…..news letter #769 – decembur…..

Holy moly! Thanks to everyone who came out last weekend for our big anniversary sale! What a bonkers weekend. Lots of wonderful folks dropped in, and lots of wonderful albums went out the door. BUT! Lots of wonderful albums have come in since, and lots of wonderful used records have been put out in the bins. You should check out our Instagram for a video of what went out this week, some choice rarities this week.

Also, NO ONE HAS CLAIMED THE REGA RP1 WE ARE GIVING AWAY!!! Check your tickets against the number posted on Monday on our website, Facebook, Twitter, & Instagram! Since, it’s Christmas,  I am going to redraw on Monday if no one has claimed the turntable by then.

…..pick of the week…..

supersilent

Supersilent: 13 (Smalltown Supersound) LP
You can’t accuse Supersilent of keeping the noise down. Ever since the ‘Big Crunch’ of 1997, when Norway’s finest free music outfit came together for the first time, their unpredictable noises and rapturous textures have been heard all around the world—and maybe somewhere outside the stratosphere too. Currently a trio featuring Helge Sten, Arve Henriksen and Stale Storlokken, Supersilent’s album number 13 marks a turning point in the group’s two-decade career. After a dozen recordings under the umbrella of the diverse Rune Grammofon label, Supersilent have now signed to Oslo based Smalltown Supersound, where they join the likes of Lindstrøm, DJ Harvey, Prins Thomas and Andre Bratten as labelmates. Supersilent is a platform for a highly physical improvised electronic music, made by a trio that’s a kind of supergroup of Norwegian players in their own right.

File Under: Electronic, Improv, Jazz, Ambient
Listen Here

…..new arrivals…..

amber

Autechre: Amber (Warp) LP
1994’s Amber, the second full-length from Autechre, returns to vinyl after being out of print since 2001. Amber contains 11 tracks of sparse Ae minimalist machine modules that blur the boundaries between isolationist electronica and richly vivid techno soundscapes. Considered by many fans to be the most crucial recording from the group, it contains some of their most immersive soundscapes to date. Steering away from the post-hardcore dynamics that shone through on Incunabula, Amber moves further away from anything resembling ‘techno’ and more into territories of abstract ambience. These 11 crystal-like cubes of sound came together to produce some of the most mind-bendingly hypnotic sounds to be committed to wax during the 90’s. Placing Ae up in the ranks of legendary composers such as Steve Reich and Manuel Gottsching as well as their Artificial Intelligence contemporaries with whom they were crafting the building blocks of the future. There is something uniquely immersive about Amber, it’s almost as if as you are playing it the sounds are fading away before they even begin. When played from the start you can lose a lot of time within the endless gradients that adorn its cover, before the sounds just seemingly, disappear. Included with this release is a download of an original Autechre live set, previously only available in the Autechre webstore, with artwork by long time creative collaborators The Designers Republic.

File Under: Electronic, Experimental
Listen Here

autechre

Autechre: Incunabula (Warp) LP
Incunabula, the debut full-length offering from Autechre is finally back on vinyl after being out of print since 2001. Having first emerged onto a post-acid house 1993, Incunabula was released as part 7 of the now legendary Artificial Intelligence series of albums and compilations from Warp. A series that gave us early records from artists who went on to sculpt the electronic landscape both in and out of the club. Incunabula set the tone for the following landmark albums from Ae, huge caustic dissections of sound that almost resemble vast mathematical equations more than they do club fodder (though tracks like the breakbeat whip crack of “Doctrine” and the acidic euphoria of “Maetl,” which when deployed by the right DJ will go off). For those just arriving at the edge of Ae’s world and are looking for an entry point into the sprawling discography of the group, or those of you looking to delve into the pre-MaxMSP archives, this is the record for you. This truly is a landmark album of UK electronica, a legendary recording that still even after 26 years still sounds like a future we are yet to arrive at. Included with this release is a download of an original Autechre live set, previously only available in the Autechre webstore, with artwork by long time creative collaborators The Designers Republic.

File Under: Electronic, Experimental
Listen Here

trirepatae

Autechre: Tri Repetae (Warp) LP
1995’s Tri Repetae, the third album from Autechre, returns to vinyl after being out of print since 2001. On reflection, Tri Repeate stands tall as one of the most out-there and boundary-pushing releases from Ae ever. Going back to the group’s roots as b-boy’s, Tri Repetae features ten variations on street sounds from hip-hop and techno to industrial and jungle. Released at a time when producers were ripe with ideas for cosmic breakbeat experimentation, the album mixed the glitchy twisted dynamics of EPs such as the criminal justice bill protest Anti and sculpted a long player that resembles some of the most ‘floor friendly’ Ae to ever grace a packed nightclub soundsystem. The ten tracks pulled influence from previous outings, from the glacial Amber chug of “Overand” to the Incunabula acid of “Leterel.” But the overall sound is one of mixing influence from the avant-garde of Iannis Xenakis, Edgard Varese and Tod Dockstar with the mid 90’s post-hardcore sound of jungle. For anyone looking to get to grips with Ae but wanting something that bridges the gap between the early analogue escapism and the latter deconstructionist stance of elseq, Tri Repetae is the perfect point to dive into. Mixing elements of groups such as Coil at their most industrial, the austere techno of the Downwards crew and the cold yet funky electro of Man Parrish, they composed an album that still, twenty one years since its release, has one of the most singular sounds for anything resembling electro techno, and what other group can you think of who have you can say have ever managed that? Included with this release is a download of an original Autechre live set, previously only available in the Autechre webstore, with artwork by long time creative collaborators The Designers Republic.

File Under: Experimental, Electronic
Listen Here

baird

Baird Sisters: Until You Find Yourself (Ba Da Bing) LP
Considering they’ve collaborated ever since they were kids living under the same roof, The Baird Sisters arguably could have made an album like Until You Find Your Green years ago. They’ve released two live recordings (the first recorded by their dad) and made plenty of demos, but this marks the first time Laura and Meg Baird decided to write and record a full-length on their own terms. The songs, recorded in Laura’s house, have a familial intimacy joined by skillful depth, the ideal blend for a folk record, an equal mix of comfort and talent. Growing up surrounded by music, the sisters have traveled separate paths while remaining close. Laura studied piano and trombone in school and has collaborated with Glenn Jones on his recent releases. Meg has played in Espers, Watery Love, and currently drums/sings in Heron Oblivion. She’s also released a few solo albums on Drag City. Laura’s first solo record will be released by Ba Da Bing early next year. These recordings capture the complexity of seventies progressive folk rock, emphasizing acoustic instrumentation with a lack of self-consciousness that can only come from a private domestic environment. Meg plays guitar,Laura banjo, singing in harmony, and ornamenting their songs with flute, cello, fiddle, mandolin, upright bass, percussion and a cricket chorus. Until You Find Your Green’s songs seem traditional, but that’s deceptive, and they unfold in greater depths the deeper attention paid to them.

File Under: Folk
Listen Here

guerro

Beck: Guerro (Universal) LP
Since introducing himself to the world in 1994 with his genre-defying, multi-platinum debut, Mellow Gold, Beck has blazed a path into the future while simultaneously foraging through the past. Throughout his singular career he has utilized all manners and eras of music, blurring boundaries and shattering expectations with each album. From the world-tripping atmospherics of 1998’s Mutations and the florescent funk of 1999’s Midnite Vultures through the somber reflections of 2002’s Sea Change, 2005’s platinum tour de force Guero and 2006’s sprawling The Information, no Beck record has ever sounded like its predecessor. In the fall of 2016, UMe will begin to reissue Beck’s entire envelope-pushing DGC/Geffen/Interscope catalog on vinyl, beginning in October with the trifecta of his 1996 Grammy Award-winning game-changer, Odelay, 2002’s beautiful, brokenhearted, Sea Change, and 2005’s Guero, which saw Beck reunite with the Dust Brothers. Sea Change will be released as a double LP while Guero will be made available for the first time ever as a single LP. Mellow Gold, Mutations, Midnight Vultures, The Information and Modern Guilt will follow at a later date. Beck kept fans and critics guessing about how he’d follow up Sea Change and in 2005 released the genre-mashing Guero which shot to No. 2 on the Billboard Top 200 – his highest charting album to date. Beck’s eighth album saw him reuniting with the Dust Brothers with an assist from producer Tony Hoffer (Midnite Vultures), for a tour de force of Latin rhythms, rhymes, guitars, beats, samples, 8-bit electronics, turntables and vocoder for a fun and freewheeling ride through rock, hip-hop, boss nova, country-blues and soul. Album opener and lead single, “E-Pro” went to No. 1 on the Billboard Modern Rock Chart, while “Girl,” “Hell Yes,” “Go It Alone” (featuring Jack White on bass) and more became instant fan favorites. The album was a hit with critics as well with New York magazine enthusing, “Beck integrates his personae into a fairly seamless whole, and his knack for synthesizing disparate musical elements (hip-hop, robot funk, blues, country, jazz, garage rock, etc.) extends beyond samples and individual tracks. The songs migrate smoothly from one to the next; there aren’t any throwaway numbers to sabotage the album’s momentum; the whole thing coheres,” while Rolling Stone dubbed it “his liveliest and jumpiest music in years.”

File Under: Indie Rock
Listen Here

built

Built To Spill: Ancient Melodies of the Future (1972) LP
Formed in 1992 in Boise, Idaho by guitarist and vocalist Doug Martsch, Built to Spill has since evolved radically, shed members, linked eras, and all the while endured as one of the most tuneful and rewarding acts of the lauded Northwest indie-rock tradition. The group signed to Warner Brothers in 1995, but Martsch was wise enough to retain control over production, and by 1999 he’d helmed the group towards commercial and critical success with Keep it Like a Secret. It was a touchstone album, and yet 2001’s Ancient Melodies Of The Future bested that career highlight with considerable grace and craft. Marsch’s studio proficiency is immediately evident in the alternately delicate and devastating mix of mellotron, keyboard, and inventive guitar overdubs that characterize Ancient Melodies Of The Future’s sonic palette. Melodic curlicues distinguish the minor hit “Strange,” while woozy grooves propel the mid-tempo ballad “Trimmed and Burning” through an incendiary solo section. As the album title suggests, Ancient Melodies Of The Future stands outside of history in a realm of its own.

File Under: Indie Rock
Listen Here

bush

Kate Bush: Before the Dawn (Concord) 4LP
Before the Dawn was recorded during the incredible run of 22 sold-out shows performed by Kate Bush at London’s Hammersmith Apollo in 2014. In March 2014 Kate announced plans to perform 15 shows in London in August and September that year, her first live shows since 1979. The shows sold out so quickly that a further 7 were immediately added, with all shows selling out in 15 minutes. The first night of the shows prompted a complete media frenzy with the Evening Standard declaring that the show was “an extraordinary mix of magical ideas, stunning visuals, attention to detail and remarkable music – she was so obviously, so unambiguously brilliant, it made last night something to tell the grandchildren about.” Later that year the show won the special Editor’s award at the highly prestigious London Theatre Awards, the only contemporary music show to do so. The audio document of those mesmerizing, historic shows is now presented on the 4LP box set Before The Dawn. Produced by Bush herself, nothing on the 29-track program was re-recorded or overdubbed and the sound here is astonishing. Features modern takes on such beloved songs from her extraordinary catalog as “Running Up That Hill,” “Hounds of Love,” “And Dream of Sheep,” “Waking The Witch” and “Cloudbusting” among others.

File Under: Rock, Pop
Listen Here

drakulas

Drakulas: Raw Wave (Dirtnap) LP
Drakulas present Raw Wave, a collection of songs told from the different points of view of various characters in a fictional metropolis in the not-too-distant past. A bustling city center not unlike Times Square in the ’70s filled with sin and sex is the backdrop where gangs, street preachers, sex addicts, pimps, prostitutes and pornographers live and work. People of this world describe the time period of these songs as the Raw Wave—a wave of new analog technology that hit the city, wiping away many of the mores and pretense of the past. Drakulas are from Austin, TX, and feature members of Riverboat Gamblers and Rise Against, amongst others. This is their debut LP, following a 7-inch on Red Scare. They pretty much nail the sound for which the Texas branch of the extended Dirtnap family is infamous—vibrant, high energy, and dangerously catchy. Raw Wave is tailor-made for fans of The Marked Men, The Dickies, and vintage-era Riverboat Gamblers / High Tension Wires. And then there are the lyrics: high-concept / low-brow weirdness that could only have come from the twisted mind of Gamblers frontman Mike Wiebe. Call it a super-group if you must, but don’t call it a side-project.

File Under: Punk
Listen Here

eye

Eye: Other Sky (Ba Da Bing) LP
Other Sky is Eye’s masterpiece. Recorded 12 years after their initial formation, the Dunedin trio of Peter Stapleton (The Terminals, The Pin Group, Flies Inside The Sun), Peter Porteous (Empirical) and Jon Chapman (Double Leopards, Rory Storm and the Invaders) have never sounded more on target and immense. Not that their past releases are anything shabby! With this record, there’s a distinct communication going on between the players as they freely explore the dregs and corners of what is arguably still considered rock music. Recorded at The Anteroom, an old Masonic lodge in Port Chalmers, it took a steady three years to cobble together. The five tracks here alternately strike with intensity and drift with menace, with Eye casting new lines of cohering musical language into a sea of babble. Be prepared to transcend.

 File Under: Rock
Listen Here

feral

Feral Ohms: Live in San Francisco (Castle Face) LP
The white-hot set of Live In San Francisco not only features Feral Ohms’ shaggy guitar heroics captured directly to ferromagnetic medium for your grokking, but also happens to be their debut record. From zero to vertical from the get of the set, the ’Ohms muscle this one out fast and hot, featuring Ethan Miller of Howlin Rain, Comets On Fire and recent psych-folk breakouts Heron Oblivion. Miller gives free rein to his most pyro-psycho-technic guitar fancies, not to mention a full-throated demon-worthy wail, with Chris Johnson on drums (previously of Drunk Horse and currently of Andy Human and the Reptoids) full MC5 style with freight train pummel, with rides so heavy in the mix it sounds like early Damned. Josh Haynes (of the unGoogle-able Nudity) is a total forehead smacker on bass as he bi-amps a filthy sound while wearing some weirdo humility leather strap face harness—it’s just dirty. “Teenage God Born To Die” indeed. Expect great things from them and this concise set is just long enough to get a dander up for a proper full length, set for release on Ethan’s Silver Current label in 2017. In the meantime, keep an eye out for their live shows and don’t forget the ear plugs, they’ll singe your minge…

File Under: Psych, Garage
Listen Here

flesheaters

Flesh Eaters: Forever Came Today(Superior Viaduct) LP
In the wake of the star-filled A Minute To Pray A Second To Die, The Flesh Eaters’ frontman Chris D. assembled a leaner, meaner band to deliver his next unbound vision. Forever Came Today, the group’s third full-length album, was originally released on Ruby Records in 1982 and features Don Kirk on guitar, Robyn Jameson on bass, Chris Wahl on drums, Steve Berlin on sax and Chris D.’s unmistakable voice. “My Life To Live” and “Shallow Water” are masterfully wrought punk tunes, reverberating with heart-wrenching vocals that turn on a dime from desperate whispers to blood-curdling screams. “Drag My Name In Mud” dives deeper into full-throttle rock demonology, bluesy primeval swagger and obsessive imagery, inspired in equal parts by William S. Burroughs and Edgar Allan Poe. This first-time vinyl reissue has been carefully remastered and comes with lyric sheet. Forever Came Today is the perfect introduction to The Flesh Eaters’ dark sense of humor and positively bleak form of rock ’n’ roll.

File Under: Punk, Rock
Listen Here

gessesse

Tilahun Gessesse: Sima! (Mississippi) LP
Great songs form one of Ethiopia’s most beloved singers – Talhoun Gessesse (English spelling varies). These recordings span from 1969 to 1975 and cover the range of Talhoun’s styles and moods. Some mystical modal songs, some straight up rockers, and some ballads. All totally killer songs from the golden age of Ethiopian Soul Music. Talhoun’s voice, alongside Mahmoud Ahmed’s, is one of the strongest in the land. Don’t miss out on this monstrously good LP.

File Under: Ethiopia, Jazz
Listen Here

guebruEmahoy Tsegue-Mariam Guebru: s/t (Mississippi) LP
At last! The second LP in our ongoing series of releases from Mariam – Tsege Gebru! More 1960’s recordings of her truly unique solo piano performances. Mariam – Tsege Gebru is a true original – her playing is somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church, and Ethiopian traditional music. It is some of the most moving piano music you will ever hear! All original compositions available for the first time on vinyl beyond the original early 1960’s editions, which are completely impossible to find. Old school “tip on” cover with gold foil printing. A must have master piece for anyone who needs some spiritual comfort.

File Under: Ethiopia, Traditional, Piano

stormcock

Roy Harper: Stormcock (Science Friction) LP
Stormcock was born in 1969 as Harper began to stretch his wings. He’d been there a few times before, but this time he gave himself the space to go deep and stay there. “Hors D’Oeuvres” is perhaps the lightweight in the collection, but after all, it’s the starter… The Same Old Rock records Harper’s opposition to continued dependence on the cheap opium of convenient mass religion. This year marks two important milestones for Roy Harper – his 75th birthday and 50 years of recording music. To celebrate, Roy will be performing four special concerts in September and releasing the first vinyl reissues of his classic albums, none of which have been available on vinyl for well over 20 years.

File Under: Folk
Listen Here

lifemask

Roy Harper: Lifemask (Science Friction) LP
Lifemask was made at the height of the ‘flower power’ expression/boom. The songs catalog spontaneous interpretations of how we are interacting with the planet. It was never aimed at mass market and is just a poem for friends and kindred spirits. The poem was inspired by a collage of Geronimo in an eighteenth century English landscape drawing given to Harper by his friend and artist James Edgar whilst he was in the mind altering substances period of his life. Jimmy Page plays throughout. The rest of the album is more conventional in structure, with two songs that are still regularly featured in Harper’s live set list. As a live song Highway Blues is a different song now than the song David Bowie once tried to record. And ‘South Africa’ is a dream come true. A love song to calm the fears and wash away the horror and stain of apartheid. Some of the songs comprised the soundtrack for the movie ‘Made’ which was on general release at the time in which Harper co-starred with Carol White. This year marks two important milestones for Roy Harper – his 75th birthday and 50 years of recording music. To celebrate, Roy will be performing four special concerts in September and releasing the first vinyl reissues of his classic albums, none of which have been available on vinyl for well over 20 years.

