various: Wayfaring Strangers: Darkscorch Canticles (Numero) LP

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…..news letter #746 – stream…..

An incredible week for new releases for ears of all sorts! Killer African reissues, new Radiohead, Mogwai, Swans, and on and on. If there isn’t something for you this week, maybe you need your ears cleaned.. We’ve also been continuing to plow through the piles of used I’ve got stashed in the back, so lots of killer vintage slabs to browse as well.

Tomorrow (June 17th) we are hosting the Radiohead: Live from a Moon Shaped Pool event. In conjunction with the release of their new album, Radiohead is providing 8 hours of audio content for participating stores all day tomorrow. Starting at 11am tomorrow with 2 hours of live material from their most recent shows. We’ll be open a bit early to ensure that if you are coming down for 11 you can get in here before the show starts. There is also a bit of free swag to take, as well as the new album to buy, and a chance to win some very cool prizes… more details can be found… amoonshapedpool.com/livefrom

Did you know you can receive this weekly update in your email inbox? Click here to subscribe.

…..pick of the week…..

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Various: Wake Up You! Volume 2 (Now Again) LP/CD
The sequel to one of our favorite RSD2016 releases! We’ve got a lot more of this one to go around too but that doesn’t mean you should sleep on this, these are gonna fly out of here… “The Western world was in the throes of peace, love and flower power as Nigeria descended into Civil War in 1967. The rock scene that developed during the following three years of bloodshed and destruction would come to heal the country, propagate the world-wide ideal of the Modern Nigerian, and propel Fela to stardom after conflict ended in 1970. Wake Up You!tells the story of this time, pays homage to these now-forgotten musicians and their struggle, and brings to light the funk and psychedelic fury they created as they wrested free of the ravages of the late 1960s and created thrilling, original Nigerian rock music throughout the 1970s. Presented in two volumes, each in a 100 page book full of never-seen photos along with detailed liner notes by Nigerian musicologist and researcher Uchenna Ikonne (Who Is William Onyeabor?), with all tracks fully licensed from the bands themselves.”

File Under: Africa, Funk, Fuzz, Psych
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…..new arrivals…..

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‘A’ Trio & Alan Bishop: Burj Al Iman (Unrock) LP
Entirely recorded at Tunefork Studios on the outskirts of Beirut, Burj al Imam’s five tracks include three largely improvised numbers, a loose reworking of Sun City Girls track “The Imam,” and a cover of traditional Americana song “Gently Johnny” (a highlight of Alan Bishop’s liveAlvarius B. shows). True to their habits, the Lebanese trio of trumpeter Mazen Kerbaj, guitarist Sharif Sehnaoui, and bassist Raed Yassin create acoustic improvised drones that range from insistent, chiming resonances with emergency alarm bells to low, thrumming hums. Avoiding conventional technique,”A” Trio generates rattling, metallic vibrations and a mechanistic backdrop out of which the instruments’ true voices arise. With Alan Bishop (Sun City Girls, The Invisible Hands, The Dwarfs of East Agouza) and his guitar and enigmatic voice in the mix, alternating between gentle crooning and the sounds of a howling dervish, this recording reaches an exceptional depth with strange sounds boiling down to a dark, heavy spiritual syrup. Psychedelic, industrial free jazz.

File Under: Experimental, Folk, Psych, Rock
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Acid Mother’s Temple: Anthem of the Space (Nod & Smile) LP
“First time on vinyl for this 2005 release by Acid Mothers Temple & The Cosmic Inferno! 600 copies pressed on violet wax! Contains the 42 minute title track split over two sides. Hypnotic electric sitar drones give way to a full fledged acid rock assault!” Mastered by James Plotkin.

File Under: Japanese, Psych
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Band of Horses: Why Are You Ok (Interscope) LP
In tomorrow… Why Are You OK is the fifth full-length studio effort from Band of Horses and follow-up to 2012’s Mirage Rock. The album was produced by Jason Lytle, executive produced by Rick Rubin and mixed by Dave Fridmann. The 12-track release comes preceded by lead single “Casual Party.” In the past, Band of Horses founder and leader Ben Bridwell would literally run away from home to write: holing up in a secluded cabin or other such remote location, emerging months later with new songs for his band to flesh out and fully animate. This time – whether by happenstance or conscious need for a drastic change – Ben stayed home to write. In the estrogen-charged atmosphere of a home shared with his wife and four daughters he allowed his everyday experiences to inform his process. Between dropping off and picking up the girls, changing diapers, and playing dress up, Bridwell spent every precious free minute – often the wee hours of the morning into daybreak – in his garage writing. While Bridwell and his bandmates – Tyler Ramsey, Ryan Monroe, Creighton Barrett and Bill Reynolds – convened in South Carolina alongside producer Lytle (Grandaddy), Bridwell struggled to bring the new material into focus. One day, at a particularly crucial part of the recording process Ben’s phone rang. It was Rubin – who’d randomly heard a Band of Horses song on the radio during a drive, and had been moved to pull over and call. Without going into details, Bridwell can’t stress the value of this phone call enough. It was exactly the final push that his songs needed on their journey from conception to being sent out into the world. The result is Why Are You OK, a record informed by experience and at the same time retaining the vulnerability that birthed their greatest songs. Creating capsule worlds populated by the strange but true cast of characters from Bridwell’s hometown of Charleston, SC, Why Are You OK‘s songs combine universal sentiments with his patented knack for storytelling – all wrapped in the lush melodic textures that have long been the bedrock of Band of Horses’ signature sound.

File Under: Indie Rock
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Biosphere: Pataschnik (Biosphere) LP
Patashnik was originally released by R&S Records/Apollo in 1994. It was number 1 in NME’s Independent Chart in March 1994 and reached number 50 in the UK official album chart. The track “Novelty Waves” was used in Michel Gondry’s Levi’s 501 Jeans “Drugstore” spot, and holds, according to the Guinness World Records 2004, the record for “Most awards won by a TV commercial”. Double CD version comes with the bonus 12-track album Patashnik 2. “One reason why Jenssen’s work stands out from the flood of early ’90s ambient/techno releases is his strong sense of the quirkily creepy – not in an Aphex Twin mode, but in his own particular way. The contrasting samples of a child quaveringly saying, ‘We had a dream last night,’ followed by a rougher sample saying, ‘We had the same dream,’ gives opening number ‘Phantasm’ an unsettling feeling. Intensified by the, on the one hand, pretty, on the other, disturbing music, buried synth strings and a soft pulse accentuated by clattering noises deep in the mix, it kicks off the striking Patashnik very well. Though not as openly dark as acts like Lull, for instance, Biosphere still has an edge which isn’t just melancholic, it’s downright ominous at point. There’s the slow crawl of ‘Startoucher’, for instance, with its buried vocal snippets and deep bass drone, or the blend of the space signal atmospheres of ‘Mir’ into the low, brooding intro to ‘The Shield.’ Not everything is so shadowy, though; Patashnik is primarily a relax-and-chill listening experience, but not without its gentle high points. ‘Novelty Waves’, which became a crossover single in some quarters, has a good dancefloor sharpness to it even as Jenssen slyly sneaks in odd drones and samples through the mix. The opening snippet talking about an extraterrestrial disc jockey on ‘Seti Project’ is good for a smile, as well as acting as a sharp lead-in to a fast rhythm track. Mostly, though, things continue on a deliciously unnerving pace throughout, gentle enough to go down easy but still just off enough to ensure you can’t call this new age folderol for the rave generation.” – Ned Raggett – AllMusic