File Under: Folk
Listen Here

flat

Roy Harper: Flat Baroque and Berserk (Science Friction) LP
Flat Baroque and Berserk was the first record of Harper’s to go into the charts. Peter Jenner was assigned by EMI Records to produce the recording – the two have been good friends ever since. EMI Studios, Abbey Road was at that time the most advanced studio in Europe, and over the next ten years Harper was to record in near-perfect conditions. Over those years, the studio buzzed with four separate Beatles, some Stones, The Pink Floyd, Cliff and the Shadows, Gracie Fields, three of four musical knights, Kate Bush, Olivier Newton-John, The Hollies, Yehudi Menuin, Stefan Grapelli, The Plastic Ono Band, Eric Clapton; you name them, they were all there. It was a creative hotbed where the technical staff, headed by Ken Townsend, were second to none. The song that Harper was best known for in those days, ‘I Hate the White Man,’ was recorded live for this album, and still stands as a testament to my lifelong devotion to espousing equal rights for all humans. Harper has long since wondered about the wisdom of stating that you have the capacity to hate your own race for it’s misdemeanours, but as a polemic it has been both an effective tool and somewhere of a place for a humble humanitarian to stand. This year marks two important milestones for Roy Harper – his 75th birthday and 50 years of recording music. To celebrate, Roy will be performing four special concerts in September and releasing the first vinyl reissues of his classic albums, none of which have been available on vinyl for well over 20 years.

File Under: Folk
Listen Here

cowboy

Lee Hazlewood: Cowboy in Sweden (Light in the Attic) LP
Lee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources…for a time. By the end of the decade LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success “Boots” had promised. Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brannvin…Sweden was calling. While on an LHI promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. “I met Lee through my script girl, in Stockholm in 1969,” remembers Axelman. “We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship.” The partnership showed Lee the way forward and allowed him an easy exit strategy from the LHI house of cards that was crumbling in Los Angeles. Light In The Attic Records is proud to continue its Lee Hazlewood Archival Series with this expanded reissue of Cowboy in Sweden. Released as the last LHI LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee’s journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood’s strongest songs recorded over a prolific globe trotting three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers. Cowboy in Sweden is quite possibly the purest distillation of the Hazlewood sound; lush melancholy country pop with a pinch of humor (“Pray Them Bars Away”), a dash of bummer (“Cold Hard Times”), some beautiful ladies to sing with (“Leather & Lace” & “Hey Cowboy”) and even a couple anti-war protest songs to be topical (”No Train to Stockholm” & “For A Day Like Today”). The David “Bitter Sweet Symphony” Whitaker arranged orchestral pop of “What’s More I Don’t Need Her” and the stone cold Hazlewood classic “The Night Before” cement the album as Lee’s peak on LHI Records and ironically the label’s swan song.

File Under: Country
Listen Here

iggy

Iggy & The Stooges: Telluric Chaos (Skydog) LP
Iggy & The Stooges practically invented punk rock.  They split up in 1974.  30 years later, The Stooges reformed, and first released a live album documenting the reunion performing in Japan – appropriately on Skydog Records who released their infamous final gig album ‘Metallic K.O.’ in 1976. Recorded in Tokyo in 2004, the album features 17 tracks over 70+ minutes, including the old Stooges classics plus new songs.  A documentary film on The Stooges, Gimme Danger directed by Jim Jarmusch, is being promoted by Amazon Studios and following film festival showings is released in USA on 28th October and in the UK 18th November.

File Under: Punk, Rawk

jansch

Bert Jansch: It Don’t Bother Me (Superior Viaduct) LP
Bert Jansch recorded his second album in 1965, just after his self-titled debut earlier that same year. The sessions were a step-up from the intimate, field-recording setting of his first album, although still not labored over too much in the studio. “I figured that the faster I put down the tracks, the faster I could get out of the place,” Jansch told NME, “so I just ordered about a dozen bottles of wine, put the microphone in front of me and off I went, for three hours.” The lyrics of It Don’t Bother Me shift vividly between pure poetic imagery and the hollow resonance of pain. The LP’s underrated title song stands as a manifesto for the way Jansch lived at the time. “My Lover,” featuring guitarist John Renbourn, has almost sitar-like drones, while “Lucky Thirteen” is a captivating, melancholy instrumental that shimmers with brilliant fingerpicking. This first-time domestic release is remastered from the original tapes and features liner notes by Richie Unterberger. Bert Jansch’s It Don’t Bother Me remains another essential British folk LP that belongs next to Nick Drake, Roy Harper and John Martyn in every record collection.

File Under: Folk
Listen Here

swift

Damien Jurado/Richard Swift: Other People’s Songs (Secretly Canadian) LP
Over the weekend of August 21-22, 2010, not long after Damien Jurado and Richard Swift first collaborated to produce Damien’s 2010 record, Saint Bartlett, the pair hunkered down with a 4-track recorder and one Coles 4038 ribbon microphone to record a collection of cover songs that run the gamut from John Denver to Chubby Checker to Kraftwerk. The timing was perfect. On Other People’s Songs Vol 1, we can see the scaffolding of what would become a creative turning point for the pair – later seen with the release of Jurado’s Maraqopa, the first record in his Maraqopa trilogy – less than 2 years later. The opening drum hits of “Be Not So Fearful,” the falsetto vocals of “Sweetness,” and the Spaghetti-Western swing of “Radioactivity” are, by now, hallmarks of the Jurado/Swift sound, but Other People’s Songs Vol 1 is a transitional fossil, a marking of the pair’s collaborative evolution.

File Under: Indie Rock
Listen Here

khemmis

Khemmis: Hunted (20 Buck Spin) LP
Khemmis’s first album, Absolution, was released by 20 Buck Spin in July 2015 and steamrolled all that came in contact with its unforgettable heaviness and classic melodicism. Virtually unknown outside Denver at the time, by year’s end they had landed in the #9 spot on Decibel’s annual top 40 albums of the year. Hunted reveals a Khemmis fortified in its purpose and vision, forging an unrivaled synthesis between immense doom riffs and Maiden-esque harmony. Overall song length has increased, yielding expansive arrangements and dramatic storms of elegance and melancholy. Not content to plod through a sea of tears, and always a rock band first, they approach a High On Fire-like pace with the pummeling “Three Gates.” The lauded singing of vocalist Philip Pendergast reaches ascendent new heights on tracks like “Candlelight” and “Beyond The Door,” while the tasteful use of harsh vocals remains, providing a dark, foreboding contrast. The thirteen-minute title track closes the album with an epic stunner. Hunted will solidify Khemmis’s place at the vanguard of doom’s most notable modernmanifestations, in large part because they transcend the label itself.

File Under: Metal
Listen Here

afrodisiac

Fela Kuti: Afrodisiac (Knitting Factory) LP
The four (lengthy, as usual) songs occupying this album were originally recorded in Nigeria as 45 rpm releases. Afrodisiac consists of re-recordings of these, done in London in the early ’70s. While it’s true that Fela Kuti’s albums from this period are pretty similar to each other, in their favor they’re not boring. These four workouts, all sung in Nigerian, are propulsive mixtures of funk and African music, avoiding the homogeneity of a lot of funk and African records of later vintage, done with nonstop high energy. The interplay between horns, electric keyboards, drums, and Kuti’s exuberant vocals gives this a jazz character without sacrificing the earthiness that makes it danceable as well. “Jeun Ko Ku (Chop’n Quench)” became Kuti’s first big hit in Nigeria, selling 200,000 copies in its first six months in its initial version.

File Under: Afrobeat
Listen Here

gentleman

Fela Kuti: Gentleman (Knitting Factory) LP
Fela Kuti’s rich discography stretches from the mid 1960s with Fela Ransome Kuti & His Highlife Rakers, to the early 1990s with Egypt 80, and there are masterpieces all along the way. But the 1970s, with Africa 70 and then Afrika 70, was the decade during which Fela’s Afrobeat went through its most dramatic changes – musically and politically. It begins with 1971’s Shakara and ends with 1980’s I.T.T. (International Thief Thief). It also includes London Scene (1972), Afrodisiac and Gentleman (both 1973) and Upside Down (1976). The penultimate selection is 1976’s Zombie, which was a huge hit in Nigeria. The title track of this excellent album has often been hailed as Fela’s masterpiece. Musically innovative, melodically addictive, Fela got it all right in this politically scathing song in which he opposes Westernization and those who imitate Western ways. “I’m no be gentleman at all,” Fela sings, and then goes on to detail the ways in which he’s a “true African original” – and therefore superior to those who wear three-piece suits and hold tight to their colonial mentality. Fela follows this track with “Fefe Naa Efe,” which derives its name from an Ashanti proverb describing the beauty of a woman holding her breasts as she runs. Fela, who had many Ghanaian fans (and more than a few Ghanaian wives and girlfriends), sings this lush track as a tribute to Ghana. Finally, “Igbe” again shows the artist breaking cultural taboos by singing literally and figuratively about “shit”, as the word translates to, attaching the word to those friends who may betray you.

File Under: Afrobeat
Listen Here

london

Fela Kuti: London Scene (Knitting Factory) LP
Fela Kuti’s rich discography stretches from the mid 1960s with Fela Ransome Kuti & His Highlife Rakers, to the early 1990s with Egypt 80, and there are masterpieces all along the way. But the 1970s, with Africa 70 and then Afrika 70, was the decade during which Fela’s Afrobeat went through its most dramatic changes – musically and politically. It begins with 1971’s Shakara and ends with 1980’s I.T.T. (International Thief Thief). It also includes London Scene (1972), Afrodisiac and Gentleman (both 1973) and Upside Down (1976). The penultimate selection is 1976’s Zombie, which was a huge hit in Nigeria. Fela’s London Scene, released in 1972, is a top-notch affair, made with a smaller band but one that punches above its weight. There is no tenor guitarist and no call-and-response choir, though sing-along vocals are a feature of “Egbe Mi O” (“please carry me”). Throughout, Fela’s electric piano is gymripped and razor sharp, and Igo Chico turns in three stirring tenor solos. “Buy Africa,” written in 1970, was one of Fela’s first politically-informed songs. The lyric was written in support of a government campaign to encourage local industry. “J’Ehin J’Ehin” (“eat teeth eat teeth”) is along similar lyric lines as “Shakara.” This time Fela is lampooning people who are so greedy that they eat their own teeth. In “Who’re You,” Fela channels James Brown’s vocal style over an angular funk groove. “Fight To Finish” draws on Yoruba folklore to offer advice: once you have started something, be prepared to finish it.

File Under: Afrobeat
Listen Here

itt

Fela Kuti: I.T.T. (Knitting Factory) LP
Fela Kuti’s rich discography stretches from the mid 1960s with Fela Ransome Kuti & His Highlife Rakers, to the early 1990s with Egypt 80, and there are masterpieces all along the way. But the 1970s, with Africa 70 and then Afrika 70, was the decade during which Fela’s Afrobeat went through its most dramatic changes – musically and politically. It begins with 1971’s Shakara and ends with 1980’s I.T.T. (International Thief Thief). It also includes London Scene (1972), Afrodisiac and Gentleman (both 1973) and Upside Down (1976). The penultimate selection is 1976’s Zombie, which was a huge hit in Nigeria. At the time of its release, the name of this album (and the eponymous title track) would have been recognized by any Nigerian as the acronym for “International Telephone and Telegraph,” Nigeria’s biggest telecommunications conglomerate. In this track, however, Fela satirically used the acronym to mean “International Thief-Thief.” The song is a 24-minute direct attack on multinational’s CEO, Moshood Abiola, who also happened to own Decca, the label Fela was signed to at the time, and with whom Fela was in full battle mode based on the label’s refusal to release his albums. Fela takes this opportunity to publicly disgrace Abiola for, in Fela’s eyes, becoming a stooge for the white man through his general colonial mentality, and specifically for his collusion in the CIA-led effort to dislocate Chile’s democratically elected Marxist president Allende. The lyrics also include a pointed history lesson outlining the way, in the days of slavery, the white man would find a willing African who would sell his own people into slavery.

File Under: Afrobeat
Listen Here

shakara

Fela Kuti: Shakara (Knitting Factory) LP
Fela Kuti’s rich discography stretches from the mid 1960s with Fela Ransome Kuti & His Highlife Rakers, to the early 1990s with Egypt 80, and there are masterpieces all along the way. But the 1970s, with Africa 70 and then Afrika 70, was the decade during which Fela’s Afrobeat went through its most dramatic changes – musically and politically. It begins with 1971’s Shakara and ends with 1980’s I.T.T. (International Thief Thief). It also includes London Scene (1972), Afrodisiac and Gentleman (both 1973) and Upside Down (1976). The penultimate selection is 1976’s Zombie, which was a huge hit in Nigeria. Shakara is one of a clutch of early-70s albums, on which Fela’s Afrobeat transitioned from foetal stage to something approaching full-grown form. Shakara is a two-track release of 13-minute songs that showcase Fela’s satirical side. “Lady,” perhaps one of Fela’s most popular tracks, criticizes westernized African women who he felt had been corrupted by their embrace of the new feminist movement of the time. And “Shakara” is another lyrically lambasting track that takes on braggarts and blowhards who boast false claims about their personal power and influence.

File Under: Afrobeat
Listen Here

upside

Fela Kuti: Upside Down (Knitting Factory) LP
Fela Kuti’s rich discography stretches from the mid 1960s with Fela Ransome Kuti & His Highlife Rakers, to the early 1990s with Egypt 80, and there are masterpieces all along the way. But the 1970s, with Africa 70 and then Afrika 70, was the decade during which Fela’s Afrobeat went through its most dramatic changes – musically and politically. It begins with 1971’s Shakara and ends with 1980’s I.T.T. (International Thief Thief). It also includes London Scene (1972), Afrodisiac and Gentleman (both 1973) and Upside Down (1976). The penultimate selection is 1976’s Zombie, which was a huge hit in Nigeria. Upside Down and Zombie, both released in 1976, were made at the mid-point of an extraordinary three-year period during which Fela recorded 24 albums of new material. Upside Down – meaning back home in Africa everything is totally disorganized – is unusual in that it includes a second lead vocalist, Fela’s American friend Sandra Izsadore, who he’d known since touring the US in 1969. Izsadore, a black rights activist, introduced him to the writings of Malcolm X, Angela Davis, Rap Brown, Stokely Carmichael, Huey Newton and other revolutionary thinkers.”Go Slow” was one of several songs Fela recorded which critiqued the consequences of over-rapid urbanization – in this case, traffic jams – using them as a metaphor to describe deeper social breakdowns.

File Under: Afrobeat
Listen Here

zombie

Fela Kuti: Zombie (Knitting Factory) LP
Fela Kuti’s rich discography stretches from the mid 1960s with Fela Ransome Kuti & His Highlife Rakers, to the early 1990s with Egypt 80, and there are masterpieces all along the way. But the 1970s, with Africa 70 and then Afrika 70, was the decade during which Fela’s Afrobeat went through its most dramatic changes – musically and politically. It begins with 1971’s Shakara and ends with 1980’s I.T.T. (International Thief Thief). It also includes London Scene (1972), Afrodisiac and Gentleman (both 1973) and Upside Down (1976). The penultimate selection is 1976’s Zombie, which was a huge hit in Nigeria. On the title track of 1976’s Zombie, Fela and the backup singers ridicule the mindset of men in uniform over an urgent, quick-march accompaniment from Afrika 70. “Attention! Quick march! Slow march! Salute!” sings Fela, “Fall in! Fall out! Fall down! Go and kill! Go and die! Go and quench!” Each phrase is followed by the women singers’ taunting response, “Zombie!” Fela paid a big price for this bold condemnation of the military institution. One thousand members of the Nigerian army attacked and burnt down his house after the release of the record. The tribunal set up to investigate the cause of the attack as a result of the public out-cry against the army, heard, as part of the evidence presented, an example of the Zombie album cover with the military uniform and boots displayed boldly. The army justification of the attack was that Fela treated the military institution with levity.

File Under: Afrobeat
Listen Here

mandell

Harvey Mandel: Snake Pit (Tompkins Square) LP
Harvey Mandel is among the most innovative guitarists to emerge from the Chicago blues scene of the late 1960s. His career began at Twist City and other local hotspots, sharing stages with Muddy Waters, Howlin’ Wolf and Buddy Guy. He came up in that scene alongside Charlie Musselwhite, Mike Bloomfield, Barry Goldberg and Steve Miller, leading to an invitation from Bill Graham to open for Cream at San Francisco’s Fillmore Auditorium in August 1967. Mandel was a member of Canned Heat, appearing with them at Woodstock. He played on numerous John Mayall albums, and on the Rolling Stones’ 1975 LP Black and Blue (“Hot Stuff”, “Memory Motel”), having auditioned for Mick Taylor’s job, which ultimately went to Ron Wood. Known for his “tapping” technique and sinewy, sustain-driven phrasing (thus his nickname, “The Snake”), Mandel’s solo albums such as Cristo Redentor, Baby Batter and Righteous have been sampled and drooled over by guitar geeks, DJ’s, and fans of funky, soulful, otherworldly composition. Harvey’s fifteenth studio LP and his first widely distributed album in 20 years, Snake Pit was recorded in two days at Fantasy Studios in Berkeley, CA. Harvey teamed with fellow Chicago-based musicians Ben Boye (keys), Ryan Jewell (drums), Brian Sulpizio (guitar), and Anton Hatwich (bass), who have all played with singer/songwriter Ryley Walker, among their many other musical pursuits. Harvey and the band had not met previously, nor had they rehearsed. He played snippets of song ideas for the band on his iPhone, and then they would lay down a track in one or two takes. Hard to believe when you hear the album, but that’s exactly how it went down. Minimal overdubs with strings and percussion were added, but mostly what you hear is what happened spontaneously in the studio. The album contains six new original compositions by Mandel and two revisited songs : “Baby Batter” from his 1971 Janus LP of the same name, and “Before Six” by Larry Frazier, which appears on his first album, Cristo Redentor. Snake Pit marks a spirited return in a career that now spans six decades — all the more intense and poignant given Harvey’s recent battle with cancer.

File Under: Blues, Rock
Listen Here

marsBruno Mars: 24k Magic (Warner) LP
Multi-Grammy-winning megastar Bruno Mars returns with his highly-anticipated third studio album, 24K Magic, his first piece of solo music in nearly four years. Written and produced by Shampoo Press & Curl, lead single “24K Magic” sees Bruno bringing back his signature bounce with the singer proclaiming, “You can call it my first single, but I call it the invitation to the party.” The critically acclaimed singer, songwriter, producer, and musician scored his first five “Hot 100” No. 1’s faster than any male since Elvis Presley. Mars most recently dominated the charts with hit single “Uptown Funk.” The worldwide smash is the longest-leading Billboard Hot 100 single of the 2010s, and is only the tenth single in the Hot 100’s 57-year history to spend at least 14 weeks at No. 1. “Uptown Funk” took home 3 Grammy Awards this past year, including the coveted Record of the Year award.

File Under: Pop, Soul
Listen Here

montgomery

Roy Montgomery: R: Tropic of Anodyne
Roy Montgomery: M: Darkmotif Dancehall
Roy Montgomery: H: Bender
Roy Montgomery: Q: Transient Global
(Grapefruit) LP
It’s been over a decade since Roy Montgomery’s last album, and R M H Q is a hell of a return. H: Bender harkens back to his nineties work, where guitar riffs ensconced themselves in dynamism. Montgomery’s trademark reverb-laden guitar offers a fluidity like pulsing blood, coloring in each motif’s corners and rewarding every deeper listen with heightened profundity. Montgomery was in his rock band period in the eighties, when the dark, minimalist post-punk of The Pin Group lead into the gloriously open-ended freedoms of Dadamah. After a quiet spell, he returned in the late nineties, producing towering spires of guitar lines that exposed fragility between the strums. With his solo releases and in collaboration with Flying Saucer Attack, Bardo Pond (Hash Jar Tempo), and Chris Heaphy (Dissolve), his focus shifted from the truth-mining of rock music to epic celestialism. His ambitious yet humble tracks outstrip their origins, and Montgomery toured the world sitting cross-legged on the floor, playing twenty-plus-minute compositions. A long period of silence followed, marked only with a split album with Grouper (who lists Montgomery as a primary influence), involvement in Torlesse Super Group, and a couple thematic variations serving as soundtracks for films. Instead, he focused on his personal and professional commitments. Unfortunately, two horrific events preceded his return: the Christchurch earthquakes of 2011 condemned Montgomery’s entire neighborhood save for his home, stripping his street of a community; and, as a volunteer firefighter, he saw first-hand the destruction and loss of life in the city center. Additionally, since 2014, illness in the family has dominated his life. Self-expression once again demanded an outlet. R M H Q is four albums conceived and recorded over a very short period, each of them carrying a distinct focus and mood.

File Under: Rock, Experimental
Listen Here

moon-pool

Moon Pool & Dead Band: Humanizer (Midwich) LP
The duo of Nate young (Wolf Eyes, Regression) & David Shettler (Viands, SSM) return with their highly-anticipated full-length follow-up to MEQ 2LP remixes, released by Midwich in 2015. Humanizer is sonically diverse featuring varied modes of production throughout. Humanizer jettisons with their live staple ‘New British Blues,’ the 10-minute track recalling Shettler’s long-form work in Viands, putting synthesizers in space, as live drums invigorate the track with an earthbound brashness. ‘Cycloid’ is the album’s most concise, bracing and dare-we-say catchy number–a real ear-worm. ‘Sea Dust’ is a blasting electronic collage also featuring live drums (we think). The title track ‘Humanizer’ is classic MOON POOL, creepy and menacing with an off-kilter bass thump. ‘A Gray Glow’ continues in classic mode with thumping bass and queasy synths. ‘Hospital Quiet’ features pleasing, sunward-facing ambience to reassure listeners that all is good. MOON POOL AND DEAD BAND have been a Detroit cult techno favorite since Shettler and Young joined forces in 2011. Uninitiated listeners are caught off-guard by the funkiness of the group, shaking assumptions about the group’s perceived roots. We’ve all heard bad noise-techno records–this isn’t one of them. The danceable style is one that grows organically from the duo’s life experience. Moon Pool and Dead Band approach the music with respect, knowledge and humor. Humanizer is a party-starter that could have only come from Detroit.

File Under: Electronic, Techno, Wolf Eyes
Listen Here

morning-dew

The Morning Dew: s/t (Lion) LP
Morning Dew have been psych collector faves for ages. Their sole release, “At Last” (much like the Morgan album) becomes more obviously crucial with each passing year. After recording their legendary album for Roulette in 1969, Morning Dew headed back to Topeka feeling good about their prospects. But Roulette had problems. They did finally release “At Last” late in 1970… and marketed it so well it became a psychedelic rarity and a cult favorite. Even so, Morning Dew’s producer at Roulette urged the band to record a demo of songs for a second album. They went to a local studio in August 1970 and blasted out eight songs, bolstered by new recruit Ferdy Baumgart’s Hammond B3. Band leader Mal Robinson also made acoustic two-track recordings in his basement: new songs, plus others from the Morning Dew repertoire—just vocal and guitar. The band gigged while Roulette and it’s honcho Morris Levy withered under scrutiny by law enforcement. A second album came to nothing. Still under contract with Roulette and still dealing with broken promises, burnt out and broke, Morning Dew disbanded in June, 1971. But those demos… they need to be heard. That’s where we come in. Two records, chock full of your new favorite Morning Dew songs, plus solo acoustic versions of band classics like the monumental ’Crusader’s Smile,’ alternates, and more, most of which is previously unreleased. One more thing: all of this material is making its vinyl debut.

File Under: Psych
Listen Here

root

MV & EE: Root/Void (Woodsist) LP
“MV & EE take their homespun hypnotics and cosmic country sounds to new levels on Root / Void. I love this album— it trips hard and hauntingly—a gift for languid golden afternoons or late night moonlight powwows. Anthem-worthy tape edits on some cuts crack open surreal and cinematic vistas. While joined by fellow travelers here and there, this album remains in essence a fecund duet from two entwined souls, updating and re-defining their unique pool of sound. Intrepid audio bathers: get thee immersed!” —Lee Ranaldo, Italy, July 2016

File Under: Psych, Blues

oddentrance

Oh Sees: An Odd Entrance (Castle Face) LP
From the same misty mountaintop tape spool as August’s A Weird Exits, Thee Oh Sees bring the companion album An Odd Entrances. Delving more towards the contemplative than the face-skinning aspects of its predecessor, this sister album is a cosmic exercise en plein aire with John Dwyer and company double-drum shuffling, lounging with cellos, following a flute around the groove, and spooling a few Grimm-dark lullabies along the way. Lurking in the grass are a snake or two, like the celestial facing instrumental buzz of “Unwrap The Fiend Pt. 1.”… But for the most part this is a relatively hushed affair, a morning rather than evening listen. The band plans on donating half their profits from the first pressing to Elizabeth House, a local charity in Pasadena that specifically helps homeless women with children get back on their feet.

File Under: Punk, Garage
Listen Here

golden-axe

OST: Golden Axe 1 & 2 (Data Discs) LP
For Data Discs’ seventh release in partnership with SEGA of Japan, they are delighted to bring together the complete music from the classic Mega Drive games, Golden Axe (1989) and Golden Axe II (1991), in one special package. This release features the unforgettable artwork from both games, supplied on two thick lithographic prints, with the record itself pressed on heavyweight translucent gold or classic black vinyl. The outer sleeve features rare artwork from the 1989 Japanese edition, sourced from the SEGA archives and presented on 425gsm cardstock with gold flood printing. As always, the audio has been carefully restored and mastered using the original console as the source, ensuring these memorable soundtracks are preserved for many quests to come!

File Under: OST, Videogames

losthighway

OST: The Lost Highway (Music on Vinyl) LP
Lost Highway is the 1997 French-American neo-noir-horror mystery film written and directed by David Lynch. It stars Bill Pullman as a man convicted of murdering his wife (Patricia Arquette), after which he inexplicably morphs into a young mechanic and begins a new life. The film’s score was composed by Angelo Badalamenti, with additional music by Barry Adamson, however Trent Reznor from Nine Inch Nails was responsible for assembling the soundtrack. David Bowie’s “I’m Deranged”, Rammstein’s “Heirate Mich”, Lou Reed’s “This Magic Moment”, Marilyn Manson’s “Apple Of Sodom” plus more tracks from Trent Reznor, The Smashing Pumpkins all appear on the double album to accompany the Angelo Badalamenti and Barry Adamson theme music. Lost Highway premiered in 1997 in the United States on a limited theatrical release and has developed a cult following. Director David Lynch received three Academy Awards nominations, a Golden Lion award from the Venice Film Festival for lifetime achievements as well as a Palme d’Or at the Cannes Film Festival for Wild At Heart in 1990.

File Under: OST

maniac

OST: Maniac (Death Waltz) LP
Death Waltz Recording Co. is proud to present a re-issue of Jay Chattaway’s soundtrack to the 1980 classic Maniac. An absolutely phenomenal, sleazy synth score from Jay Chattaway, perfectly capturing the unease and grime of Times Square in its pre-Disney clean up era. Its minimal synth lines, full to the brim with dark brooding menace, exaggerated ring modulations and discordant strings manage to echo the utter despare of Joe Spinell’s character on screen. This stands head and shoulders above similar 80’s synth scores which often riffed on John Carpenter’s Halloween score a little too much. Maniac sees Chattaway going wild, adding layers of noise & dialogue into the mix, giving the score an utterly claustrophobic feel that manages to be both terrifying and exhilarating at the same time. This is a genuinely uncomfortable listen and it is easy to see why it has become such a classic amongst synth-heads and horror fans alike.

File Under: OST
Listen Here

twin-peaks

OST: Twin Peaks (Death Waltz) LP
Twin Peaks – Original Score LP. Music by Angelo Badalamenti. Artwork by Sam Smith, full package design by Jay Shaw. Pressed on 180 Gram vinyl. One of the greatest scores ever recorded is finally back in print for the first time in 25 years! Death Waltz went back to the Warner archives, where engineer Tal Miller cut brand new vinyl masters. They then worked with Dave Cheppa at Plush Vinyl to cut new lacquers. Finally they asked Rainbo to press the record on 180g vinyl for the best possible sound quality. The record comes housed inside a 425gsm gatefold sleeve featuring lyrics and liner notes by composer Angelo Badalamenti; the cover image by Sam Smith comes approved by David Lynch himself! The gatefold sleeve is then housed within a bespoke die cut outer jacket designed by Jay Shaw featuring super subtle white spot varnish text. The whole affair is finished with a top loading obi strip. “I’m glad that after 25 years, Death Waltz Recording Company has re-released the original soundtrack for Twin Peaks for a new audience to enjoy. This is my defining work as a composer and I’m happy it will get a fresh listen” – Angelo Badalamenti, 2016

File Under: OST
Listen Here

rachels

Rachels: Systems/Layers (Quarterstick) LP
Louisville-based avant-garde chamber group Rachel’s present the vinyl debut of their 2003 full-length album Systems/Layers. This double LP album release also includes the vinyl debut of Rachel’s 2005 EP, Technology Is Killing Music. Numerous recording sessions make up systems/layers, home recordings, field recordings, and several large ensemble sessions with members of the Louisville Orchestra. Preliminary work for Systems/Layers began in 1997, when Rachel’s took to the streets of NYC armed with a DAT recorded in search of interesting sounds. This project, intended to address the issues of modern urban life, was set aside while other projects kept the band’s attention. However, when Rachel’s started working with the innovative New York based SITI theatre group in 2000, these recordings were given an environment to be completed. Included on the last side of this 2LP release, Technology Is Killing Music is an ideal companion to Systems/Layers. Assembled in the same cut up style, this 20-minute EP is a long-form suite comprised of material sourced from studio sessions, live performances and field recordings.

File Under: Chamber, Neo-Classical
Listen Here

ratelife

Nathaniel Rateliff & The Night Sweats: A Little Something More From (Stax) LP
Nathaniel Rateliff & The Night Sweats’ new 8-track EP, A Little Something More From, serves as a companion to the band’s critically acclaimed 2015 self-titled debut. The release features new studio recordings of live favorites including “Parlor,” “Out On The Weekend,” and “I Did It,” original album B-sides including the soulful ballad “What I Need,” “How To Make Friends” and a live version of “Wasting Time” recorded at the Stax Museum of American Soul Music in Memphis, TN. This collection follows what has been a phenomenal 18 months for Nathaniel Rateliff & The Night Sweats. The band, along with their loyal hometown fans, just celebrated the one-year anniversary of their debut album with a sold-out headlining show at Denver’s renowned Red Rocks Amphitheatre. The breakthrough year has also included a number of important milestones – their hit single “S.O.B.” blasted the nation’s airwaves for months as did follow-up tracks “I Need Never Get Old” and “Look It Here.” Their latest single, “Wasting Time,” is finding similar success as well. Additionally, their eponymous debut has now sold over 650,000 copies worldwide.

File Under: Funk Soul
Listen Here

sparks

Sparks: s/t (1972) LP
Sparks’ eponymous 1971 debut presents the singular compositional, lyrical and singing voices of Ron and Russell Mael fully formed. Originally released under the moniker Halfnelson, Sparks’ prescient debut prefigures Queen, power pop, and especially Southern California’s late ’70s skinny-tie explosion. It’s a landmark of Todd Rungren’s early production career, and clearly the backing band of brothers Earle and Jim Mankey brought Sparks’ pop idiosyncrasies to their later work with The Dickies, The Quick and 20 / 20. Infectious, daring, and delightfully flaunting camp theatricality throughout, Sparks is the first installment in an unparalleled series of some of the decade’s most classic albums. Careening melodies soar through space-detritus electronics on the strikingly original “Roger,” which evokes the early solo work of Brian Eno, but the deranged art-rock closing track “(No More) Mr. Nice Guys” is the unequivocal classic of Sparks’ early career and a staple of the band’s live set ever since. Rundgren’s restrained production wisely sets the Mael brothers at the fore of Sparks. With just subtly treated cymbal flourishes keeping the pace, album opener “Wonder Girl” is pared down and mixed to showcase two things: Ron’s twinkling piano trill and Russell’s fluttering high-register. As Rundgren perceived, and a multi-decade career confirms since, their fraternal chemistry is a consummate force.

File Under: Art Rock, Pop
Listen Here

telefon

Telefon Tel Aviv: Fahrenheit Fair Enough (Ghostly) LP
The late 1990s was a fertile time in the American electronic underground. A growing body of artists, spread around the nation, were engaging in the latest round of a decades-long transatlantic musical conversation. At the convergence of hip-hop, electronic, and soul music, these artists sought to carve out their own lane. In September 2001, New Orleans’ Telefon Tel Aviv, high school friends Joshua Eustis and the late Charles Cooper, joined the conversation with their debut album, Fahrenheit Fair Enough, released by Hefty Records. A labor of love, Fahrenheit… was an attempt by the pair “to contribute something meaningful” Eustis says today, “something definitely American, and kinda southern too.” On the 15th anniversary of its release, Ghostly International is reissuing Fahrenheit Fair Enough on double vinyl with an accompanying download featuring bonus material. Living in New Orleans in the late 1990s, Eustis and Cooper were in the thrall of two musical orbits: black America – New Orleans’ bounce, Detroit’s techno, Chicago’s house – and British electronica – Autechre, Aphex Twin, Jega. Recorded over the course of a year in Eustis’ childhood bedroom in the Riverbend neighborhood of New Orleans, Fahrenheit… mapped out a potential for American electronic music in a time of hope. The music features delicate Rhodes and guitar instrumentation wrapped in a southern bounce shell, smothered in R&B, and cut up by digital rhythm programming. The tracks were meant to be “constantly, evolving sculptures.” Fascinated by IDM, the pair sought to inject “some swagger into it, loosen it up a little but also make it hyper romantic.” Eustis and Cooper had imagined making a “hard club record,” but instead Fahrenheit… came to be seen as a delicate slice of electronica by fans and critics who misconstrued its stylistics roots. This was, perhaps, hardly surprising. Telefon Tel Aviv arrived at a time when there was no roadmap for an American electronic music scene comparable to what the UK had produced in the ’90s. They were the latest artists to find themselves in a strange middle ground between hip-hop and electronic music that had yet to be understood. The music sounds all the more relevant in 2016 because the roadmap Eustis and Cooper desired then exists today. And because today everyone listens to what the South has to say.

File Under: Electronic, Ambient, IDM
Listen Here

blurry-live

Twenty One Pilots: Blurryface Live (Fueled By Ramen) 3LP
Twenty One Pilots landed at the top of the Billboard Charts in 2015 with their triumphant sophomore studio album Blurryface and its hit singles “Fairly Local,” “Tear My Heart Out” and “Stressed Out.” The record took the band’s explosive mix of hip-hop, indie rock and punk to the next level, with soaring pop melodies and eclectic sonic landscapes. Billboard stated that Blurryface, “…serves as evidence that one of pop’s most daring duos isn’t about to slow down,” while Alternative Press proclaimed that Twenty One Pilots, “ramped up everything, from new influences to the number of producers (four) to the metric ton of uncertainties and fears multiplying in frontman/songwriter Tyler Joseph’s cranium. And it’s wonderful.” Blurryface: Live is an awesome new document of the songs from the album performed in concert at The Fox Theater in Oakland, CA, presented on stunning tri-gatefold triple picture disc vinyl adorned with stylized shots of the band.

File Under: Rock, Pop

tyvek

Tyvek: Origin of What (In The Red) LP
Tyvek have long stood as one of the more steadfast and dependable punk institutions of the last decade. Each record has been great and has improved on the one before it without struggling to reinvent or overwrite their past. Line-ups and life events shift but the energy always comes through as new and raw as it did on the first single. Origin of What, their fourth album, is something of a departure, if a cryptic one—all the familiar elements are in place and yet a pervasive darkness that these strangely disjointed songs. Working again with Fred Thomas who recorded their most recent album, 2012 burner On Triple Beams, band members from the earliest incarnations to its most recent showed up for various recording sessions, with initial tracks captured quickly. Later, far more extensive editing, mixing and overdubbing ensued, resulting in a fragmented production style that slowly disintegrates the standard punk fare until it starts to resemble dub experimentation before decaying even further. Tyvek’s future, like its origin, is up for grabs.