File Under: Electronic, Ambient, Downtempo
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Sir Richard Bishop: Salvador Kali (Exiled) LP
“Exiled Records is very excited to present the first ever vinyl edition of Sir Richard Bishop’s Salvador Kali. Originally released on cd by John Fahey’s Revenant in 1998. This was released following a run of peak Sun City Girls activity (330,003 Crossdressers, Dante’s Disneyland Inferno) and came as something of a shock; a stunningly beautiful instrumental album that was entirely accessible! Composed and recorded free of the burden of expectation, his debut album marked Bishop as a force operating on his own plane. A fairly significant departure from the freewheeling nature of the Sun City Girls, Salvador Kali is a concise album in which he explores the hallmarks of his style: North African influences, Spanish flamenco, Indian raga and a fiery take on Django Reinhardt’s Rose Room. The epic 14 minute solo piano fantasia, Al-Darazi is saved for all of side C. There is an incredible cinematic feel to the album as it’s vibe runs from pieces that could be in a Satyajit Ray film to a lost Antonioni sequence set on the Mediterranean in the 1970’s. Ironic that it was released by John Fahey, as it is was one of the few solo guitar albums to be free of the long shadow cast by Fahey. My favorite Sir Richard Bishop album on vinyl, at last! Edition of 500 copies.” Highly Recommended!

File Under: Guitar Soli, Folk, Sun City Girls
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Glenn Branca: Symphony No. 1 (Tonal Plexus) (Roir) LP
“Recorded across two nights in 1981 at New York’s legendary Performing Garage and originally released in 1983 on cassette, Symphony No. 1 has been remastered for vinyl and reissued for the first time as a heavyweight 180 gram 2LP set in a deluxe gatefold jacket. The limited edition pressing features additional liner notes written by Lee Ranaldo (Sonic Youth) alongside the original notes by Jon Pareles (The New York Times) and now includes photos by Paula Court (New York Noise). The ensemble of performers on this recording are: Glenn Branca, Craig Bromberg, Dave Buk, Ann DeMarinis, Barbara Ess, Robert Harrison, Thurston Moore, Lee Ranaldo, David Rosenbloom, Richard Edson, Ned Sublette, Wharton Tiers, Gail Vachon, Fritz Van Orden, Stephen Wischerth and Margot Zvaleko.”

File Under: Experimental, Modern Classical
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Peter Brotzmann/Heather Leigh: Ears Are Filled With Wonder (Trost) LP
“Ears Are Filled With Wonder, the debut release from the duo of pedal steel player Heather Leigh and reedist Peter Brötzmann, blows the old adage about improvised music somehow not being best appreciated via the recordings to beautiful pieces. This is a music that demands re-visiting, that seems to alter, slightly, every time it is played, with new details emerging, new relationships of tone and style, new romance, even. Recorded during a mammoth stint in Kraków, Poland, where Brötzmann and Leigh played as part of big bands, trios, quartets, and duos, this duo performance represents the diamond heart of the sessions, an improvised set that bears little relation to what either of the players has achieved outside of its prodigious gravity. We mentioned romance and really Ears Are Filled With Wonder, a play on a line from the poet Kenneth Patchen, showcases the full reach of Brötzmann’s rebel lyricism, his lover man style, now smoky, seductive, late night, now roaring and vibrating with energy. Leigh plays it extremely subtly, sometimes fixing on the most suggestive detail and from there spinning luscious webs of repeat-time bliss that make for some of the most psychedelic and otherworldly settings of strings and horn. Elsewhere the two of them tear the roof off with tactile fuzz and horn ascensions. It’s a music of organic depth, of endlessly evocative unfolding, as themes bloom and sigh and disappear and arise and it feels curiously out of time, even as both players push their instruments into futuristic configurations. As such it doesn’t sit neatly in either players’ extensive catalogs. . . . Ears Are Filled With Wonder is a coming together of two of the most original voices on their respective instruments and the title reflects the joyful uncovering of a whole new way of listening and relating. Indeed, it might well be the first ever freely improvised electric pedal steel and saxophone duet ever put to tape. Either way it is one of the most startlingly beautiful combinations of players and temperaments to orbit the European jazz scene in years. And this is only the beginning. So hold tight.” –Moshe Idel, Ronda, Spain, February 2016

 File Under: Improvised, Free Jazz
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Rhys Chatham: Pythagorean Dream (Foom) LP
Includes printed inner sleeves and download code. Rhys Chatham returns with his first solo album since 2013, the enchanting Pythagorean Dream. Having studied under Terry Riley and La Monte Young (with whom he later went on to work), Chatham fused the overtone-drenched minimalism of John Cale and Tony Conrad with the relentless, elemental fury of the Ramones. It was an inspired amalgamation — the textural intricacies of the avant-garde colliding with the visceral punch of electric guitar-slinging punk rock — and with it Chatham created a new type of urban music. Raucous and ecstatic, this sound energized the New York Downtown scene throughout the late 1970s and early 1980s, prefigured the no wave movement, and cast a huge influence over the subsequent work of Chatham’s many protégés, including Glenn Branca and future members of Sonic Youth. Primarily focused on the electric guitar (but also featuring flute and a bit of trumpet) this recording is named after the Pythagorean guitar tuning it employs. The recording is a truly solo endeavor, composed, performed, produced, engineered, and mastered solely by Chatham. Chatham began to develop solos that he would play himself, choosing to incorporate the multi-second delay effect pioneered by Terry Riley with two Revox tape machines. Feeling that it tied in with his overall minimalist aesthetic and that the effect (which gives the impression that choirs and choirs of instruments are playing) was fitting as a succession to his 100-guitar idea, Chatham created and layered feedback loops of varying durations using Riley’s method in order to create rich, overlapping layers that in practice transcend the limitations of their start and end points, blooming into free-flowing melodies in their own right. “Part One” of Pythagorean Dream opens with a brief trumpet intro, followed by a guitar piece that implements a finger-picking technique (Chatham has long been a fan of this style; John Fahey was one of his teenage musical heroes), before moving to an EBow section and concluding with the fast tremolo flat-picking technique used in the context of his 100-guitar pieces. “Part Two” is principally about Chatham’s return to the flute, the instrument that sparked his love of contemporary music before he experienced an early Ramones show at CBGB and began focusing on the electric guitar. Pythagorean Dream features Chatham on C, alto, and bass flutes. The recording is brought to a close with a final guitar piece.

File Under: Contemporary Classica
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John Coltrane: Atlantic Years in Mono (Rhino) 6LP Box
While John Coltrane first gained attention for his revolutionary ‘sheets of sound’ technique, it was the deep spirituality of his music that really made his recordings as a bandleader such classics. The albums he recorded for Atlantic Records in 1959 and 1960 really represent the heart of his legacy. For the first time since their original release, this box set gathers his mono recordings from the Atlantic vaults to be released as a limited edition 180g 6LP set with bonus 7″ vinyl single. Fully remastered in glorious mono, original studio albums include: Giant Steps (1960), Bags & Trane (1961) with Milt Jackson, Ole Coltrane (1962), Coltrane Plays The Blues (1962), and The Avant Garde (1966) and with Don Cherry. The sixth LP features outtakes, and a replica of the original 7″ single of “My Favorite Things Part I & II,” a hit for Coltrane in 1961, is also included. The set is rounded out by a 12″ x 12″, 32-page, perfect-bound booklet, with period photos by Lee Friedlander and liner notes notes by Grammy-winning jazz writer Ashley Kahn. The entire set comes packaged in an elegant cloth-bound box.

File Under: Jazz, Mono, Boxsets
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Loren Connors: Lullaby (Recital) LP
HIGHLY RECOMMENDED! Following the breathtaking Airs, another gem from Loren MazzaCane Connors’ well of super limited self-released CDrs reaches vinyl on Sean McCann’s Recital imprint. Lullabies renders Connors at his most sublime, wistfully sanguine, swaddled in tape distortion and gentle reverbs with a barely there presence. Each piece hardly makes it beyond the 2 minute mark, acting as brief chapters in a night time tale of love and loss and the exquisite emotions that occur in the decaying space between.

File Under: Guitar Soli, Ambient
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Cornelius: Fantasma (Lefse) LP
Japanese pop-noise savant Cornelius, a self-taught guitarist inspired early on by Kiss and Black Sabbath. A product of the same Shibuya-kei bubblegum scene that also gave rise to Pizzicato Five, Cornelius became a national teen idol in the wake of the release of 1994’s full-length The First Question. Released in 1997, Fantasma was his creative and commercial breakthrough, a kaleidoscopic, genre-hopping joy ride through contemporary musical history that became Cornelius’ first American release when it was reissued by Matador a year later. Long out of print, Lefse Records reissues Fantasma in alimited editiion, remastered, deluxe 2LP gatefold vinyl, complete with bonus tracks.

File Under: Electronic, Synth Pop, Indie Rock
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guru guru - CopyGuru Guru: UFO (Play Loud!) LP
HIGHLY RECOMMENDED! Turquoise LP version. Limited edition of 500. First authorized reissue of UFO, the 1970 debut LP by German krautrock band Guru Guru. Guru Guru was formed in 1968 as The Guru Guru Groove by Mani Neumeier (drums), Uli Trepte (bass), and Eddy Naegeli (guitar) (later replaced by American Jim Kennedy (guitar)). By the time of Guru Guru’s debut in 1970, Ax Genrich had replaced Kennedy to solidify the classic Guru Guru line up. Guru Guru were related to the free jazz scene both through their work with Swiss pianist Irène Schweizer and through Neumeier, who had already won several jazz prizes before forming Guru Guru. The band was also influenced by psychedelic rock artists including Jimi Hendrix, Frank Zappa, The Crazy World of Arthur Brown, The Rolling Stones, and early Pink Floyd. Among the band’s friends were Amon Düül, Can, and Xhol Caravan, with whom Guru Guru often jammed.

File Under: Kraut Rock, Freakout
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Keiji Haino/Jim O’Rourke/Oren Ambarchi: I Wonder If You Noticed “I’m Sorry” Is Such a Lovely Sound It Keeps Things From Getting Worse (Black Truffle) LP
The remarkable series of releases from the trio of Keiji Haino, Jim O’Rourke, and Oren Ambarchi continues with I wonder if you noticed “I’m sorry” Is such a lovely sound It keeps things from getting worse, which presents the entirety of an 80-minute set performed at Tokyo’s SuperDeluxe in March 2014. While the trio’s 2012 performance was divided into two releases, the single extended performance presented here ranges widely over terrain both new and familiar, from acoustic strings and collective chants to thunderous power trio moves. Throughout all of its transformations, the music here is some of the riskiest and most abstract the trio have yet committed to record. Beginning with chiming percussion reminiscent of Haino’s 1995 classic Tenshi No Gijinka, the first side is dominated by Haino’s impassioned vocals and performance on the bulgari, a traditional Turkish string instrument. The end of the second side presents a special treat: Haino’s first recorded outing on the contrabass harmonica, from which he coaxes bizarre, wheezing textures against a backdrop of spacious bass and percussion. O’Rourke and Ambarchi rarely adopt here the classic rock roles essayed on earlier releases. O’Rourke’s bass, which takes center-stage surprisingly often, is sometimes so heavily processed by his array of pedals that it becomes a shifting electronic mass; at other times his roving chromaticism suggests a sort of fuzzed-out free jazz. Ambarchi spends much of the set exploring areas of tumbling free pulse; and even when he locks into a constantly repeated figure on the set’s third side, he gestures as much toward Ronald Shannon Jackson’s stuttering marching band funk as toward any classic rock moves. When the trio finally moves in the final quarter of the performance into an extended passage of rock riffing, the payoff is immense, as they craft a thudding one-chord epic reminiscent of some of the early Fushitsusha classics before Haino returns to the bulgari, bringing the set back to where it began. Continuing to explore new instrumental and dynamic possibilities while remaining grounded in the trio’s previous work, this set also brings with it a unique pleasure for the non-Japonophone listener: for the first time Haino sings many of his metaphysically brooding lyrics in English. Gatefold sleeve with gorgeous photographs by Jim O’Rourke, designed by Stephen O’Malley. Cut by Rashad Becker at Dubplates & Mastering, Berlin.

File Under: Free Improv, Rock, Psych

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Hashish: A Product of Hashish (Subliminal Sounds) LP/CD
The long-awaited debut album from Hashish. Top-class psychedelia, taking the genre to a new level with a sophisticated approach to Afro-funk grooves accompanied by dreamy, playful melodies that range through a spectrum of Scandinavian occult psychedelia, minimal synth, surreal electronic soul disco, and rare groove. Some have described Hashish as a project that picks up what Goat started. Welcome to tomorrow. The sounds transport the listener into a forgotten world where the future looks different from what it became. On his soft, subtle island capped with clouds of cool fire, Pan weaves his teachings with the wind and the sun, raining sacred melodies on the hearts and minds of humanity and bestowing desperate loves and yearnings with songs of sainthood and madness. Transient temples of the flesh, laughing at death, clothe our lives in fire. On rippling altars of skin we sensual magicians worship bright burning desire. Upon release the album sky rocketed straight into #1 on the official Swedish vinyl chart. CD housed in dayglo digipak.