File Under: Punk
Listen Here

ween

Ween: Godweensatan Live (ATO) LP
Uncertain whether or not to cancel their re-release party for GodWeenSatan: The Oneness on Sept. 14, 2001, just days after the tragic events of 9/11, Ween took the stage at their local bar, John & Peter’s, in New Hope, PA. What unfolded was pure catharsis for both the band and the packed crowd. Ween ran through the album in its entirety and captured the show on 24-track tape. This release, the band’s first since 2008, is that never-before-heard recording. GodWeenSatan: Live was mixed from the multitrack recording and mastered by Tom Ruff. This 2LP set is pressed onto 180g colored vinyl and includes a free MP3 download of the album.

File Under: Rock

wiltzie

Adam Bryanbaum Wiltzie: Salero (Erased Tapes) LP
Adam Bryanbaum Wiltzie, the creative force behind A Winged Victory For The Sullen and Stars Of The Lid, presents his score for the motion picture Salero on vinyl courtesy of Erased Tapes. With Salero Wiltzie weaves some of his finest work to date and delivers an expertly distilled accompaniment to director Mike Plunkett’s sprawling, uncompromising visuals. Set in Bolivia’s Salar de Uyuni, the world’s largest salt flat, the narrative follows the region’s Saleros – those who have for generations gathered salt and earned enough to somehow carve out an existence in such a barren landscape. It’s with the discovery of huge Lithium reserves – a mineral used frequently throughout the tech industry – under the scorched earth that acts as a catalyst for exploitation of the environment and its people; holding a microscope to the drastic effect industrialization has on local culture and tradition. “I have always said that composing music is infinitely easier when you have beautiful images to be inspired by,” Wiltzie explains. “It was a pleasure to write a score over this captivating place of endless, glimmering salt before its impending demise. I was fascinated by this mythical space and its ability to define the identities of the people who live in its vicinity, where this vast salt flat itself would be a central character.”

File Under: OST, Ambient, Stars of the Lid
Listen Here

womack

Bobby Womack: Fly Me to the Moon (Premium Cool) LP
1968’s Fly Me To The Moon was Boby Womack’s first solo long-player, after a decade of forging a singular path as R&B morphed into soul music, first with the Sam Cooke-sponsored VALENTINOS, and subsequently as a songwriter and guitarist for the likes of Wilson Pickett. Indeed, the album features Womack’s version of Pickett’s ‘Midnight Mover,’ along with very groovy interpretations of ‘California Dreamin” (a small hit at the time),’ ‘Moonlight In Vermont,’ and the title cut. But it is the singers own superlative material—’What Is This,’ ‘Somebody Special,’ ‘Take Me’—that shines best on this fantastic debut, produced by the estimable CHIPS MOMAN at his American Studios facility in Memphis, utilizing one of the finest session crews in southern soul.

File Under: R&B, Soul
Listen Here

womack1

Bobby Womack: My Prescription (Premium Cool) LP
Bobby Womack returned to American in 1969 to cut My Prescription, also produced by Chips Moman, at a time that the venue was becoming exceptionally hot with visits from the likes of Elvis, Dusty Springfield, Neil Diamond and others. Womack’s sophomore album may however well be one of the most demonstrative showcases of studio and session crew, incandescent on a finely-honed program of classy and soulful performances, with the singer in full control. Tracks like ‘How I Miss You Baby,’ ‘Arkansas State Prison’ and ‘I Can’t Take It Like A Man’ stand as some of Womack’s greatest moments, and taken as a whole, My Prescription stands not only the man’s first truly great solo album, but also a timeless slice of sophisticated southern soul-making.

File Under: R&B, Soul
Listen Here

live-womack

Bobby Womack: The Womack ‘Live’ (Premium Cool) LP
In 1970 Bobby Womack and manager Ed Wright decided to capitalize on his new-found solo visibility by capturing an in-person performance at a Los Angeles nightclub. The Womack “Live” was the result, a compelling, cathartic session where, as the original liner notes attest, Womack “held church,” agonizing, pleading, exhorting and testifying to a crowd fully in rapture to him. As well as extended jams on album material like ‘How I Miss You Baby,’ the playlist featured killer versions of ‘Something’ and ‘Everybody’s Talkin” and some outrageous stage patter. All in all, it’s an incredible recital capturing Bobby Womack in his prime, and even comes with an uncredited appearance from Percy Mayfield.

File Under: R&B, Soul

young

Neil Young: Official Release Series 8.5-12 (Reprise) 5LP Box
Neil Young’s “Official Release Series” continues with the Discs 8.5-12 limited edition 180g 6LP box set, the next collection of chronological titles which includes: 1976’s Long May You Run (The Stills-Young Band); 1977’s American Stars ‘N Bars; 1978’s Comes A Time; 1979’s Rust Never Sleeps (Neil Young & Crazy Horse); and 1979’s Live Rust (Neil Young & Crazy Horse). Discs 8.5-12 checks in after 1975’s Zuma and follows Discs 1-4 which were issued in 2009 and Discs 5-8 which were issued in 2014. Long May You Run served as the lone release from the short lived Stills-Young Band, featuring Neil and his old Buffalo Springfield cohort Stephen Stills splitting the songwriting duties with backing from Stills’ polished session musician fitted band. Roots rock affair American Stars ‘N Bars offers a mixed bag of the many styles Young had explored on previous efforts. There’s beautiful country-rock material (“The Old Country Waltz,” “Star of Bethlehem”), introspective acoustic solo numbers (“Will to Love”), and extended ragers (“Like a Hurricane”) plus guest appearances by Linda Ronstadt, Emmylou Harris, Nicolette Larson and Crazy Horse. Comes A Time finds Young largely returning to his lush acoustic-based Harvest sound with uplifting harmony vocals from Nicolette Larson. Tender and inspired in all the right places, it became his first Top Ten album in over half a decade. Rust Never Sleeps features new material recorded live during Young’s 1978 tour with Crazy Horse and it’s split into compelling acoustic material and powerful electric numbers. The set kicks things off with the state of rock ‘n’ roll anthem “My My, Hey Hey (Out of the Blue),” before offering up a lovely “Pocahontas,” scathing epic “Powderfinger” and closing with a rowdy reprise of “Hey Hey, My My (Into the Black).” 1978 concert recording Live Rust featuring an on fire Crazy Horse on select tracks – issued months after its spiritual guide Rust Never Sleeps – was captured at the Cow Palace in San Francisco, CA and finds Young wearing his folksinger and bandleader hats and mixing early classics and then newer material in what adds up to be one hell of a show.

File Under: Rock

bobo

Various: Bobo YeYe: Belle Epoque in Upper Volta (Numero) Box
From his studio in central Bobo-Dioulasso, photographer Sory Sanlé documented a nation’s transformation from colonial foothold to cosmopolitan oasis. Bobo Yeye: Belle Epoque in Upper Volta provides an intimate look into the landlocked nation’s pop culture explosion of the 1970s. A melange of community elders and emboldened youth spill from the brightly lit confines of Sanlé’s Volta Photo into the dimly lit nightclubs of Upper Volta’s cultural capital. Accompanying this hardbound monograph are dozens of rare and evocative recordings spread over three discs by Bobo-Dioulasso’s musical titans: Volta Jazz, Dafra Star, Echo Del Africa, and Les Imbattables Léopards.

File Under: African, Latin, Jazz, Funk, R&B
Listen Here

allnight

Various: All Night Long: Northern Soul Floor Fillers (J&D Records) LP
Whilst not the first UK dance scene – the mods had that covered – northern soul is the longest running. Those northern clubbers who eschewed late 60s psychedelic fripperies for obscure old soul records with the requisite beat, couldn’t have known what they started. After using up all the UK released sides they began digging in the United States and after nearly 50 years the northern soul scene has probably unearthed more great music than any other. All Night Long is our tribute to those pioneers and includes current in-demanders such as The Sensations ‘Demanding Man’, classics by The Chandlers and Ernest Mosley and a host of other dancefloor friendly masterpieces. On the 14th October 2016 J&D Records release three exceptional compilations that look at vintage African-American music through the prism of UK club culture. All Night Long, Can You Feel That Beat and Extra Added Soul will be available on CD & double vinyl and are compiled by DJ and award winning compiler Dean Rudland, with stunning artwork from his long-time collaborators The Unknown. Across the three volumes there are 60 tracks of soul, funk and boogie.

File Under: Northern Soul
Listen Here

canyou

Various: Can You Feel that Beat: Funk 45s & Other Rare Grooves (J&D Records) LP
Funk was the syncopated groove that emerged in the mid-sixties through hits from James Brown and Dyke and The Blazers. It was a natural development out of rhythm and blues. Thousands of local bands tried to emulate Brown’s success, and in the process created a plethora of rare and sought after 45s and album cuts that have been mined by DJs and producers to fill floors or provide breakbeats. Whilst the 20 tracks on this compilation would cost you thousands of pounds to own on their original issue, that isn’t really the point. Instead you get to listen to magnificent grooves such as Mickey & The Soul Generations explosive ‘Iron Leg’, Andrew Brown’s blues tinged ‘You Made Me Suffer’ or the message music of 24 Carat Black. On the 14th October 2016 J&D Records release three exceptional compilations that look at vintage African-American music through the prism of UK club culture. All Night Long, Can You Feel That Beat and Extra Added Soul will be available on CD & double vinyl and are compiled by DJ and award winning compiler Dean Rudland, with stunning artwork from his long-time collaborators The Unknown. Across the three volumes there are 60 tracks of soul, funk and boogie.

File Under: Funk, Soul
Listen Here

extra

Various: Extra Added Soul: Crossover, Modern & Funky Soul (J&D Records) LP
There is a lot of confusion with regards to the modern soul scene. An off-shoot of northern soul, it initially mixed new release independent soul, with post late-60s soul that didn’t fit with the northern scene. They championed a lot of great records, but this was the mid-80s and it now seems odd to describe nearly 50 year old records as modern soul – but somehow the name has stuck. Extra Added Soul luxuriates in this contradiction, as it allows us to mix up the boogie like ‘Love Explosion’ by Donnell Pittman, with two-step Chicago classics by Elvin Bishop or El Anthony, or the danceable sweet soul of Dyson’s Faces with Gil Scott-Heron alike ‘Patience’ by Rokk. Amongst the twenty tracks there is also room for a touch of Prince on 94 East’s exceptional ‘If You See Me’ and the cosmic soul of Karriem’s super rarity ‘I Love You’. On the 14th October 2016 J&D Records release three exceptional compilations that look at vintage African-American music through the prism of UK club culture. All Night Long, Can You Feel That Beat and Extra Added Soul will be available on CD & double vinyl and are compiled by DJ and award winning compiler Dean Rudland, with stunning artwork from his long-time collaborators The Unknown. Across the three volumes there are 60 tracks of soul, funk and boogie.

File Under: Funk, Soul
Listen Here

laggniappe

Various: Lagniappe Session 1 (Light in the Attic) LP
Founded in Los Angeles, CA by Georgia transplant Justin Gage, the Aquarium Drunkard blog has long served as a haven for discerning and adventurous listeners since 2005. Digging globally, AD offers an eclectic array of features, interviews, mixtapes, and reviews spanning vintage garage, psych, folk, country, soul, funk, R&B and beyond. The scope is wide, but the motto is simple: Only the good shit. Pardon the blue language, but it tracks. Release dates and hype aren’t driving forces at AD; the material featured on the site is there because Gage and the staff dig what they’re writing about. In 2011, Gage launched the Lagniappe Sessions, a regular recording series on the website and the weekly Aquarium Drunkard Show on Sirius/XMU featuring freeform selections, songs culled from artist’s record collections and inspirations. This co-release between Light In The Attic Records and Aquarium Drunkard Recordings documents the first five years of the series, collecting on vinyl for the first time a diverse lineup of obscure gems and familiar tunes refashioned into surprising and unexpected things. Psychedelic Swedes Dungen cover electronic pioneer Aphex Twin; of Montreal tap into the classic folk ballad “All My Sorrows”; troubadour Kevin Morby configures the blistering hardcore of the Germs into something more mystical. Some of the most familiar songs on Vol. 1 are the farthest out in terms of reinterpretation — White Fence reimagines the Gin Blossoms as a Paisley Underground outfit; guitarist William Tyler draws lines connecting the ragas of Sandy Bull to the progressive rock of Blue Oyster Cult. “Songs like this play on long after the record is done and become more like truths to me,” songwriter Jennifer Castle wrote for AD regarding her cover of Bob Dylan’s “Walkin’ Down the Line”. The songs of Lagniappe Sessions Vol. 1 share that quality equally.

File Under: Indie Rock

…..Restocks…..

Alabama Shakes: Boys & Girls (ATO) LP
Alabama Shakes: Sound & Color (ATO) LP
Tori Amos: Boys For Pele (Warner) LP
Arcade Fire: Reflektor (Sonovox) LP
Black Sabbath: Vol 4 (Rhino) LP
Boards of Canada: Music Has the Right to Children (Warp) LP
Boards of Canada: Geogaddi (Warp) LP
David Bowie: Hunky Dory (RCA) LP
David Bowie: Ziggy Stardust (RCA) LP
Danny Brown: Atrocity Exhibition (Warp) LP
Can: Future Days (Spoon) LP
Cat Power: You Are Free (Matador) LP
Nick Cave: Abattoir Blues (Mute) LP
Nick Cave: Murder Ballads (Mute) LP
City & Colour: Sometimes (Dine Alone) LP
Daft Punk: Homework (EMI) LP
Daft Punk: Random Access Memories (Columbia) LP
Drive By Truckers: American Band (ATO) LP
Flaming Lips: Soft Bulletin (Warner) LP
Flaming Lips: Yoshimi Battles the Pink Robots (Warner) LP
Flying Lotus: Cosmogramma (Warp) LP
Flying Lotus: Los Angeles (Warp) LP
Flying Lotus: You’re Dead (Warp) LP
Fucked Up: Chemistry of Common Life (Matador) LP
Marvin Gaye: What’s Going On (Universal) LP
Marvin Gaye: Let’s Get It On (Universal) LP
Godspeed You! Black Emperor: Asunder… (Constellation) LP
Jamie XX: In Color (Young Turk) LP
Sharon Jones: 100 Days, 100 Nights (Daptone) LP
Sharon Jones: Soul Time! (Daptone) LP
Lemon Twigs: Do Hollywood (4AD) LP
Tim Maia: Nobody Can Live Forever (Luaka Bop) LP
The National: High Violet (4AD) LP
Radiohead: A Moon Shaped Pool (XL) LP
Radiohead: A Moon Shaped Pool (XL) DLX LP
Rural Alberta Advantage: Hometowns (Paperbag) LP
Schoolboy Q: Blank Face (Universal) LP
Stone Roses: Sally Cinnamon (Universal) LP
Stooges: s/t (Rhino) LP
Taylor Swift: 1989 (Universal) LP
Talk Talk: Laughing Stock (Universal) LP
Cecil Taylor: Conquistador (Blue Note) LP

Tagged , , , , , , ,

…..news letter #768 – 15 years!…..

Well, it may not be Thanksgiving here today, but thanks to the fine folks at Record Store Day central, they’ve turned Black Friday into a mini-RSD event to drive shoppers to small mom & pop shops rather than just the big box stores. And of course they are doing that with a nice stack of exclusive releases, and fortunately pretty much all of them are available to us up here in Canada. Below you will find a list of all the exclusives  (as well as some brand spankin’ new stuff we’re putting out with the RSD stuff) we’ll have on the shelf tomorrow when we open (10 am!).

While that’s exciting and all though, more exciting is that we are celebrating our 15th anniversary! 15 years of slinging wax. It’s hard to believe how far we’ve come, from our humble beginnings with a handful of half full bins to the overflowing bins and boxes of records everywhere we are surrounded with today. Thanks to our fine customers we’ve been able to grow in to what we like to think is a pretty darned fine shop with something for everyone. And so to thank you all for another year of support this weekend not only will we have RSD tomorrow, we’ll be having a big ol’ sale all weekend too! THANK YOU!

…..pick of the week…..

swag

Listen Gear!
In celebration of our 15th anniversary we’ve got another new design for you to wear around town to show your Listen Love. And since it’s theoretically supposed to be winter, we’ve even made up some hoodies and sweatshirts this go around. As well, we’ve got new cotton totes bags for you to get your records, or groceries, home from the store. Thanks to our buddy Myles for the killer new design. These shirts also make great gifts! Supplies are limited, so get one before we are sold out!

sale

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

Rega RP1s are $399 (reg. $499)
Rega RP1 w/ Upgrade kit are $599 (reg. $699)

*Sale excludes Record Store Day exclusives, Brand Fucking New Arrivals, special orders and holds, local releases, and consignment items. All other gear is 10%.

rp1

Lastly, we’ll be giving away one Rega RP1 turntable to one lucky shopper this weekend. So be sure to stop in!

…..Record Store Day Releases…..