File Under: Psych, Funk, Rare Groove
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leimerK. Leimer: Recordings 1977-1980(Vinyl on Demand) 2LP
Limited edition of 500. K. Leimer has been an active musician since the 1970s and has released avant-garde and experimental music under his own name on his Palace of Lights label, which he started in 1980 to release his own work and that of other artists and projects such as Marc Barreca, Michael William Gilbert, Anode, and the group Savant, of which he is the founding and leading member. His first two tape recordings, included on this double LP, were released on Robert Carlberg’s Anode Productions in 1978 and ’79 (Translucent/Memory and Natural History/The Mind and Its Likeness). Both tapes were also distributed via Archie Patterson’s Eurock. This set also includes material from the 1983 cassette Installation View. “It’s best to consider these recordings as a homage to much admired and deeply loved music of the time; to consider these recordings as the artifacts of lessons being learned during simultaneous attempts at conceiving, writing, voicing, engineering, recording, and mixing something that might at least seem to be music. It’s also best to consider that the one card that repeatedly found its way out of the Oblique Strategies deck and into my hands prevented me from erasing almost all of it: Honor thy mistake as a hidden intention.” –K. Leimer

File Under: Electronic, Ambient, New Age
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Let’s Eat Grandma: I Gemini (Transgressive) LP
I, Gemini is the debut album from Rosa Walton and Jenny Hollingworth, A.K.A. Let’s Eat Grandma. Recorded in the former nuclear bunker turned analog paradise, Old School Studios in Norwich, under the watchful eye of Will Twynham (Hand Of Glory Records), I, Gemini will be released on 17th June 2016 via Transgressive. Today, LEG share their new single, ‘Eat Shiitake Mushrooms’. An organ, synth and glockenspiel bass-music-pop-banger complete with rap breakdown, ‘Eat Shiitake Mushrooms’ concerns itself with people’s ability to surpass expectations and surprise everyone. As thick as thieves, as sharp as knives, as like-minded as twins, wildly imaginative multi-instrumentalists and talented putative pop stars Rosa, 16, and Jenny, 17, met aged four in their local infant school in Norwich and have been inseparable ever since. Let’s Eat Grandma was formed in 2013 when Rosa was given a second hand acoustic guitar for her birthday and Jenny adopted a battered old ukulele. Influenced by playing jazz and classical music both in and out of school and their own desire to explode the pop formula, they started writing a series of uniquely structured compositions. On a month by month basis their repertoire of instruments expanded and expanded to include the saxophone, the piano, mandolin, drums, synthesizers, harmonica, recorders and whistles, even if their audience initially was only each other. The name Let’s Eat Grandma was chosen in a rush the night before their first ever gig, from an old grammatical joke which highlights the usefulness of a well placed comma. The name is ideal for a band that can sound quite sweet and poppy on first listen but who also have deeper, darker undercurrents.

File Under: Electronic, Pop, Leftfield
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Rudiger Lorenz: The Syntapes Years 1981-1983 (Vinyl on Demand) 5LP Box
Rüdiger Lorenz was a German electronic synthesist and inventor of several modular synthesizer systems, who, over three decades, produced unique, exceptional electronic soundscapes in the manner of Conrad Schnitzler, Edgar Froese, Dieter Moebius, and Hans-Joachim Roedelius. He is one of a very few outstanding artists who seem to never have received the recognition and fame they deserved for their artistic output. This five-LP box set focuses on his earliest self-released cassettes from the early ’80s: Queen of Saba (1981), Silver Steps (1981), Wonderflower (1982), and Earthrise (1983), none of which have been reissued before now. Queen of Saba was also licensed and released on Werner Pieper’s Transmitter Cassetten, which also distributed many of Conrad Schnitzler’s tape releases. Earthrise, a compilation of his early works and several newer compositions, was released on the British label YHR Tapes (York House Recordings), run by David Elliott. Rüdiger Lorenz became interested in electronic music and Moog synthesizers in the late ’60s. By 1972 he had built his own first Wersi Organ, followed by various amplifiers and effects boxes. In 1977 he had constructed his first synthesizers from an Elektor Formant kit. At the time of his death in 2000, he owned 38 synthesizers including three large self-built modular systems. In the late ’70s and early ’80s he became a member of the IEMA (International Electronic Music Association), which was established by James Finch of The Nightcrawlers, and also began running his own Lorenz Park Studio. He then became an essential part and pioneering member of the international DIY cassette culture community in the early ’80s and contributed to several INKEY$ compilation tapes and the On-Slaught series on the Idiosyncratics label. With their well-established international contacts, he and another German synthesist, Peter Schäfer, started the tape label Syntape and released more than 30 cassettes between 1981 and 1985. In 1983, he began releasing musical on vinyl via his Syncord label; many of these limited records have since become in-demand collectors’ items.

File Under: Electronic, Kraut Rock, Kosmiche
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Charles Manson: 12 Canciones Compuestas Y Cantadas Por Charles Manson (Movieplay) LP
Repro of the ultra-rare Spanish version of Charles Manson’s earliest recordings (it has also been released with the title Lie, the Love and Terror Cult). Registered in 1967 and originally published in 1970 (1971 in Spain), it was released in order to help and fund his defense, only to meet total rejection from the underground scene of the era. At the time only 300 copies were sold from the initial pressing of 2000. This record is the epitome of all damned, cult, unsettling LPs, accompanied by various members of the infamous family, Manson’s music ranges from folk to psychedelia to plain creepy weirdness 12 Canciones Compuestas Y Cantadas Por Charles Manson stands on its own as an spine-chilling ride through the mind of one of histories most vilified criminals; the undertaker of the hippie era. Songs from this album have been covered by the likes of G.G. Allin, The Lemonheads, Guns n Rosesand the Beach Boys, to name a few. Presented here in a luxurious gatefold is a careful reproduction of the original Spanish release, published only one year after the original US pressing, during the Franco dictatorship, making it an even weirder release. Only 300 copies in gatefold cover.