Afghan Whigs: Black Love (Elektra) 3LP
Autechre: Amber (Warp) LP
Autechre: Incunabula (Warp) LP
Autechre: Tri Repetae (Warp) LP
Beach Boys: Becoming The Beach Boys (Omnivore) LP
Big Star: Complete Third (Omnivore) LP
Budos Band: The Shape of Mayhem to Come (Daptone) 12″
Built to Spill: Ancient Melodies of the Future (1972) LP
Paul Butterfield Blues Band: Got A Mind to Give Up Living (Real Gone) LP
Chvrches: Under the Tide (Glassnote) 12″
Ornette Coleman: An Evening With (ORG) LP
Death By Stereo: Into the Valley of Death (Indecision) LP
Death Grips: Fashion Week/Interview 2016 (Harvest) LP
Dengue Fever/Goonam: Ganadaramaba (Sony) 7″
Dungen: Haxan (Mexican Summer) LP
Bob Dylan: Real Royal Albert Hall 1966 Concert (Sony) LP
Faith No More: Cone of Shame (Ipecac) 7″
Fruit Bats: The Glory of Fruit Bats (Easy Sound) LP
Steve Grossman: Some Shapes to Come (Tidal Waves) LP
Gwar: Black Friday (Sony) 7″
Lee Hazlewood: Cowboy in Sweden (Light in the Attic) LP
Isaac Hayes: Do Your Thing (Now Again) LP
Jimi Hendrix: Morning Symphony Ideas (Sony) 10″
Jungle Brothers: Done By the Forces of Nature (Get on Down) LP
Kinks: God’s Children (Sanctuary) 7″
Kinks: Til Death Do Us Part (Sanctuary) 7″
Kinks: s/t (Sanctuary) 7″
Timothy Leary/Ralph Metzner: The Psychedelic Experience (Real Gone) LP
Love is a Drag: For Adult Listeners (Sundazed) LP
Minor Victories: Orchestral Variations (Sony) LP
Rudy Ray Moore: This Ain’t no White Christmas (Dolemite) LP
Harry Nilsson: Popeye OST (Varese Sarabande) LP
Thee Oh Sees: An Odd Entrance (Castle Face) LP
OST: Barbarella (Varese Sarabande) LP
OST: Chinatown (Cinewax) LP
OST: Luke Cage (Mondo) LP
OST: My Little Pony (Sony) LP
OST: The Wonder Years (ORG) LP
Angel Olsen/Steve Gunn: Live At Pickathon (Easy Sound) LP
Amanda Palmer & Jherek Bischoff: Strung Out In Heaven (Cooking Vinyl) LP
Jaco Pastorius: Jaco (Omnivore) LP
Raconteurs: Steady, As She Goes (Thirdman) 7″
Ramones: Live At The Roxy 8/12/76 (Rhino) LP
Nathaniel Rateliff: A Little Something More (Stax) LP
Otis Redding: Live at the Whisky A Go Go (Stax) LP
Refused: Servants of Death (Epitaph) LP
Rogue Wave: Cover Me (Easy Sound) LP
Run DMC: Christmas in Hollis (Sony) LP
Bruce Springsteen: Chapter & Verse (Sony) LP
Sugarhill Gang: Meet Your Maker (Rhino) 7″
Sun Ra & His Arkestra: At Inter-Media Arts April 1991 (Sundazed) LP
Synthesizer Coloring Book
This Kind of Punishment: Radio Silence (Superior Viaduct) 7″
Tokyo Police Club: A Lesson in Crime (Paperbag) LP
Mark Van Hoen: The Last Flowers From the Darkness (Medical) LP
Venom: Black Metal (Warner) LP
Video Liszt: Ektakrom Killer (Medical) LP
Vitamin String Quartet: Plays Radiohead (VSQ) 7″
Muddy Waters: London Muddy Waters Sessions (Brookvale) LP
Yardbirds: Birdland (Favored Nations) LP
Various: Calabar-Itu Road: Groovy Sounds from South Eastern Nigeria (Comb & Razor) LP
Various: James Brown’s Funky People 3 (Get on Down) LP
Various: Jazz Dispensary: Holiday Treats (Fantasy) LP
Various: Lagniappe Session (Light in the Attic) LP
Various: Shanghai’d Soul (Numero) LP
Various: Scepter Records (Sundazed) LP

In tomorrow???….

Steve Gunn: Ancient Jules (Matador) 12″
Iggy & The Stooges: Telluric Chaos (MVD) LP
Lil Yachty: Lil Boat (Capitol) LP
Frank Sinatra: White Christmas (Universal) 7″
Ween: Godweensatan Live (ATO) LP
Frank Zappa: How Could I Be Such A Fool (Universal) 7″

Tagged , , , , , , , ,

…..news letter #767 – purple/pink…..

Oi, loads of stuff in this week, and still more to show up. At least we’ll be well stocked for next weekend! Be sure to set some time aside to come down as next Friday is Black Friday RSD AND we’ll be celebrating our 15th anniversary!

…..pick of the week…..

cortini

Alessandro Cortini: Spie (Make Noise) 12″
“Alessandro Cortini returned to his Make Noise Shared System Modular synthesizer last summer, to create two variations of a patch that could be described as ‘… a gorgeous sunrise over a decimated landscape…” This Make Noise Records release was digitally mastered by Shawn Hatfield at Audible Oddities. Analog Mastered and Cut by DC at PLUSH. Pressed to 12″ Clear (140gm) vinyl and inserted into a black inner dust sleeve and Matte Jacket with artwork by Sean Curtis Patrick (who has worked with Cortini in the past). The music was composed entirely on the Make Noise Shared System Modular synthesizer.”

File Under: Electronic, Ambient
Listen Here

…..new arrivals…..

amos

Tori Amos: Boys for Pele (Atlantic) LP
One of the most successful and influential artists of her generation, Tori Amos is as much a force to be reckoned today as when she made her debut as producer in 1996 on her third studio album, Boys for Pele, over two decades ago. An ambitious and uncompromising collection of songs about mythology (Pele was a Hawaiian volcano goddess), suppression and self-discovery, the record became one of her most successful, debuting at #2 on the album charts in both the U.S. and the U.K. An international hit, Boys for Pele also burst into the Top 10 in Australia, Austria, Belgium, Holland, Germany and Sweden. To celebrate the pivotal album’s 20-year anniversary, Rhino Records is releasing a newly remastered version of the original 18-track effort as a 180g 2LP-set. Moving away from the corporate environment to record in a church in Delganey, County Wicklow, and an old Georgian house in County Cork, Ireland, Boys for Pele altered the course of Tori Amos’ career. As she explains in the album’s liner notes, “This is the record where I fought for my life.” Greeted with rapturous fan support, this proved this to be a rewarding decision. Home to the fan favorites “Caught a Lite Sneeze” and “Hey Jupiter.”

File Under: Pop
Listen Here

antonnini

William Antonini e la Sua Orchestra: s/t (Sonor Music Editions) LP
Sonor Music Editions present a reissue of William Antonini E La Sua Orchestra, originally released in 1971. A very rare “cult” library and orchestra album by pianist William Antonini and his orchestra, recorded with the deep sounds of Dirmaphon studios in Rome. Expect some strong blues rock influences with loads of killer psychedelic sounds all over the place – amazing jazz-funk and blues funk vibes, heavy progressive riffs with big band swinging jazz and jazz-rock tunes. Huge basslines with stoned flute and deep tenor sax along with amazing early ’70s freak-beat clubbing tunes are to be found on this lost, collectible gem. Reissued with the original back liner notes written by Italian jazz father, Carlo Loffredo.

File Under: Library, Italian
Listen Here

contrepoison

Olivia Block: Dissolution (Glistening Examples) LP
Glistening Examples present Olivia Block’s Dissolution. Olivia Block on the record: “Dissolution is a reflection upon human ‘webs of significance’, and an investigation into the ways that electronic communications and recording technologies, both past and present, facilitate, complicate and transmute the formation of these webs. Sounds of shortwave radio, municipal broadcast recordings, fragments of found microcassette tapes, tones and instruments dramatize the fragility and failures of communication and language in shaping memory and experience. This album is dedicated to Adam Sonderberg, without whom I could not have completed this project.” Personnel: Lesley Swanson – flute; Shaun Flynn – clarinet. Musicians were recorded at Experimental Sound Studio, Chicago IL in January 2015. The session was engineered by Alex Inglesian. Mastered by Jason Lescalleet at Glistening Labs, USA. Dissolution comes housed in a single-pocket jacket with glossy UV coating and black poly-lined inner sleeves with a 12×12″ vellum insert. Includes download card.

File Under: Experimental
Listen Here

bowery

Bowery Electric: Beat (Kranky) LP
“The second album from New York City’s Bowery Electric was released in late 1996, less than 15 months after their self-titled debut, but it found them having traveled light years musically in the interim, the group having seemingly decided to see how far they could take the guitar/bass/drums/vocal setup into the atmosphere. Every aspect of their approach had been refined and focused: squalling, distorted guitars had been transformed into hazy, sensual sheets; the live drums transmuted to sampled rhythms more in debt to the blossoming down-tempo sound of the day; bass lines reduced to their most basic diagrams; vocals submerged to become one with the narcotized fog of the instruments; even the lyrics were reduced to a few minimal lines used sparingly so as not to overshadow the dynamic. Beat is a lush and dense mantra of shadowy percussion, barely-there vocals and immersive drones that envelops the listener in an opiated blanket of sound. The second in a trio of albums released by the core duo of Lawrence Chandler and Martha Schwendener, Beat is without doubt their definitive artistic statement. Coming 20 years to the day of its original release, this is the first time this album has been available on vinyl in almost two decades, and the first ever U.S. vinyl release.”

File Under: Electronic, Experimental
Listen Here

bjm

Brian Jonestown Massacre: Third World Pyramid (A) LP
Third World Pyramid is the 15th full length release from The Brian Jonestown Massacre recorded in early 2016. It is the first album that was fully recorded & produced at Anton Newcombe’s new Cobra Studio in Berlin. Third World Pyramid encapsulates the old and new sounds of the band, with the nine tracks starting from the melancholic “Good Mourning” going through to “Assignment Song” – which is a cover of Nina Simone from her 1971 album Gifted & Black – and the latter tracks show the ever-changing dynamic of the band, acknowledging their past but also looking to their future. Featuring Ricky Maymi, Dan Allaire, Joel Gion, Collin Hegna and Ryan Van Kriedt. Also, Emil Nikolaisen from the Norwegian band Serena-Maneesh joins the band on this album, plus vocal performance Tess Parks and Katy Lane. Anton Newcombe has been a very busy man these past two years, kicking off with the critically acclaimed Brian Jonestown Massacre album Revelation in 2014. After a successful UK and European tour, the BJM followed this up with the +- EP. 2015 saw the release of Musique de film imaginé; an imaginary film soundtrack album featuring the track “Bonbon” which has, ironically, been used in Dheepan, the Palme D’or winner at Cannes film festival 2015. In June, Anton and Tess Parks embarked on a well-received tour of the UK and Europe to support the release of I Declare Nothing. Anton finished 2015 with a BJM mini-album release entitled Mini Album Thingy Wingy.

File Under: Rock
Listen Here

cage

John Cage, David Tudor & Christian Wolff: San Francisco Museum of Art, 1/16/1965 (Modern Silence) LP
Modern Silence present a live recording, originally broadcast by KPFA Radio from the sculpture court of the San Francisco Museum of Art on January 16, 1965. Coinciding with the 39th birthday of fellow pianist and longtime associate David Tudor, this historic concert with John Cage opens with a duet for cymbal with contact microphones agitated by a wide gamut of objects, and concludes with Variations IV in which loudspeakers outside the performance space interacted with speakers next to the audience. Includes a performance of Christian Wolff’s For 1, 2 or 3 People. First vinyl release of this historic performance of minimalist music.

File Under: Avant Garde, Classical

contrepoison

Contrepoison: Discography 2010-2012 (Hospital) LP
Hospital Productions collect some of the strongest cold-wave pop dirges of a generation with Contrepoison’s Discography 2010-2012 survey, wrapping up both his self-released tapes and releases for Dominick Fernow’s cherished imprint. Since the late ’90s, Québécois musician and noise artist Pierre Marc-Tremblay has been recognized as a vital force in nether musical realms with a palette ranging from hermetic black metal (Akitsa) to the bitterest rhythmic noise (Âmes Sanglantes), and, more recently, the nerve-bitingly melodic pop of Contrepoison, whose I Keep On Searching 12″ (2012) – included here – is a firm fixture. Arriving at the vanguard of a new slew of cold-wave revisionists and fetishists in 2010, his music stood, and still stands, head and shoulders above the rest thanks to an incessant drive and directness that can’t be ignored by anyone into the original stuff, or who has arrived via the sound’s prevailing, contemporary winds. Vacillating belting vocal pop arrangements with howling, stygian instrumentals of synth, guitar and enslaved drum machines, Discography 2010-2012 drags a perfectly malformed body of work, cycling chronologically from the pounding mix of industrial kicks and neo-folk cadence of …Until Next Morning’s amazing title cut (2010), to the blank-eyed dirge of “To Never, Forever”, before taking in the stomping “Deserted Story” from his 2011 split with Vatican Shadow, and committing the fucking addictive hits of “I Keep On Searching”, best summed up in that raging, glam title tune and sandwiched with aces from the compilation Around The Dragon’s Broken Neck Hangs The Medal Of Saint Lazarus (2010). It only gets more wonderfully bombed out and crestfallen from therein, from the plangent siren call of “Nectar Of Destiny” to the exclusive instrumental, “The Moon Has Mad The Eclipse”, and a grip of killers off The Thunders Which Collide tape (2011), including the raging banger “The Thunders Which Collide” and another cut exclusive to this set in the instrumental, “As The Blazing Sun Enters Scorpio”. Basically, it’s riddled with memorable hooks and rages like a wounded beast trapped down a well. RIYL: Cold Cave, Prurient. Edition of 500.

File Under: Industrial, Dark Wave
Listen Here

divachi

Sarah Davachi: Vergers (Important) LP
Vergers is Sarah Davachi’s third full-length release following Barons Court (2015) and Dominions (2016). It marks her second appearance with Important Records following 2014’s August Harp cassette on the Cassauna imprint (SAUNA 017CS). In Vergers, she meditates on a single electronic instrument, the EMS Synthi 100 synthesizer, while also weaving sparse acoustic elements – her own voice and violin – into a series of three long-form, muted gestures. Elements of distance and alienation are certainly at play in the textural quality of these compositions, a feeling that is further defined by track titles that reference the spirit world and an album title that calls to mind the solitary tasks of the church orderly. The record opens with the aptly titled, “Gentle So Gentle”, a side-long movement that recalls the glacial character of Davachi’s previous efforts. “Ghosts And All” and “In Staying” suggest a more disjointed path, with the latter culminating in a subtly dissonant dirge that leaves little absolve between the organic, the artificial, and the impermanent.

File Under: Ambient, Drone, Electronic
Listen Here

eleh

Eleh: Radiant Intervals I (Important) LP
Important Records present the first part of a re-release of Eleh’s influential Radiant Intervals, originally released in 2010. Radiant Intervals is a meticulously nuanced and restrained exploration of the rhythmic and harmonic relationships inherent in pure analog frequencies, using a blend of intuitive and mathematically based tunings. Dense patterns of sound slowly unravel and are woven together again in new ways while harmonics hover and shift overhead. Radiant Intervals is a purely analog recording, made with a Serge Modular system, Mini Moog, Sequential Circuits Prophet 5 and a Pro- One. Comes in heavy-duty, metallic silver-shimmer, screen-printed jackets. 180 gram vinyl.

 File Under: Drone, Ambient
Listen Here

esben

Esben & The Witch: Older Terrors (Season of Mist) LP
The English via Berlin post-rock trio Esben and the Witch return anew with Older Terrors, their latest album and first with Season of Mist. Led by the captivating voice of Rachel Davies, the trio cut a wide swath of sound ranging from the dark and subtle to the triumphal, glorious roar of loud guitars. As the stunning “Sylvan” illustrates, they also find home in the shadows between the light and dark. Older Terrors is nothing short of a stunning and poignant album. Esben and the Witch explains, “Our forthcoming album ‘Older Terrors’ was written and recorded over the course of a year in Berlin, our adopted home. We have spent eight years getting here, sweating on stages, holed up in studios and exploring all that which inspires awe and terror. The album features four tracks. In this digital age of music we wanted to create a collection that worked together but could also be separated, each track standing alone, carving its own path and telling its own tale. This record is dedicated to the sublime. To Edward Young’s Night Thoughts, John Martin’s apocalyptic visions, Caspar David Friedrich’s forays into the forest and to the sparks of light that glimmer in times of utter darkness.”

File Under: Indie Rock
Listen Here

forno

Carla Dal Forno: You Know What It’s Like (Blackest Ever Black) LP
Carla dal Forno presents her debut solo album You Know What It’s Like, following time in cult Melbourne group Mole House and an earlier association with Blackest Ever Black as a member of F ingers and Tarcar. Her voice is an extraordinary instrument: both disarmingly conversational and glacially detached. It has something of the bedsit urbanity of Anna Domino, Marine Girls, Antena, or Helen Johnstone – stoned and deadpan – but it can also summon a gothic intensity that Nico or Kendra Smith would approve of. This voice is the perfect embodiment of dal Forno’s emotionally ambiguous songs: their lyrics rooted in the everyday, observing and exposing a series of uncomfortable truths. “Fast Moving Cars” and “What You Gonna Do Now?” weigh up claustrophobia against loneliness, inertia against acceleration, doubling-down versus taking-off; the title track acknowledges the provisional nature of love and “real” intimacy, then decides to brave it anyway. By the time the startlingly sparse “The Same Reply” arrives, the sense of dejection is absolute. The vocal-led pieces are interspersed with richly evocative instrumentals. Smothered in tape-hiss and reverb, the seasick synthesizer miniatures “Italian Cinema” and “Dragon Breath” channel the twilit DIY whimsy of Flaming Tunes and Call Back The Giants. The drum machine and bassline of “DB Rip” are pure Chicago house, but then its dark choral drones nod to Dalis Car’s dreams of blood-spattered Cornwall stone. “Dry The Rain” drinks from a stream of moon-musick that runs through Coil, In Gowan Ring, Third Ear Band, even the Raincoats’s Odyshape (1981).

File Under: Electronic, Ambient, Synthwave
Listen Here

gas

Gas: Box (Kompakt) 10LP Box
Wolfgang Voigt is a man of many means and monikers, having engendered a unique take on electronic expressionism across multiple media – from riotous early ’90s acid to cyber-folkloristic techno or the abstract drama of his current Rückverzauberung project, Voigt is a pioneering vision to be found on vinyl, canvas or flickering screens. Ranking among the most dense, hypnotic, atmospheric recordings in his oeuvre, the Gas releases have since become internationally recognized classics with a cult following, hailed as “a wondrous high point in the history of electronic music” by Pitchfork and considered “some of the most influential albums of the ’90s” by The Guardian. From foggy dub techno to anthemic electronica and loop-based ambient techno, the list of acts, tracks and even genres influenced by the full-lengths and EPs crafted under the Gas umbrella between 1995 and 2000 seems endless, giving these long sold-out original releases even more of a near-mythical quality. Following the much-acclaimed (and out-of-print) retrospective Nah Und Fern from 2008, Kompakt has decided that it’s high time for a reissue that features the core Gas albums, originally released by the legendary Mille Plateaux imprint in the ’90s, the records that introduced the project’s trademark sound between Schönberg and Kraftwerk, Wagner and the bass drum, “an endless march through the underwoods of an imaginary, misty forest and into the disco.” Inside this comprehensive anthology, listeners will experience Zauberberg (1997), Königsforst (1998), Pop (2000) and the sought-after Oktember 12 inch (1999), all together available as luxurious ten LP and four CD edition. Box is the most comprehensive version of these releases ever. The vinyl features edits that were previously unavailable on wax – with each album being presented as three LP pressings (instead of the original two LP pressings), for extended playtime and superior sound quality, finally released the way this music was intended to be heard. This highly collectible box set comes with an art-print book featuring newly processed and previously unreleased photography from the Königsforst woods around Cologne, in the style of the legendary, trail-blazing Gas artwork. Box is to be considered as the definitive take on a unique sound cosmos and an extraordinary period of music. An essential outing for every serious fan of electronic music.

File Under: Electronic, Ambient, Techno, Minimal
Listen Here

disquietGerman Army & Old Komm: Disquiet (Discrepant) LP
Disquiet is the imaginary soundtrack to the lost 1976 Russian-American dystopian classic. Russian occultists Old Komm collaborate with the south Californian dons of austere electronics, German Army, bringing to life the made-up soundtrack to a film that never was. Disquiet tells the story of a child born to a desolate, post-apocalyptic world, war-torn and fractured by greed. Organ tones and broken exoteric bumps coexist with dark ambient themes and cavernous beats. Remnants of wry memories, smothered dreams, dim visions of a world that never was.

File Under: Electronic, Industrial, Experimental, OST
Listen Here

hastings

Hastings of Malawi: Vibrant Stapler Obscures Characteristic Growth (Sub Rosa) LP
First reissue of Hastings Of Malawi’s classic masterpiece Vibrant Stapler Obscures Characteristic Growth, originally released on the Papal Products label in 1981. Hastings Of Malawi were Heman Pathak, David Hodes and John Grieve. They recorded Vibrant Stapler Obscures Characteristic Growth in one night in 1981 with no plan and no idea of what they were doing. They played drums, clarinet, synthesizer and piano but also made use of things that they found lying around the studio – old records, cook books, telephone directories and a telephone. The recordings were played down the phone to randomly dialed numbers with the reactions added to the recording. All three had been involved in the recording of the first Nurse With Wound album Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella (1979) and had contributed metal scrapings, piano, effects, clarinet and guitar during the session. The star of the record is Pat Simmons who was the voice of the UK speaking clock between 1963 and 1984. In his book Lipstick Traces (1989) writer Greil Marcus seeks to draw a line from Dada through the Situationist International to punk rock. If this line exists, then Vibrant Stapler Obscures Characteristic Growth sits on the end of it. The only review that the album received was from Steve Stapleton who suggested that “nobody should miss this vinyl disaster” – good or bad are not concepts that can be applied to this recording. The record stands firmly in opposition to the now all pervading concepts of commercialization, celebrity culture and the commodification of creative activity. Originally 1000 copies were pressed on orange/red vinyl. 120 copies were sold through Rough Trade and Virgin Records. 800 copies were bought and later destroyed by the United Dairies label, adding to the elusiveness of this record. This reissue is on red vinyl, just like the original pressing. File under: dada, underground, post-industrial, concrete music, DIY, punk.

File Under: DIY, Punk, Industrial, Dada, NWW List
Listen Here

strands

Steve Hauschildt: Strands (Kranky) LP
“From Steve Hauschildt: ‘Strands is a song cycle that is about cosmogony and creation/destruction myths. The title alludes to the structural constitution of ropes as I wanted to approach the compositions so that they consisted of strands and fibers which form a unified whole. This was so the songs could have the appearance of being either taut or slack without being fundamentally locked to a grid. So the sounds/tones have a certain malleability to them and sound like they’re bending through time. It’s also grittier and more distorted than my previous albums. I wanted to try and capture that moment in nature and society where life slowly reemerges through desolation, so it has a layer of optimism looming underneath. The music represents this by seemingly decaying at times but then reforms and morphs in a fluid way back to its original state. I was also inspired by the movement of rivers, particularly their transformative aspect and how they’re in a state of flux and change, in particular the Cuyahoga River in Cleveland where I live, which notoriously caught on fire thirteen times because of industrial pollution in the 1960s and before. I was very interested in the dichotomy of oil and water and the resulting, unnatural symptoms of human industry. It’s a very personal record for me as it is a reflection of my hometown where I grew up and where it was mostly recorded. ‘ From Kranky: ‘Graceful compositions flow throughout Steve Hauschildt’s fourth release for Kranky following his Where All Is Fled full length from late summer 2015. The songs fluctuate from the serene calm of album opener ‘Horizon of Appearances,’ to the pulsing hypnosis of ‘Ketracel,’ and on to the searing grandeur of album closer ‘Die in Fascination,’ throughout, Steve remains restrained and in complete control of his sound.’ “

File Under: Electronic, Ambient
Listen Here

holyserpHoly Serpent: Temple (Riding Easy) LP
In the short time since their self-titled RidingEasy debut in mid-2015, Melbourne, Australia’s Holy Serpent have gained a lot of attention for their rather punk version of heavy psych and metal. Fittingly, there’s a strong vibe of early Soundgarden, Saint Vitus and Kyuss to Temples in that it’s undeniably heavy, but also clever in its experimentation with subtle tempo shifts, multiple vocal effects and other production techniques. But it’s still more Sabotage than Sabbath Bloody Sabbath.

File Under: Metal, Psych, Stoner
Listen Here

taylor

Hound Dog Taylor’s Hand: s/t (Abduction) LP
Abduction Records present the first vinyl LP release of Hound Dog Taylor’s Hand. The trio consists of Jeffery Taylor (Climax Golden Twins/AFCGT/Spider Trio) on electric guitar, Mark Ostrowski (Monktail/Wally Shoup Quartet) on drums and John Seman (Monktail/Ask The Ages) on contrabass. The music is a heavy dose of jazz, blues, and improvisation. Sharp and destructive yet cerebral and clever, these tracks finally expose one of Seattle’s best-kept secret treasures to the world as the only way you could have heard them, before would have been at one of their extremely rare live shows in the Puget Sound area or from their locally produced cassette from a few years back. The second track on side one titled “Beatrice”, features Climax Golden Twins and Beatrice Harrison. Edition of 500.

File Under: Blues, Jazz, Climax Golden Twins
Listen Here

ixtahuele

Ixtahuele: Call of the Islands (Subliminal Sounds) LP
Lush and exciting, rich and vibrant, Ìxtahuele are back with their exotic sounds on their second full length album. Guiding your mind’s eye over oceans and mountains, through jungle and desert, teasing and enticing with layered soundscapes and catchy melodies, you’ll find yourself whistling along on a winding mountain road, stalking through the rainforest, or humming lazily on a tropical beach when listening to Call Of The Islands. Building on their previous releases, both musically and thematically, the group flirts with jazz, mambo, and space age pop, all the while retaining their classic acoustic exotica sound and high level of musicianship. Call Of The Islands provides music to lounge by the pool to, to armchair travel on a cold rainy night – it’s the perfect soundtrack for a quiet drink with a lover or a friend. Sophisticated and savage, it’s exotica for the modern age.

File Under: Exotica
Listen Here

junkfood

Junkfood & Enrico Gabrielli: Italian Masters (Cinedelic) LP
Enrico Gabrielli and the members of Junkfood have crossed several times in the past in a variety of contexts and collaborations, but never have the two entities been found under the same roof. The occasion is revealed thanks to the Festival HalloBigallo in 2014, dedicated to Piero Umiliani, inviting both to perform with the prayer to include some readings in personnel key from the repertoire of the Maestro. After that pleasant experience, Junkfood and Gabrielli agreed to meet at the Vacuum Studio of Bruno Germano in Bologna. Italian Masters is dedicated to the figures of some of the greatest Italian composers of film scores. The result exceeds expectations: the beautiful music of Umiliani, Morricone and Trovajoli are distorted and filtered by the sensitivity of the five, while maintaining their unmistakable identity. What is most striking is the incredible consistency throughout despite the different authorship of the compositions and wide range of situations and solutions the musicians themselves bring into the music. The quintet succeed in the difficult task of standing comparison to models and simultaneously developing their own poetic and independent sound, making Italian Masters a real gem not only for the fanatics of film music, but for newbies calling to those ones shores lured by the sirens of Gabrielli and Junkfood. Personnel: Enrico Gabrielli – saxophone, bass clarinet, flute; Paolo Raineri – trumpet, flugelhorn, effects; Michelangelo Vanni – electric guitar, effects; Simone Calderoni – electric bass, effects; Simone Cavina – drums, effects. “C’eravamo Tanto Amati Da” features Edda Dell’Orso. Limited numbered edition of 300 on multicolored vinyl.

File Under: OST, Library
Listen Here

atmosfere

David H. Kimball: Atmosfere N. 1-2 (Cinedelic) LP
Cinedelic Records present a reissue of David H. Kimball’s (Peymont) Atmosfere N. 1-2, originally released in 1971. Limited numbered edition of 600. Includes download code. An amazing and mind-blowing unrecognized gem made by Kimball, an American transplanted to Florence. Two tracks are composed by Serena Marega. Atmosfere N. 1-2 is abstract, mysterious, evocative, experimental, futuristic and avant-psychedelic. It is truly a fascinating electro-acoustic, industrial, dreamy journey that stands out in the panorama of Italian music as one of the most original and an unusual examples of psychedelia.

File Under: Library, Psych
Listen Here

messico

Egisto Macchi: Messico (Cinedelic) LP
Cinedelic Records present a reissue of Egisto Macchi’s Messico, recorded in 1975. Limited numbered edition. Includes insert and download code. The artistic achievement of Egisto Macchi was avant-garde, not only for his immense talent and brilliance of his creativity, but for the quality he managed to infuse every musical language with – ranging from instrumental and symphonic music, musical theater, library sound, more varied and articulated. Towering over all of his works is his passion, commitment, respect and great inner need to break down the sectarian walls of thinking in categories. He had sensed that beauty could be located anywhere and that the biggest task entrusted to an artist was to leave the surface, always. Messico was originally released on the Ayna label.

File Under: Library, Italian
Listen Here

macchi

Egisto Macchi: Violenza (Cinedelic) LP
Cinedelic Records present a reissue of Egisto Macchi’s Violenza, recorded in 1976. Limited numbered edition. Includes insert and download code. The artistic achievement of Egisto Macchi was avant-garde, not only for his immense talent and brilliance of his creativity, but for the quality he managed to infuse every musical language with – ranging from instrumental and symphonic music, musical theater, library sound, more varied and articulated. Towering over all of his works is his passion, commitment, respect and great inner need to break down the sectarian walls of thinking in categories. He had sensed that beauty could be located anywhere and that the biggest task entrusted to an artist was to leave the surface, always. Violenza was originally released on the Ayna label. Features percussionist Vittorio Ferrari.

File Under: Italian, Library
Listen Here

metallica

Metallica: Hardwire… To Self-Destruct (Blackened) LP
Metallica will release their eleventh studio album, Hardwired…To Self-Destruct, in November 2016, via Blackened Recordings. The double album features 12 new tracks and nearly 80 minutes of music and serves as the Grammy Award winning Rock and Roll Hall of Fame inductee’s first studio album since 2008’s multi-platinum Death Magnetic. Hardwired…To Self-Destruct was produced by Greg Fidelman, who also engineered and mixed Death Magnetic. “Has it really been eight years? Doesn’t feel like it! Nudge, nudge, wink, wink,” said Metallica’s Lars Ulrich. “We’re obviously beyond psyched to share new tunes with all our friends out there. We’ve been rockin’ along in the studio with Greg on and off for the last 18 months firing up the creative engines again. Putting new music out there, getting in your faces once again and all that comes with it is what we love to do more than anything else, so strap yourselves in…Incoming!” Ugh.

File Under: “Metal”
Listen Here

climax

Minghi/Montanari/Conrado: Climax (Song Cycle) LP
First reissue of one of the holy grails from the vault of the amazing Italian library music label Octopus. Originally released in 1973, Climax is a killer studio session by Amedeo Minghi, Piero Montanari, and Roberto Conrado. An incredible collection of psych jazz funk tunes with crazy Moog sounds, violent drums, and deep bass. An ultra-rare, hard-to-find item finally available again, on 180-gram virgin vinyl.

File Under: Italian, Library
Listen Here

lovebone

Mother Love Bone: On Earth As It Is (Monkey Wrench) 3LP Box
In Tomorrow… Founded by future Pearl Jam and former Green River members Stone Gossard (guitar) and Jeff Ament (bass) and flamboyant singer Andrew Wood, the Seattle-based punk/glam band Mother Love Bone was only active for a few promising years before the premature death of Wood following their debut 1989 EP Shine and just before the release of the group’s debut full-length Apple. Monkeywrench Records is pleased to release Mother Love Bone: On Earth As It Is, a limited edition 3LP reissue set that gathers new remastered editions of their lone studio works: Shine and Apple. The release comes complete with a 24 page booklet, rare photos, fold out poster, stencil and more. The vinyl edition is packaged in a slipcase replicating a Mother Love Bone wall mural painted by Jeff Ament.

File Under: Grunge
Listen Here

peacock-bley

Annette Peacock & Paul Bley: Dual Unity (Bamboo) LP
Bamboo present a reissue of the debut album by Annette Peacock & Paul Bley, Dual Unity, originally released in 1972. Annette Peacock’s legacy may only just be courting recognition proper with the recent retrospective release of her solo debut I’m The One (1972). Hailed as a pioneer and artistic genius by many, her debut album and predecessor to I’m The One captures Peacock in her element alongside husband; Canadian jazz genius Paul Bley. Dual Unity is a landscape of aural vision captured on tape in 1970 during their first European tour. For 33 minutes and 21 seconds, the listener is absorbed by other spirits. Using Robert Moog’s earliest synthesizers, Bley and Peacock apply the strategic use of silence to indicate its reflective nature with captivating results. Originally released in 1971, it is a statement of immensity through synthetic minimalism and a milestone in the avant-garde, free jazz movement. Personnel (in addition to Peacock and Bley performing on all tracks): Han Bennink – drums on “M.J.” and “Gargantuan Encounter”; Mario Pavone – bass and Laurence Cook – drums on “Richter Scale” and “Dual Unity”. Professionally re-mastered original sound recording with expansive liners, interviews and rare archival photos.

File Under: Electronic, Free Jazz
Listen Here

phillips

Washington Phillips: And His Manzarene Dreams (Dust-to-Digital) CD/Book
Dust-to-Digital’s inaugural release, 2003’s Goodbye, Babylon (DTD 001CD), included two recordings by a mysterious gospel musician from Texas named Washington Phillips, who died in 1954. After fielding inquiries about the hauntingly beautiful songs from listeners around the world, in 2013, Dust-to-Digital checked in with Michael Corcoran, the leading researcher on Phillips, to see if any new information had been uncovered. Indeed, Michael had some leads, but he would need a working budget to track them down. Three years later, in 2016, after combing through various archives and talking with the last surviving people from the Simsboro-area who remembered Phillips, the name of Phillips’s homemade instrument (the Manzarene) has been revealed, in addition to the time, place, and manner of his death and many anecdotes about his life. Dust-to-Digital now share this story with Washington Phillips and His Manzarene Dreams, a 76-page hardcover book by Michael Corcoran accompanied by a CD of recordings made by Phillips between 1927 and 1929. To ensure a superior listening experience, the label tracked down the most pristine original copies of Phillips’s 78-RPM records, created high-resolution transfers, and had the audio expertly remastered for the best-sounding Phillips reissue to date. Hear the sublime, hypnotic, ethereal music of Washington Phillips in clarity like never before. Washington Phillips and His Manzarene Dreams includes song lyrics, label reproductions, and photos, along with liner notes by Michael Corcoran.

File Under: Blues, Gospel
Listen Here

prehn

Tom Prehn Quartet: Axiom (Rune Grammofon) LP
It will always be difficult to pinpoint where free jazz started, but it´s reasonable to say it was shaped and cultivated in New York in the late 1950s and early 1960s. Albert Ayler and Cecil Taylor were important players, as was Ornette Coleman. Axiom has significant historical importance by being what is quite possibly the first European free jazz record, even if it was not released at the time. Recorded in Copenhagen in October 1963, it should have been Tom Prehn Quartet’s debut album for the Sonet label. But by the time the test pressings arrived – a couple of months later – the music already sounded old to them and Sonet subsequently pulled the plug. This, in itself, is quite remarkable, knowing that they were so far ahead of their time. A few sleeves and labels had been printed but only two complete copies survived, making it one of the rarest jazz albums ever. Axiom is expressive, full frontal free jazz of the highest order, and to think it was created by Danish musicians, most of them barely into their twenties, in 1963, is frankly mind-boggling. On the other hand, Scandinavian audiences, especially in Denmark and Sweden, had already welcomed controversial musicians like Ayler and Taylor with open arms. They also imposed a serious impact on many local jazz musicians, the Swedish sax phenomenon Bengt “Frippe” Nordstrøm even recorded Albert Ayler, in Sweden, with Swedish musicians, for his Bird Notes label as early as in 1962 , three years before his first ESP record. Elsewhere in Europe pioneers like UK´s Spontaneous Music Ensemble would debut on record in 1966, while Germany´s Peter Brötzmann would release his first record the year after. First vinyl release. Previously released as a CD by Corbett vs. Dempsey in 2015. Painstaking re-creation of original sleeve by Kim Hiorthøy.

File Under: Free Jazz
Listen Here

moonshaped

Radiohead: A Moon Shaped Pool (XL) DLX Box
XL Recordings presents a 2LP + 2CD Deluxe Edition of A Moon Shaped Pool, the acclaimed ninth studio album from radical and revered British act Radiohead and follow-up to 2011’s The King of Limbs. The melodically rich and meditatively mid-tempo 11-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. Recording tape belly band applied: This is a piece of a Radiohead ½ inch master tape from an actual recording session. The tape degrades over time and becomes unplayable. The band thought rather than it ending up as landfill they would cut it up and make it useful as a part of the special edition. A new life for some obsolete technology. Each loop contains about ¾ of a second of audio – which could be from any era in the band’s recording past going back to Kid A. You may have silence, you may have colored leader tape, you may have a chorus.