File Under: Folk, Psych, Weirdo, Psychos
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Mogwai: Atomic (Temporary Residence) LP
Mogwai’s new album Atomic, is composed of reworked versions of the music recorded for the soundtrack to director Mark Cousin’s acclaimed documentary Atomic: Living In Dread and Promise. Constructed entirely of archive film, Atomic is an impressionistic kaleidoscope of the horrors of our nuclear times – protest marches, Cold War sabre-rattling, Chernobyl and Fukishima – but also the sublime beauty of the atomic world, and how x-rays and MRI scans have improved human lives. Mogwai’s soundtrack encapsulates the nightmare of the nuclear age, but its dreamlike qualities too. It is the latest in the band’s series of impressive soundtracks and scores, following acclaimed albums Les Revenants (The Returned) and Zidane: A 21st Century Portrait. Cousins says of Atomic, the film: “I’m a child of the nuclear age, and in my teens I had nightmares about the bomb. But physics was my favourite subject in school, and I nearly studied it at university. Learning about the atomic world excited me. It was like abstract Star Wars.” Mogwai’s Stuart Braithwaite adds: “The Atomic soundtrack is one of the most intense and fulfilling projects we’ve taken on as a band. Ever since we went to Hiroshima to play and visited the peace park this has been a subject very close to us. The end results, both the film score and the record are pieces I’m extremely proud of.”

File Under: Post Rock, OST
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mumford

Mumford & Sons: Johannesburg (Glassnote) 10″
In tomorrow… Mumford & Sons present a new set of recordings entitled Johannesburg, made with Baaba Maal, Beatenberg and The Very Best. The songs were recorded in Studio 2 and the Auditorium of the The South African Broadcasting Corporation, Johannesburg in February 2016 over two all-day and all–night sessions and produced by Mumford & Sons and The Very Best’s Swedish electronic music maestro, Johan Hugo. The lead track, “There Will Be Time,” went straight to number 1 in South Africa (the band’s first number 1 single) upon release in late January.

File Under: Indie Rock, Live
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Nails: You Will Never Be One Of Us (Nuclear Blast) LP
Southern California-based four-man hatecrew Nails return with their third full-length album You Will Never Be One Of Us, which was helmed Kurt Ballou (Converge, High On Fire). Head misanthrope Todd Jones comments: “In fear of sounding redundant of how 97% of these pre-album release descriptions always come off, I won’t try to describe how our new album You Will Never Be One Of Us sounds. What I will tell you is that the same care and the same attention went into this album as our previous albums Unsilent Death and Abandon All Life, and our new album sounds as inspired as either of those two full length recordings.” He adds, “Our new record has some new twists and turns that are built off the foundation we laid with our previous albums, as well as a lot of familiarity that you’ve come to expect from Nails. You Will Never Be One Of Us is for us, for our fans, and for anybody else who feels disgusted and fed-up with social-climbing impostors, trying to leech off of anything they’ve ever dedicated themselves to. I can say with 110% certainty: We will not let you down.” Formed in December 2007, Nails is comprised of Jones, Taylor Young, John Gianelli, and A.R. Saba. Their music can only be described as being beyond conventional aural brutality. Their unique blend of grindcore, death metal, and punk invokes the most unabashed violent emotions from the recesses of its listeners’ reptilian brains. Their raw sincerity, take-no-prisoners live show and D.I.Y. work ethic has earned the band a vast loyal following, and made them the most talked about band in the underground. The legendary Max Cavalera recently accurately declared their current album Abandon All Life as “one of the best albums of the last 20 years,” and Nails to be “probably the heaviest band right now.” Prepare to be conquered!

File Under: Metal
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Nino Nardini/Eddie Warner/Roger Roger: Space Oddities (Born Bad) LP
Includes printed inner sleeve and download code. During the ’60s and ’70s, three distinguished old gentlemen who had built their careers playing “made in France” exotic jazz — Roger Roger (1911-1995),Nino Nardini (1912-1994), and Eddie Warner (1917-1982) — met every evening in the Ganaro recording studio, playing like kids with their new toys: souped-up keyboards that looked more like prototypes of spaceships to explore the Milky Way. Flying high on whimsical and joyful inspiration, the improbable trio used their strange instruments to sketch out the beginnings of something that, at that time, resembled the future of music; this set collects their productions from 1972-1982. With their library productions, Roger and Nardini made a clean break with rigid French traditions, via compositions featuring unexpected instruments like the harpsichord, marimba, and Ondioline, and, later the first analog synthesizers, oscillators, and other electronic keyboards. Nardini got deeply into musique concrète in the early ’60s, as put forward by Pierre Schaeffer (who had just founded the Groupe de Recherches Musicales or GRM), popularized by Pierre Henry, and twisted by the whimsical Jean-Jacques Perrey. Roger and Nardini’s Ganaro studio in Jouy-en-Josas, southwest of Paris, became the scene of magical nightly sessions of experimentation, in the company of their friend Eddie Warner. The acquisition of a Moog synthesizer brought these pioneers of electronic music to a new level. Roger Roger manufactured his own punch cards to invent new sounds. Then, in 1969, under the pseudonym of Cecil Leuter, he published the albums Pop Electronique and TVMusic 101 (with Nardini), two truly avant-garde “100% electronic” discs that anticipate the hegemony of machines in pop music, from space disco in the late ’70s to the electro funk of the early ’80s. The duo composed more than 40 albums (including the incredible Informatic 2000 (1982)) for specialized labels including Chappell Music, Southern Library of Recorded Music, Neuilly, L’Illustration Musicale (Eddie and Hannelore Warner’s label, which published, notably, The Strange World of Bernard Fèvre in 1977), Mondiophone, Hachette, Musax, and Crea Sound Ltd. A veritable Atlantis of electronic music, rediscovered at the turn of the 21st century by electronic artists like Barry 7 of Add N to (X) with his Connectors series and Luke Vibert with his Nuggets compilations. Jess and Alexis Le Tan contributed a bit as well, digging up a few gems from “Ganaro’s Nights,” tracks composed with joy and humility by a merry trio of 60-somethings for whom making music was always a source of amusement and wonder.

File Under: Electronic, Disco, Library
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sun

Neurosis: A Sun that Never Sets (Relapse) LP
It is said that great art has the power to take us outside of ourselves and bring us closer to ourselves simultaneously. Few bands have accomplished this rare feat on a more profound and consistent basis than Neurosis. For over three decades, their music has touched the hearts and minds of men and women seeking contact with something beyond the physical world, something intangible, something that expresses the inner tumult of the human condition in a way that transcends time and space. Something that not only provokes questions but maybe even hints at answers. Since 1985 this matchless force has surpassed the boundaries of any genre, never ceasing to mutate and progress their songwriting and sonic delivery, and never failing to mesmerize audiences both in the studio and onstage. Like listening to glorious shades of light, Neurosis’ seventh album A Sun That Never Sets was originally unleashed in 2001 and blends unprecedented beauty and radiance with their classic use of dynamics and power. Neurosis is the ultimate juxtaposition of life’s plain realities – a strong will in a world that inspires weakness.

File Under: Metal
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Neurosis: Eye of Every Storm (Relapse) LP
It is said that great art has the power to take us outside of ourselves and bring us closer to ourselves simultaneously. Few bands have accomplished this rare feat on a more profound and consistent basis than Neurosis. For over three decades, their music has touched the hearts and minds of men and women seeking contact with something beyond the physical world, something intangible, something that expresses the inner tumult of the human condition in a way that transcends time and space. Something that not only provokes questions but maybe even hints at answers. Since 1985 this matchless force has surpassed the boundaries of any genre, never ceasing to mutate and progress their songwriting and sonic delivery, and never failing to mesmerize audiences both in the studio and onstage. 2004’s The Eye Of Every Storm represents a peak point for Neurosis, as they stood on the cusp of their 20th anniversary as a band. Whatever any of us thought Neurosis was supposed to sound like, The Eye of Every Storm changed everything. It’s almost pop music in construction, but still sounds like a gale wind force…as vital and inspiring today as ever before!

File Under: Metal
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Paternoster: s/t (Now Again) LP
“Paternoster, that UFO of a rock album released unceremoniously on a custom-pressed CBS Austria long player in 1972, is the stuff of legend. It’s been known to the rock collecting elite since the 1980s, when it was first rediscovered, and it quickly became one of those rock records, the records you hear about only if you know someone who knows someone with a copy, much like Damon’s Song of a Gypsy. Paternosteris a terrifying album, a collection of songs that traverses the sublime, and thus necessitates a bowel-loosening acceptance of beauty too complicated to merely admire, bowing under the weight of a tremendous atmosphere, accentuated by Gothic organs and scorching fuzz guitar, punctuated by wailing vocals detailing visceral, Bosch-like images, and carried by enveloping bass and syncopated, mixed-well-too-loud-and-thankfully-so drums. This is the first reissue of the album done with the band’s involvement, and was assembled with oversight by bandleader Franz Wippel and Thomas Wisser, the son of Franz’ musical partner and Paternoster bassist Haimo Wisser. Custom made, ‘mini-LP’, tip-on CD packaged with perfect-bound booklet packaged in O card. The 66-page booklet tells the story of this mysterious band, for the first time, with many unpublished photos. English and German text.”

File Under: Psych, Prog
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Pye Corner Audio/Dalhous: Run for the Shadows (Lapsus) LP
Run For The Shadows EP released by Lapsus Records. The kinematics and bubbling sonic frequencies of “Stream Four” and the emotional techno low pulse of “The Simplest Equation” will be well appreciated by fans Pye Corner Audio. Two extraordinary pieces of analog electronic music whose slow-motion dynamics adhere to the already mythical Black Mill Tapes. As for Dalhous, the beautiful and incredibly melancholic melodies of “The Essential Wander” are surrounded by an extraordinary rhythm section full of surprising twists. The brief but intense “Another Witnessed By Resolution” closes one of the best chapters in the history of Dalhous.

File Under: Electronic
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Radiohead: A Moon Shaped Pool (XL) LP
XL Recordings presents A Moon Shaped Pool, the highly anticipated ninth studio album from the radical and revered British act Radiohead and follow-up to 2011’s The King of Limbs. The melodically rich and meditatively mid-tempo eleven-track set was five years in the making and has already been hailed as one of the band’s most accessible efforts in years. The album comes preceded by the evocative videos for the Paul Thomas Anderson-directed “Daydreaming” and Chris Hopewell-directed “Burn the Witch” while further shimmering tracks like “Identikit,” “Ful Stop,” “Present Tense,” “Desert Island Disk” and “True Love Waits” have been previously performed live, the latter even dating all the way back to 1995 and an appearance on the 2001 EP I Might Be Wrong.

File Under: Rock
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reformARTwest: For Sepp (Nero’s Neptune) LP
Over the course of five decades, the legendary Austrian free jazz collective Reform Art Unit (and their offshoot groups) have collaborated with countless musicians, including Don Cherry, Carla Bley, Evan Parker, and Jim Pepper. Documented collaborations with free jazz notables include Impressions (Kovarik’s Musikothek, 1978) with Anthony Braxton and Clifford Thornton; Subway Performances (Granit, 1994) and Illumination (In Respect, 1995) with Sunny Murray; and With Milo Fine (Granit, 1999). Milo Fine’s lengthy resume includes numerous records as leader of his own group (the Milo Fine Free Jazz Ensemble) as well as collaborations with Joe McPhee (MFG in Minnesota; Hat Hut, 1978, & Old Eyes; Hat Hut, 1979) and duo encounters with Derek Bailey(Scale Points on the Fever Curve; Emanem, 2003) and Anthony Braxton (Shadow Company; Emanem, 2004). In May of 2015, Fine fulfilled a personal ambition by hosting the first North American appearances of Reform Art Unit founding members Fritz Novotny and Sepp Mitterbauer. Three nights of extraordinary and intimate concerts ensued at Minneapolis’ Studio Toile d’Angles. This limited edition LP was culled by Nero’s Neptune from over three hours of material, and consists of three pieces featuring two sextets and one nonet. Joining the core members of reformARTwest (Novotny: soprano sax/flutes/percussion; Mitterbauer: trumpet/percussion; Fine: drum set/piano/clarinets) are Elaine Evans, Daniel Furuta, Benjamin J Mansavage Klein, Davu Seru, Charles Gillett and Paul Metzger. For Sepp is dedicated to the living memory of Sepp Mitterbauer, who died on December 9th of 2015. Mastered by Carl Saff. Housed in a beautiful, tip-on jacket with full color artwork. Edition of 300.

File Under: Free Jazz
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Akira Sakata: The Tale of the Heike (Trost) LP
Akira Sakata, a legendary Japanese jazz musician active since the early ’70s (Yosuke Yamashita Trio,Akira Sakata Trio) and a marine biologist, has toured and recorded with The Thing, Jim O’Rourke, Bill Laswell, Merzbow, Chikamorachi, et al. The Tale of the Heike is an intense solo performance originally released on CD in 2011, and now available on vinyl for the first time. This edition is expanded to include four pieces from the 2013 DVD release of a live ensemble performance of the piece. Akira Sakata: reading, voices, alto saxophone, clarinet, bass clarinet, percussion, bells. On tracks 8-11: Tatsuhisa Yamamoto: drums, percussion; Jim O’Rourke: guitar, vocals; Chizuru Ishii: percussion, taiko, vocals;Yumiko Tanaka: shamisen, reading. Tracks 1-7 recorded at GOK Sound, Kichijoji, Tokyo, in August 2011 by Yoshiaki Kondo. Tracks 8-11 recorded by Jim O’Rourke live at Pit-Inn, Tokyo, on June 24, 2012. Mastered for vinyl in 2015 by Martin Siewert.

File Under: Free Jazz

strokes

Strokes: Future Present Past (Cult) 10″
The Strokes diverse Future Present Past EP marks the New York band’s first release in over three years and features the three new original songs, “Drag Queen,” “Oblivius” and “Threat of Joy” plus a remix of “Oblivius” by Fab Moretti. The EP was recorded in Austin, Texas and New York City with producer Gus Oberg and serves as The Strokes first release on frontman Julian Casablancas’ Cult Records.