File Under: Rock
Listen Here

reichglass

Steve Reich/Philip Glass: Information, Transmission, Modulation & Noise (Modern Silence) LP
Modern Silence present Information, Transmission, Modulation And Noise, a set of recordings featuring works by Steve Reich and Philip Glass. During an interview recorded at the KPFA radio station, Steve Reich and Jon Gibson introduced an east coast performance of Steve Reich’s masterpiece, Four Organs, as well as an exciting recording of Ghanian drumming which the artist recorded in Ghana. They also introduced the music of Philip Glass, playing a tape of his historical Music In Similar Motion. Personnel: Four Organs by Steve Reich, was performed live in NYC in November of 1969 by Steve Chambers, Art Murphy, Philip Glass on electric organs and Jon Gibson on maracas; Drumming by Steve Reich, was performed by percussionists from Ghana and recorded by Steve Reich; Music In Similar Motion, by Philip Glass, was performed live In NYC in November of 1969 by Steve Chambers and Philip Glass on electric organs, Jon Gibson and Richard Landry on soprano sax, Steve Reich on electric harpsichord.

File Under: Classical, Minimalism
Listen Here

reich

Steve Reich/Terry Riley: Six Pianos/Keyboard Study #1 (Film) CD
After the widely noticed performance at the “Acht Brücken Festival 2016” at Cologne’s Philharmonic Hall, Gregor Schwellenbach, Hauschka, Erol Sarp (of Grandbrothers), Daniel Brandt and Paul Frick (both of Brandt Brauer Frick) and John Kameel Farah release their interpretation of Steve Reich’s “Six Pianos” as a studio recording via FILM. The re-recording of this piece is an interpretation of Reich’s composition but still far more than just that – it is a modern approach to his idea behind it. The basic idea came up at the beginning of the ’70s at the Baldwin Piano & Organ Company in New York. During a rehearsal phase, which Steve Reich spent in this very piano store, the idea emerged of writing a composition for all the grand pianos available to him at the company. By the time of the finished piece, the actual number of pianos had settled down to six, where “Six Pianos” developed in 1973. On the occasion of his 80th birthday, the six pianists declare their love to Steve Reich with this release. Shaped by electronic club music as well as their classical education, they form “Six Pianos” in dignified modernity and top it off with today’s sound aesthetics and technical recording possibilities. Presented here is not the recording from the Kölner Philharmonie (Cologne Philharmonics), but the ensemble playing six different grand pianos in six different locations throughout Germany. Each pianist performed his part on his piano using his typical studio equipment and passed the recording over to the next one. Thus the six characteristic and individual timbres of the performers overlay to create the overall picture – “Six Pianos” the way it should be looked at in 2016. Jan Brauer mixed “Six Pianos” in the studio while Lukas Vogel provided delays for the “Keyboard Study #1”. “Keyboard Study #1” by Terry Riley is a worthy companion for Reich’s composition. The piece is kind of a building set of ever lengthening, repetitive patterns played against each other with the right and left hand displaced. The composition proposes various possible combinations for the performer to choose from and repeat at will. And what the performers have chosen proves Gregor Schwellenbach’s assumption: “Terry Riley’s and Steve Reich’s music are open doors for pianists socialized by pop music and their audience.”

File Under: Classical, Minimalism

sakamoto

Ryuichi Sakamoto: Music for Film (Buteo Buteo) LP+CD
Music For Film is the first compilation dedicated to the film music of Ryuichi Sakamoto, played by the Brussels Philharmonic and conducted by Dirk Brossé. This selection includes compositions from Merry Christmas Mr. Lawrence (1983), The Last Emperor (1987), The Sheltering Sky (1990), High Heels (1991), Wild Palms (1993), Little Buddha (1993), Snake Eyes (1998), Femme Fatale (2002), Babel (2006), Hara-Kiri: Death Of A Samurai (2011), Yae No Sakura (2013) and The Revenant (2015). Sakamoto was already a celebrated pioneer in electronic music and composer/pianist/singer in Japan when he was asked by Nagisa Oshima to write the music for the Merry Christmas Mr.Lawrence, his first major score. The list of major directors Sakamoto worked with is impressive: the veteran Japanese director Yoji Yamada, Takashi Miike, Bernardo Bertolucci, Brian De Palma, Pedro Almodovar, Volker Schlöndorff and Oliver Stone. Sakamoto conceived a unique approach of film scoring: a blend of splendid melodies, synthesizer work, traditional orchestral music, drum tracks, sound effects and unusual musical colors. Out of his striking contrast of musical styles and cultures, he created fascinating and enchanting standout scores. From Merry Christmas, Mr.Lawrence, there’s the haunting main theme that manages simultaneously to be Japanese and western, a central idea in the film. For The Last Emperor, Sakamoto’s score blends Chinese gestures with accessible melodies. For The Sheltering Sky, based on Paul Bowles’s novel, “Sakamoto wrote a rich, profusely emotive score, reflecting the emotional journey of the two characters.” For Little Buddha, the composer “integrates a standard Hollywood-style film underscore with several Indian motifs.” Sakamoto’s one-time collaboration with Spanish director Pedro Almodovar resulted in a flavorful sound, reliant on the sounds of a flamenco guitar. Knowing Sakamoto’s admiration for frequent Hitchcock collaborator Bernard Herrmann, it’s no wonder Brian De Palma asked him for the music for Snake Eyes. As Jerry McCulley testifies, the result was brilliant: “Sakamoto… crank[s] up the brass and swirling strings into an unsettling sonic maelstrom that would’ve done late ’50s Hitch proud.” In Femme Fatale, Sakamoto’s next collaboration with De Palma is his playful pastiche on Ravel’s Bolero, the obsessive rhythm of the opening sequence becoming a jewel heist at the Cannes film festival. Alejandro Gonzalez Inarritu’s The Revenant marked Sakamoto’s triumphant comeback after he survived throat cancer. For The Revenant, Sakamoto composed new ambient music that’s simultaneously subdued, low-key and emotionally powerful. Includes CD.

File Under: OST, Classical
Listen Here

somnium

SIANspheric: Somnium (Sonic Unyon) LP
The two-decade-plus long existence of SIANspheric seems both improbable and poetic. The band’s debut, 1995’s Somnium, has been hailed as one of the top Canadian albums of all time. Amazingly, this release (out Oct 28, 2016) marks the first time this album has ever been available on vinyl. Limited to 500 copies worldwide, each album contains two long-playing LPs on red vinyl. These will not last long. “Armed with a sinewy intellect and their own brand of gaseous post-rock prescience, they burned a path through the sonic stratosphere. The waves of gentle turbulence and ethereal beauty are still as hypnotic and cavalier as they were on the first listen. A stoner classic.” – Chart Attack (#40 on Top 50 Canadian Albums of All Time)

File Under: Indie Rock, Shoegaze
Listen Here

sian

SIANspheric: Writing the Future in Letters of Fire (Sonic Unyon) LP
SIANspheric’s first new studio album in 15 years, Writing the Future in Letters of Fire (out October 28, 2016) includes nods to the band’s past and leaps forward — staying grounded, while providing dreamy whirrs and explosive noise bursts. Band members (Matt Durrant, Ryan Ferguson, Jay Patterson and Sean Ramsay) hearken back to their ’90s roots on the title track, treading the line between calm and chaos, where echoes of Smashing Pumpkins meet echoes of The Verve, and on “Shimmer”, which builds and builds… and builds… Not content to stand still, the group also pushes the envelope by incorporating glorious choral accompaniment courtesy of Hamilton, Ontario’s Earth, Wind & Choir on the first single, “I Have It,” and Tame Impala-inspired trips on the breakdown choruses of “The Simple Exit”. The psych sludge on the outro of “The Flight of the Owl” is reminiscent of Wooden Shjips and the wheels almost entirely come off during the jazz skronk of “Los Herejes” (featuring horns from Hamilton’s Eschaton) or the 14-minute, untitled, live-off-the-floor freakout that closes Side D. The album is a true past-meets-future revelation

File Under: Indie Rock, Shoegaze
Listen Here

beacon

Silver Apples: Beacon (Chickencoop) LP
Beacon is the fourth album for the Silver Apples, the “come back album”, produced by Steve Albini and originally released in 1997 on CD only. Eight of the tracks were new songs that former exile and Silver Apples leader Simeon had composed with recent additions Xian Hawkins and Michael Lerner. The remaining three tunes are remakes from the Silver Apples’s past. A reworking of “I Have Known Love” opens the record. “You and I” is given an appropriate chaotic reading; a wall of cacophonous keyboards forms in the instrumental breaks, like the video game Stargate on tilt. Of the originals, the vocal-less “Cosmic String” is the standout, developing a Trans Am groove with sounds recalling the moment the beloved Pac-Man is caught by his nemesis, Speedy. Beacon is full of the influence of ’80s video games, no doubt incorporated by the twenty-something Hawkins.

File Under: Electronic, Rock
Listen Here

sleafordSleaford Mods: Live at SO36 (Harbinger) LP
Sleaford Mods’s third Berlin show took place at Kreuzberg’s legendary SO36 club. The band took to the stage on a hot sweaty June night and played to a sold out audience. The show was captured by a German documentary crew and this limited edition album captures the highlights of that incendiary performance. Among the 14 tracks on the album are favorites like “Tied Up In Nottz”, “Jobseeker”, “Fizzy” and the great crowd-pleaser and closer, “Tweet Tweet Tweet”. The recording is a testament to the connection between the band and those that follow them. Hear the glorious carnage and madness throughout the record’s duration. No language barriers, no borders, no restrictions of any kind. This album also represents the first release on Harbinger Sound’s new USA subsidiary label. Fuck England!

File Under: Punk, Rap
Listen Here

snowMichael Snow: Music For Piano, Whistling, Microphone and Tape Recorder (Song Cycle) LP
Musician, visual artist, composer, writer, and sculptor Michael Snow is also one of the world’s most highly acclaimed experimental filmmakers. In 1975 he released this album under the record company Chatham Square. The label was founded by the owner of Michael Snow’s gallery, the Bykert Gallery, which also issued the first Philip Glass recordings. This reissue is released in collaboration with Michael Snow. 180-gram vinyl; gatefold sleeve.

File Under: Experimental, Avant Garde
Listen Here

spaceartSpace Art: Trip In The Center Head (Because) LP+CD
Because Music present a reissue of Space Art’s Trip In The Center Head, originally released in 1978. Space Art, the duo of Roger Rizzitelli and Dominique Perrier, is a legendary group that is considered a great pioneer of French electronic music. Perrier, having collaborated with Michel Fugain and Il Etait Une Fois, is one of legend Jean-Michel Jarre’s closest collaborators. Dominique discovered the very first synthesizer ARP (Odyssey) which he was taken with so much that he created his own band, Space Art, aside his good friend drummer Rizitelli. This curious band endorsed tight and opaque costumes of decontamination which covered their bodies and masked their faces. In 1977, “Onyx”, recorded in Studio Ferber mixed by René Hameline, became a very successful single. Issued from the album Space Art (BEC 5156240), the single sold over three million copies worldwide. Two albums shortly followed, in 1979, Trip To The Center Head then in 1980, Play Back (BEC 5156239). Space Art is behind the massive hits: “Onyx”, “Give Me Love”, “Love In C Minor” and more. Space Art’s legacy is the true “techno trance”. A keyboard virtuoso, Perrier worked on all of Jarre’s albums from Rendez-Vous (1986) to Oxygène 7- 1 (1997) and still tours with him around the world. Space Art toured with Jarre in China in the early ’80s. Alongside Jean-Michel Jarre and Cerrone, Space Art are considered one of the pioneers of electro music. One of three Space Art LP reissues, along with Play Back and Space Art, all cut from the long-awaited 2010 digital remasters and presented for the first time on vinyl. Considering the success of the Cosmic Machine compilations, French proto-electro is being revisited by fans of electronic music and being given well-deserved attention. Comes in printed cardboard sleeve with CD included.

File Under: Electronic, Synth Pop
Listen Here

spaceart1

Space Art: Play Back (Because) LP
Because Music present a reissue of Space Art’s Play Back, originally released in 1980. Space Art, the duo of Roger Rizzitelli and Dominique Perrier, is a legendary group that is considered a great pioneer of French electronic music. Perrier, having collaborated with Michel Fugain and Il Etait Une Fois, is one of legend Jean-Michel Jarre’s closest collaborators. Dominique discovered the very first synthesizer ARP (Odyssey) which he was taken with so much that he created his own band, Space Art, aside his good friend drummer Rizitelli. This curious band endorsed tight and opaque costumes of decontamination which covered their bodies and masked their faces. In 1977, “Onyx”, recorded in Studio Ferber mixed by René Hameline, became a very successful single. Issued from the album Space Art, the single sold over three million copies worldwide. Two albums shortly followed, in 1979, Trip To The Center Head then in 1980, Play Back. Space Art is behind the massive hits: “Onyx”, “Give Me Love”, “Love In C Minor” and more. Space Art’s legacy is the true “techno trance”. A keyboard virtuoso, Perrier worked on all of Jarre’s albums from Rendez-Vous (1986) to Oxygène 7- 1 (1997) and still tours with him around the world. Space Art toured with Jarre in China in the early ’80s. Alongside Jean-Michel Jarre and Cerrone, Space Art are considered one of the pioneers of electro music. One of three Space Art LP reissues, along with Trip In The Center Head and Space Art, all cut from the long-awaited 2010 digital remasters and presented for the first time on vinyl. Considering the success of the Cosmic Machine compilations, French proto-electro is being revisited by fans of electronic music and being given well-deserved attention. Comes in printed cardboard sleeve with CD included.

File Under: Electronic, Synth Pop
Listen Here

spaceart2

Space Art: s/t (Because) LP
Because Music present a reissue of Space Art’s self-titled debut album, originally released in 1977. Space Art, the duo of Roger Rizzitelli and Dominique Perrier, is a legendary group that is considered a great pioneer of French electronic music. Perrier, having collaborated with Michel Fugain and Il Etait Une Fois, is one of legend Jean-Michel Jarre’s closest collaborators. Dominique discovered the very first synthesizer ARP (Odyssey) which he was taken with so much that he created his own band, Space Art, aside his good friend drummer Rizitelli. This curious band endorsed tight and opaque costumes of decontamination which covered their bodies and masked their faces. In 1977, “Onyx”, recorded in Studio Ferber mixed by René Hameline, became a very successful single. Issued from Space Art, the single sold over three million copies worldwide. Two albums shortly followed, in 1979, Trip To The Center Head then in 1980, Play Back. Space Art is behind the massive hits: “Onyx”, “Give Me Love”, “Love In C Minor” and more. Space Art’s legacy is the true “techno trance”. A keyboard virtuoso, Perrier worked on all of Jarre’s albums from Rendez-Vous (1986) to Oxygène 7- 1 (1997) and still tours with him around the world. Space Art toured with Jarre in China in the early ’80s. Alongside Jean-Michel Jarre and Cerrone, Space Art are considered one of the pioneers of electro music. One of three Space Art LP reissues, along with Trip In The Center Head and Play Back, all cut from the long-awaited 2010 digital remasters and presented for the first time on vinyl. Considering the success of the Cosmic Machine compilations, French proto-electro is being revisited by fans of electronic music and being given well-deserved attention. Comes in printed cardboard sleeve with CD included.

File Under: Electronic, Synth-Pop
Listen Here

spaceart3

Space Art: Remix (Because) LP
Because Music presents Remix, a double 12″ release featuring Space Art’s classic French electro tracks with contributions by Prins Thomas, Psychemagik, Daniele Baldelli and Marco Dionigi. Space Art, the duo of Roger Rizzitelli and Dominique Perrier, is a legendary group that is considered a great pioneer of French electronic music. Perrier, having collaborated with Michel Fugain and Il Etait Une Fois, is one of legend Jean-Michel Jarre’s closest collaborators. Dominique discovered the very first synthesizer ARP (Odyssey) which he is taken with so much so that he created his own band, Space Art, aside his good friend drummer Rizitelli. This curious band endorses tight and opaque costumes of decontamination which cover their body and mask their face. In 1977, “Onyx”, recorded in Studio Ferber mixed by René Hameline, became a very successful single. Issued from the album Space Art, the single sold over three million copies worldwide. Two albums shortly followed, in 1979, Trip To The Center Head then in 1980 Play Back. Space Art is behind the massive hits: “Onyx”, “Give Me Love”, “Love In C Minor” and more. Space Art’s legacy is the true “techno trance”. A keyboard virtuoso, Perrier worked on all of Jarre’s albums from Rendez-Vous (1986) to Oxygène 7- 1 (1997) and still tours with him around the world. Space Art toured with Jarre in China in the early ’80s. Alongside Jean-Michel Jarre and Cerrone, Space Art are considered one of the pioneers of electro music. Considering the success of the Cosmic Machine compilations, French proto-electro is being revisited by fans of electronic music and being given well-deserved attention. Remix features current leading electronic artists paying homage to the legacy of Space Art. Comes in printed cardboard sleeve with CD included.

File Under: Electronic, Synth-Pop
Listen Here

strange-city

Sun Ra/Merzbow: Strange City (Cold Spring) LP
Cold Spring Records present Strange City featuring completely different music on each format. Officially licensed from Irwin Chusid of the Sun Ra estate, Cold Spring’s Justin Mitchell negotiated rare and unreleased tracks from the Sun Ra archive to be remixed and treated by Masami Akita (Merzbow). The tracks incorporate the jazz power of Sun Ra, carried into brutal excess by the legendary Japanese artist Merzbow.

File Under: Jazz, Noise
Listen Here

naples

Piero Umiliani & I Suoi Oscillatori: Switched on Naples (Sonor) LP
Sonor Music Editions present a reissue of Piero Umiliani & I Suoi Oscillatori’s Switched On Naples, originally released in 1972. A very underrated Umiliani album, Switched On Naples is an outstanding ‪library album with a pure touch of genius. Maestro Umiliani revisits Naples’s popular songs by the use of synthesizers, carrying the record out with entirely electronic sounds.