File Under: Indie Rock
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swans

Swans: The Glowing Man (Young God) 3LP
3LP edition includes poster & digital download. “In 2009 when I made the decision to restart Swans, I had no idea where it would lead. I knew that if I took the road of mining the past or revisiting the catalog, that it would be fruitless and stultifying. Instead I chose the five people with whom to work that I believed would most ably provide a sense of surprise, and even uncertainty, while simultaneously embodying the strength and confidence to ride the river of intention that flows from the heart of the sound wherever it would lead us – and what’s the intention? LOVE! And so finally this LOVE has now led us, with the release of the new and final recording from this configuration of Swans, The Glowing Man, through four albums (three of which contain more complexity, nuance and scope than I would have ever dreamed possible), countless and seemingly endless tours and rehearsals, and a generally exhausting regimen that has left us stunned but still invigorated and thrilled to see this thing through to its conclusion. I hereby thank my brothers and collaborators for their commitment to whatever truth lies at the center of the sound”. – Michael Gira 2016

File Under: Indie Rock
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teganTegan & Sarah: Love You To Death (Warner) LP
Propelled by the conviction of reinvention, Tegan and Sara’s eighth studio album, Love You To Death, is the latest sonic chapter in a celebrated seventeen-year career. Produced by Greg Kurstin (Adele, Sia, Beck, Ellie Goulding), Love You To Death delivers ten new Tegan and Sara tracks more vibrant and visionary than ever. Tegan and Sara explored a transcendent pop sheen for the first time on 2013’s Heartthrob, which deftly balanced critical acclaim with mainstream ambitions. They follow it up here with an equally explosive production, but one that casts darker shadows and lingers longer in the psyche. Taking a page from dramatic non-fiction, Love You To Death finds Tegan and Sara mining their own lives to investigate complex relationship dynamics. At one moment the subject is their own inescapable relationship as twin sisters (“100x,” “White Knuckles”), while at another it’s a romantic relationship that drives the protagonist to mournful regret (“That Girl”). Secret relationships (“Boyfriend”) give way to social judgment about passion and transience (“Faint of Heart”). Marriage is eloquently questioned as a barometer for commitment (“BWU”), while commitment itself is questioned with a deliberately self-conscious anti-love-song (“U-turn”). With each album their writing grows in precision and vulnerability, and differing lyrical voices continue to sharpen their respective identities – Tegan’s unapologetically clear word choice in evaluating romance (“Stop Desire”) is balanced by Sara’s poetic reflections on anxiety (“Hang on to the Night”). If the highest intention of the artist is to self-actualize, Tegan and Sara have given their devoted audience the gift of a front-row seat to their lifelong process of evolution with Love You To Death.

File Under: Indie Rock
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terjeTodd Terje & The Olsens: The Big Cover-Up (Olsen) LP
Appearing on record together for the first time, Norway’s premier disco troop Todd Terje & The Olsens have cooked up a double-pack dancefloor attack for your listening pleasure. Digging through their extensive collections of well-loved wax, Terje & the gang have specially selected a quartet of disco classics ripe for a remake. Forget re-edits though, this isThe Big Cover-Up and the Olsen crew have hit the studio with all guns blazing on this wild version excursion. Our journey starts in Tokyo with a 303-driven take on Yellow Magic Orchestra’s version of Martin Denny’s “Firecracker.” The perfect combination of cocktail exotica and disco kitsch, this party pyrotechnic is reloaded with buoyant acid and beefed up bass, accelerating through Eastern guitar licks and operatic vocals before filling the night sky with an explosion of color. Falling somewhere between the Swingle-inspired New Mjondalen Disco Swingers and Yello’s “Oh Yeah,” the remake of the enduring “Disco Circus” puts the vocals at the forefront, locking us into a tribal trance state with its hypnotic rhythms. Next Terje & The Olsen’s give “Do You Wanna Bump”” a bright and brassy make over perfect for cocktails and caviar on a Mediterranean yacht. While in the Med, take a trip to Greece with a sleek and slick spy flick remake of Vangelis’ stunning “La Fete Sauvage.” Disc two is all about the dark room as Todd flips through his remix Rolodex and recruits some demolition experts keen on club destruction. The C-side finds Mexican maverick Daniel Maloso takes the lead with a synthed up club dub of “Do You Wanna Bump”” before Idjut Boy Dan Tyler brings the cosmic power on his spaced out version of “Firecracker.” Full Pupp impresario and gourmet Goulash chef Prins Thomas pays tribute to “Whole Lotta Love” with a full throttle remix of “La Fete Sauvage” while fellow Norwegian Oyvind Morken fires up the 808 on a percussive house mix of “Disco Circus.”

File Under: Electronic, Disco, Downtempo
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tragicallyTragically Hip: Man Machine Poem (Caroline) LP
In tomorrow… The Tragically Hip, among Canada’s most acclaimed and beloved bands, return in 2016 with the new album Man Machine Poem. The band’s fourteenth studio album takes its name from a track on their Gold-selling 2012 release, Now For Plan A, and was recorded at The Hip’s home studio The Bathouse, produced by Kevin Drew (Broken Social Scene, Andy Kim, Arts & Crafts label co-founder) and Dave Hamelin (The Stills). “We’re moving forward while embracing a memory,” says Drew. “That was what I said to the band going into this recording.” He explains that muscle memory is why we love songs, it’s the most important thing a band has. “This album is about three things,” he continues. “Memory, transformation, and truth. I think it’s a fantastic record.” For 30 years, The Tragically Hip has been at the heart of the Canadian musical zeitgeist for evoking a strong emotional connection between their music and their fans that remains unrivaled in this country. A five-piece group of friends including Robby Baker (guitar), Gordon Downie (vocals, guitar), Johnny Fay (drums), Paul Langlois (guitar) and Gord Sinclair (bass), who grew up in Kingston, Ontario, The Hip has achieved the enviable status of a band that enjoys both mass popularity with over 8 million albums sold worldwide, as well as peer recognition through 11 Juno Awards from more than a dozen recordings. The Tragically Hip are in the best possible place a band can be: they’re brothers, they play so easily together, comfortable in their skins enough to try any idea, confident enough to know what’s right. No team of ace Swedish consultant-writers needed; The Hip know it’s their duty as artists to feel something and the listener is going to get an uncommon honesty in Man Machine Poem.

File Under: Rock
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white zombieWhite Zombie: It Came From N.Y.C. (Numero) 5LP Box
New (3CD or 5LP) boxset featuring the early recordings from White Zombie !! (co-founded by Rob Zombie and Sean Yseult) Years before Beavis and Butt-head headbanged “Thunder Kiss ’65” and “More Human than Human” into the eternal rock video canon, there was primordial White Zombie—a quintessential, diabolically loud byproduct of Manhattan’s underground rock scene, born of artschool rendezvous and squalid apartment circumstance. It Came from N.Y.C. is the most exhaustive attempt so far to document the band’s wondrously ugly birth. Get reintroduced to White Zombie as New York noise-rock, a grotesque creation that clawed and threatened its way to crossover metal glory. On June 3rd 2016, Numero resurrects White Zombie’s eternally out-of-print early EPs and LPs as It Came From N.Y.C. Spread across five LPs or three compact discs, all 39 tracks have been remastered by guitarist J. Yuenger and packaged alongside the original lurid artwork. The accompanying 108-page book painstakingly documents White Zombie’s punishing progression through scores of unpublished photos, period discography, a T-shirtography, and tales from the terrifying early years that stitch together the sordid story of a band whose true power eclipsed its mainstream heyday. White Zombie lives. Don’t be afraid.

File Under: Metal, Psychobilly, Boxsets
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wolves

Wolves in the Throne Room: Diadem of Twelve Stars (Artemisia) LP
Reissue of out-of-print 2006 debut album ! Written almost exclusively in a windowless, black room over the long, dark nights of winter 2005, Diadem of 12 Stars was the first official Wolves In The Throne Room release. Re-imagining black metal as an ode to rain storms, wood smoke and the wild energies of the Pacific Northwest, Wolves In The Throne Room craft a unique melancholic atmosphere. It’s raw analog sound, paying homage to the band’s varied influences—the harsh black metal of Norwegians Ulver and Emperor, and their American counterparts Weakling and Ludicra; the monolithic heaviness of Neurosis and Swans; the sorrowful funeral doom of My Dying Bride; the mournful goth of Dead Can Dance—yet it distills these inspirations to create a sound entirely their own. Described by guitarist Nathan Weaver as “the most raw and punk” of their five full-length releases, Diadem of 12 Stars was recorded live to tape in Oakland by Tim Green. The band was joined in the studio by Jamie Myers (Hammers of Misfortune / Sabbath Assembly) and Dino Sommese (Asunder / Dystopia). Originally released on a small DIY label and unavailable physically for many years, the album has been carefully re-mastered by Jason Ward at Chicago Mastering Service. The band re-developed every photograph from the original negatives, creating richer, high quality prints in order to present the artwork as originally envisioned. Wolves In The Throne Room have released five studio albums, two EPs, and multiple live albums, including Two Hunters (2007), Black Cascade (2008) Celestial Lineage (2011), and Celestite (2014 — an instrumental, experimental companion to Celestial Lineage). Wolves In The Throne Room are currently working on new material (their heaviest and darkest in some time) and will tour the Eastern United States in September 2016.

File Under: Black Metal
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spaceechoVarious: Space Echo (Analog Africa) LP/CD
Includes a 12-page booklet. Analog Africa presents a compilation of dancefloor grooves from Cabo Verde, revealing the mystery behind the island’s cosmic synth sound. Located 350 miles off the coast of Western Africa, Cabo Verde (or Cape Verde) is an island country that was first incorporated as an overseas department of Portugal in 1951 before later attaining independence in 1975. This collection captures a vital musical period during the late ’70s and early ’80s when the introduction of synthesizers facilitated the modernization of local rhythms such as Mornas, Coladeras and the highly-danceable music style called Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality. In the spring of 1968 a cargo ship containing instruments made by many of the leading companies in the field of electronic music — including Rhodes, Moog, Farfisa, Hammond and Korg — set out for Rio De Janeiro, where the Exposição Mundial Do Son Eletrônico Exhibition was going to be held. The expo was the first of its kind, where companies were eager to present their newest synthesizers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia. However, the ship with the goods mysteriously disappeared from the radar on the same day it set sail. One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields 8 km from any coastline. Mystery permeated the event. Cosmic particles were said to have been discovered on the boat, where the bow of the ship showed traces of extreme heat similar to traces found on meteors. A team of welders arrived to open the containers. Hundreds of boxes contained keyboards and other instruments they had never seen before: and all useless in an area devoid of electricity. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass. It is said that charismatic anti-colonial leader Amílcar Cabral had ordered the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools. This distribution was the best thing that could have happened — keyboards found fertile grounds in the hands of curious children, who picked up the ready-to-use instruments. The children who came into contact with the instruments found on the ship were said to have inherited prodigious capabilities in understanding music and learning the instruments. One of them was the musical genius Paulino Vieira, who by the end of the ’70s would become the country´s most important music arranger. Eight out of the fifteen songs presented in this compilation were recorded with the backing of the band Voz de Cabo Verde, led by Paulino Vieira, the mastermind behind the creation and promulgation of what is known today as “The Cosmic Sound of Cabo Verde.” Tracks by Abel Lima, Antonio Dos Santos, Elisio Vieira, Americo Brito, Os Apolos, João Cirilo, Tchiss Lopes, Quirino Do Canto, Pedrinho, Fany Havest, Bana, José Casimiro, Dionisio Maio and António Sanches.

File Under: Afro-Cuban, Latin, Funk Soul
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…..Restocks…..

Mulatu Astatke & His Orchestra: Mulatu of Ethiopia  (Worthy) LP
Black Flag: Damaged (SST) LP
Broadcast: Tender Buttons (Warp) LP
John Carpenter: Dark Star (WRWTFWW) LP
Chvrches: Bones of… (Glassnote) LP
Clipse: Hell Hath No Fury (Get On Down) LP
Daft Punk: Tron Legacy (Disney) LP
Death & Vanilla: s/t (Fire) LP
Death & Vanilla: s/t ep (Fire) LP
Electric Citizen: Higher Time (Riding Easy) LP
Funkadelic: Maggot Brain (Westbound) LP
Son House: Father of Folk Blues (Columbia) LP
Michael Jackson: Bad (Epic) LP
Michael Jackson: Off The Wall (Epic) LP
Michael Jackson: Thriller (Epic) LP
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) LP
Erkin Koray: Arap Saci (Pharaway Sound) LP
Mark Lanegan: Blues Funeral (4AD) LP
M83: Before The Dawn Heals Us All (Mute) LP
M83: Dead Cities… (Mute) LP
M83: Junk (Mute) LP
Mayhem: Deathcrush (Back on Black) LP
Moderat: III (Mute) LP
Mos Def/Talib Kweli: Black Star (Universal) LP
National: Sad Songs for Dirty Lovers (Brassland) LP
Neu!: 75 (Gronland) LP
Ngozi Family: Day of Judgement (Now Again) LP
Prince: Purple Rain (Warner) LP
Radiohead: In Rainbows (XL) LP
Radiohead: The Bends (XL) LP
Joe Strummer: Rock Art (Anti) LP
Sun City Girls: Torch of the Mystics (Abduction) LP
Velvet Underground: And Nico (Verve) LP
Jack White: Lazaretto (Third Man) LP
Various: Wake Up You! Vol 1 (Now Again) CD

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