File Under: Italian, Library
Listen Here

ween

Dean Ween Group: The Deaner Album (ATO) LP
The Deaner Album is the debut album from The Dean Ween Group. Dean Ween aka Mickey Melchiondo recorded the album in several locations but finished it at his dedicated studio facility in Lambertville, NJ, across the river from his native New Hope, PA. On The Deaner Album, Dean brings his love of classic guitar rock to 14 original compositions (including four instrumentals) that echo everything from classic rock to cracked country to the quirky mix of soul, funk, metal and punk that defined Ween. “My tastes are very mainstream; I love Jimi Hendrix and Santana and Zeppelin, but my ears are always open,” Dean says. “P-Funk, they’re right up there with the Beatles. That’s what my influences were – that and punk rock – and I wanted all that in this album.” Initially, The Deaner Album found Dean moving to a more ensemble approach to recording, as he enlisted the services of current bandmates as well as old friends including the Meat Puppets’ Curt Kirkwood, legendary punk drummer Chuck Treece, and guitarists Mike “Kidd Funkadelic” Hampton, Scott Rednor, and Bill Fowler among others. “If I woke up in the middle of the night with an idea, I’d call a session and have the whole band come in and learn the song and play it together,” dean says. “That was really different for me. I could actually show some patience and not just half-ass it. If I needed a drummer, I’d get the best drummer I could to play that particular song.” Another huge change for Dean was moving into his own studio, converted from an old chicken coop in the woods of Western New Jersey on a patch of land donated by a friend’s father. “I think finally having my own studio has been a big part of why this record is as good as it is,” he says. “All the gear I’ve acquired over the years that’s been in storage and my garage and my attic, it’s all in one place now. Every guitar I’ve ever bought, every amp, every pedal, every effect, all in one place and it’s all getting used all the time. I’m there pretty much all day, every day, all night, every night, doing something – recording, practicing, mixing. It’s in the country, in the woods, nobody can hear us, and I’ve got a sound system in there powerful enough to power a big club. And you can go outside in your underwear and smoke a cigarette or blow off a grenade and nobody’s going to hear you.” Dean recorded three of the tracks on the album by himself, playing all of the instruments. That includes “SchwarzPete,” a loving tribute to guitar hero Les Paul and the collection’s oldest song, originally written years ago for a TV pilot. “I always wanted that song to be on a record,” he says. “I love that style of guitar playing.” Before diving headfirst into The Deaner Album, Dean produced and engineered Moistboyz V, his fifth collaboration with punk singer Guy Heller. “My idea was to do the Moistboyz’ record and my record at the same time, but I realized I needed to focus on one record at a time and shelved my record for a bit,” he says. “Then when I moved into my new studio a year or so ago, I just really went all in on my record, no distractions, no side projects. I did a lot of gigging, but that just benefited the record because my playing and singing just kept getting better.”

File Under: Rock, Ween
Listen Here

brown3

Various: Brown Acid Third Trip (Riding Easy) LP
“We continue down the wormhole of hard rock, heavy psych, and proto-metal here on The Third Trip with a set of tunes so obscure they can’t be seen without a third eye. Most of these tracks were recorded in shack-sized studios, privately pressed for promotional purposes, and tossed out like last night’s half empties only to later be discovered to be half-full, if not overflowing with greatness. The majority of these tracks are from the good ol’ US of A with two exceptions, Ash-labelmate New Zealanders, Chook, and the mighty Limeys, Factory. As they say, first is the worst, second is the best, third is the one with the hairy chest. So take a shot of whiskey, shotgun a beer, and put some fuzz in between your nipples with the hairiest Trip you’ve taken yet. You won’t be sorry you did”.

File Under: Hard Rock, Psych, Metal
Listen Here

metamorphoses

Various: Metamorphoses (Modern Silence) LP
Modern Silence present a reissue of Metamorphoses, originally released in 1980. A Russian album of electronic interpretations of “classical” pieces by Claude Debussy, Claudio Monteverdi along with John Bull, Vladimir Martynov, Sergei Prokofiev, J. S. Bach, Edward Artemiev and Yuri Bogdanov. Yuri Bogdanov is featured on every track, on some tracks together with Edward Artemiev, composer for Andrei Tarkovsky, and others. Other tracks feature Vladimir Martynov. From the original liner notes: “The record is made on the basis of a kaleidoscope: it is interspersed with pieces of various styles, genres and eras. For example, with these pieces, the authors wanted to show a variety of ways to use a synthesizer, starting with the direct simulation of now or once existing instruments, to the establishment of new not yet known sound systems. Thus, the record is like a small musical walk through time (…)”

File Under: Early Electronic, Experimental, Classical
Listen Here

offering

Various: Musical Offering (Modern Silence) LP
Modern Silence present a reissue of Musical Offering, originally released in 1990. Features works by Oleg Buloshkin, Sofia Gubaidulina, Edward Artemiev, Edison Denisov and Alfred Schnittke. From the original liner notes: “(…) Please, try to imagine a score sounding by itself without a conductor, an orchestra even without musical instruments. This magic is possible by using the musical synthesizer, ANS. ANS is an instrument with which a composer can not only create but even draw his music without notes and orchestra. A Soviet scientist Evgeny Murzin spent about 20 years creating this apparatus which can join together three processes: music creation, recording and performing. All these processes are rather complicated. You can see the twinkling of different lamps, the rotation of grooved discs made of glass – notes are cut on a glass disc covered with a special layer; The drawings on the glass are ‘sounding notes’. To listen to the drawn picture you should press the button and a wonderful transformation will begin. Murzin dedicated his apparatus to Alexander Nikolayevich Scriabin, that’s why he called it ANS. Scriabin, the creator of the ‘Poem of Ecstasy’, used in his works a highly chromatic, new type of harmonic style designed to express his beliefs, views and wishes. Soviet music lovers already know some recordings made on ANS from the films Into Space, Solaris (1972), Mirror (1975), Siberiade (1979) and others. Works of well-known Soviet composers E. Artemiev, O. Buloshkin, E. Denisov, S. Gubaidulina, A. Schnittke featured on this LP were recorded at the Electronic Music Studio (…)”

File Under: Electronic, Soviet, ANS
Listen Here

…..Restocks…..

Tony Allen: Jealousy (Kindred Spirits) LP
Tony Allen: No Discrimination (Kindred Spirits) LP
Tony Allen: NEPA (Kindred Spirits) LP
Baby Grandmothers: s/t (Subliminal Sounds) LP
Black Flag: Damaged (SST) LP
Black Flag: My War (SST) LP
Black Flag: Loose Nut (SST) LP
James Brown: Think (Cornbread) LP
Nick Cave: Boatman’s Call (Mute) LP
Clash: London Calling (Epic) LP
Cluster: ’71 (Bureau B) LP
John Coltrane: Blue Train (Blue Note) LP
Bo Diddley: Have Guitar Will Travel (Cornbread) LP
Dies Irae: First (Ohrwashel) LP
Charlie Feathers: Uh Huh Honey (Norton) LP
Goat: World Music (Rocket) LP
Gorillaz: Plastic Beach (EMI) LP
Guru Guru: UFO (Play Loud) LP
Joy Division: Closer (Rhino) LP
Joy Division: Unknown Pleasures (Rhino) LP
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) LP
Kronos Quartet: Pieces of Africa (Nonesuch) LP
Lambchop: Flotus (Merge) LP
Moondog: Snaketime Series (Cornbread) LP
Nirvana: In Utero (Geffen) LP
OST: Trainspotting (Warner) LP
Parliament: Mothership Connection (Universal) LP
Daniel Romano: Mosey (New West) LP
Scientist: Rids the World of the Evil Curse (Mirimur) LP
Sun Ra: Super-Sonic Jazz (Cornbread) LP
Television: Marquee Moon (Rhino) LP
White Stripes: Elephant (Third Man) LP
Various: Heavenly Ethiopiques (Heavenly) LP
Various: No New York (Lilith) LP

Tagged , , , , , , ,

…..news letter # 766 – fuuuuuuuuuuuuudge…..

Well, the future just got a lot more scary…… Snuggle up with your loved ones and some good tunes before he burns the whole world down. Black Friday RSD is coming quickly approaching, so stay tuned for details on that. Oh, and tomorrow, Remembrance Day, we’ll be open 12-5.

…..pick of the week…..

pbmib-sleeve

Paradise Bangkok Molam International Band: Planet Lam (Studio Lam) LP
Inspiration for the LP, is the musical experimentation that has happened at Studio Lam, and how that has influenced our sound, whether it’s the alternative nights featuring individual band members (Paradise Bangkok Rhythm Section, Kammao & friends, Electric Piphat Band) or sets from other artists and DJs like Andrew Ashong, Miles Cleret, Hugo Mendez, Awesome Tapes From Africa, Rabih Beaini, Kirk Degiorgio, and Phuong Dan. The fact that Studio Lam has become a musical focal point for city of Bangkok, has inevitably had an impact on the band itself, and this is reflected in the presence of different vibes and styles of the LP. The sound of ‘Planet Lam’ has been shaped by late night jamming gigs, homemade ya-dong, run ins with the police, and the swapping of ideas with like minded local musicians and artists.

File Under: Molam, Thai, Psych
Listen Here

…..new arrivals…..

bachman

Daniel Bachman: s/t (Three Lobed) LP
There are few things worse, or more damning, than peaking too soon. Just ask anyone who accomplished their greatest work before barely hitting the quarter century mark. Ask Orson Welles; ask any Olympic gold medalist. Wheaties boxes, increasing public indifference, and diminishing returns. Is that all there is? Guitarist and former wunderkind Daniel Bachman, at 26, can no longer be considered “precocious.” On even his earliest recordings, released under the moniker Sacred Harp, Bachman’s guitar prowess and compositional voice were staggeringly mature. There was something refreshingly novel about a guitarist not old enough to vote possessing such clarity of vision. But novelty wears off, and even the most big-eared benefactors are likely to become fickle and disinterested over time; the fans who do happen to stick around may begin to hold you to impossibly higher standards – after all, you’re not a kid anymore. And so it is a pleasure to hear Bachman, with his new self-titled album, so confidently answer the bell with an album that serves as both riposte and reckoning. If you’re not with Bachman now, the album seems to declare, you never were. “Brightleaf Blues (I)” opens the album with an enveloping acoustic drone, Bachman conjuring with his slide a kind of signpost that welcomes us into the album. The drone gives way to lyrical, insouciant-sounding single note slides, which gain a quiet momentum throughout the piece. “The Flower Tree” is aptly titled, not just because the piece’s unhurried transformation from seed to full bloom is a thing to behold, but because of the small intricate details within, like the way Bachman’s percussive arpeggios foreshadow the knotty, turbulent theme that follows. Here the guitar is cast as a suddenly wild and intractable thing, like a ventriloquist’s dummy that becomes self aware and must be subdued or suppressed by its master. By the end of the piece, one imagines Bachman is drenched in sweat. “Wine and Peanuts” is an evocative title, one that speaks to the dualism in Bachman’s work. Though his attack here, as on “The Flower Tree,” is forceful, almost violent, it is never inarticulate or blatantly exhibitionistic. Listening to Bachman’s quick, nimble lines can make one feel like that meme of Michael Jackson giddily shoveling popcorn into his face in anticipation during the movie theater scene of the “Thriller” video, but his music just as readily complements moments of quiet reflection. Consider “A Dog Named Pepper,” which showcases Bachman’s pastoral, placid side, recalling the stoned impressionism of early Windham Hill LPs, minus the stuffy grandiloquence. The tune’s wandering melody is broken up by gaps of silences and negative space; indeed, the song’s final minute is little more than the sound of car tires slowly approaching over a gravel road, reminding us that “A Dog Named Pepper” is a song that deals not only with time but of distance, of roads traveled and misremembered, of how every route is a choice that, by necessity, leaves other destinies unchosen and unknown. “Brightleaf Blues (II),” like its counterpart, begins with a drone, this one softer and continuous, from which wide, keening slide guitar notes emerge like slowly expanding bubbles. Bachman sounds deeply connected to his environment here, the probing lines maintaining a steady, simmering focus over most of the piece’s quarter-hour duration. Then, about two thirds of the way into the piece, the slide guitar disappears, leaving only the drone, which now rings with icy, almost shrill, overtones, like the light from a nearby window hitting an ice sculpture in such a way that it temporarily blinds anyone looking at it. “Watermelon Slices On A Blue Bordered Plate,” Bachman’s take on the riverboat tune, may evoke the expected images of swamps and (it must be said) Fahey circa Of Rivers & Religion, but Bachman’s compositional style deftly sidesteps such clichés. The album ends with a rendition of the hymn “Farther Along.” Bachman’s choice to extract and ruminate on the tune’s melancholic aspects further reveals his good instincts: he plays it a bit like a nonbeliever, which is probably the best way to play it. His rendition suggests transcendence not as a given but as one of many possibilities, a best-case-scenario. Maybe ours are merely transitory struggles, the song seems to say, but then again, maybe they’re not. Truly a song for these insane times. With Daniel Bachman, the guitarist has made his most cohesive statement yet, an album by which future solo acoustic guitar albums by grown-ass men and women can and should be judged. Think of it not as Bachman’s Citizen Kane but as his Mean Streets. In other words, just you wait. –James Toth, July 2016–

File Under: Guitar Soli
Listen Here

bazan

Daniel Bachman: s/t (Three Lobed) LP
There are few things worse, or more damning, than peaking too soon. Just ask anyone who accomplished their greatest work before barely hitting the quarter century mark. Ask Orson Welles; ask any Olympic gold medalist. Wheaties boxes, increasing public indifference, and diminishing returns. Is that all there is? Guitarist and former wunderkind Daniel Bachman, at 26, can no longer be considered “precocious.” On even his earliest recordings, released under the moniker Sacred Harp, Bachman’s guitar prowess and compositional voice were staggeringly mature. There was something refreshingly novel about a guitarist not old enough to vote possessing such clarity of vision. But novelty wears off, and even the most big-eared benefactors are likely to become fickle and disinterested over time; the fans who do happen to stick around may begin to hold you to impossibly higher standards – after all, you’re not a kid anymore. And so it is a pleasure to hear Bachman, with his new self-titled album, so confidently answer the bell with an album that serves as both riposte and reckoning. If you’re not with Bachman now, the album seems to declare, you never were. “Brightleaf Blues (I)” opens the album with an enveloping acoustic drone, Bachman conjuring with his slide a kind of signpost that welcomes us into the album. The drone gives way to lyrical, insouciant-sounding single note slides, which gain a quiet momentum throughout the piece. “The Flower Tree” is aptly titled, not just because the piece’s unhurried transformation from seed to full bloom is a thing to behold, but because of the small intricate details within, like the way Bachman’s percussive arpeggios foreshadow the knotty, turbulent theme that follows. Here the guitar is cast as a suddenly wild and intractable thing, like a ventriloquist’s dummy that becomes self aware and must be subdued or suppressed by its master. By the end of the piece, one imagines Bachman is drenched in sweat. “Wine and Peanuts” is an evocative title, one that speaks to the dualism in Bachman’s work. Though his attack here, as on “The Flower Tree,” is forceful, almost violent, it is never inarticulate or blatantly exhibitionistic. Listening to Bachman’s quick, nimble lines can make one feel like that meme of Michael Jackson giddily shoveling popcorn into his face in anticipation during the movie theater scene of the “Thriller” video, but his music just as readily complements moments of quiet reflection. Consider “A Dog Named Pepper,” which showcases Bachman’s pastoral, placid side, recalling the stoned impressionism of early Windham Hill LPs, minus the stuffy grandiloquence. The tune’s wandering melody is broken up by gaps of silences and negative space; indeed, the song’s final minute is little more than the sound of car tires slowly approaching over a gravel road, reminding us that “A Dog Named Pepper” is a song that deals not only with time but of distance, of roads traveled and misremembered, of how every route is a choice that, by necessity, leaves other destinies unchosen and unknown. “Brightleaf Blues (II),” like its counterpart, begins with a drone, this one softer and continuous, from which wide, keening slide guitar notes emerge like slowly expanding bubbles. Bachman sounds deeply connected to his environment here, the probing lines maintaining a steady, simmering focus over most of the piece’s quarter-hour duration. Then, about two thirds of the way into the piece, the slide guitar disappears, leaving only the drone, which now rings with icy, almost shrill, overtones, like the light from a nearby window hitting an ice sculpture in such a way that it temporarily blinds anyone looking at it. “Watermelon Slices On A Blue Bordered Plate,” Bachman’s take on the riverboat tune, may evoke the expected images of swamps and (it must be said) Fahey circa Of Rivers & Religion, but Bachman’s compositional style deftly sidesteps such clichés. The album ends with a rendition of the hymn “Farther Along.” Bachman’s choice to extract and ruminate on the tune’s melancholic aspects further reveals his good instincts: he plays it a bit like a nonbeliever, which is probably the best way to play it. His rendition suggests transcendence not as a given but as one of many possibilities, a best-case-scenario. Maybe ours are merely transitory struggles, the song seems to say, but then again, maybe they’re not. Truly a song for these insane times. With Daniel Bachman, the guitarist has made his most cohesive statement yet, an album by which future solo acoustic guitar albums by grown-ass men and women can and should be judged. Think of it not as Bachman’s Citizen Kane but as his Mean Streets. In other words, just you wait. –James Toth, July 2016–

File Under: Guitar Soli
Listen Here

dazzling

Dazzling Killmen: Face of Collapse (Skin Graft) LP
Skin Graft Records presents a 25th anniversary Special Edition of Dazzling Killmen’s 1994 opus Face Of Collapse, recorded and engineered by Steve Albini. It includes a brand new restoration from the original analog tapes by Blake Fleming and Jason McEntire of Saw Horse Studios. The second LP includes the bonus tracks “Medicine Me,” “Poptones” (Public Image Ltd. cover) and “My Lacerations” (alternate version) on side 3 while side 4 features new artwork from cover artist Paul Nische silk screened directly onto the vinyl. A large 16-page book, measuring 12″ x 12″ , with liner notes from Aaron Burgess, new oral history of the band from Hank Shteamer and artwork and comics from Mark Buckheit, Mark Fischer, Paul Nitsche, Miles Rutlin and Rob Syers is also included. Comes complete with full gatefold sleeve including removable obi with color mini poster printed on the reverse side. Was Dazzling Killmen a hardcore band? A metal band? The world’s gnarliest progressive-rock quartet? “Yes” is the easy answer, but only because it’s easy to rewind through two decades of genre fragmentation to hear Dazzling Killmen’s influence on any number of “math-metal,” “prog-core” and similarly classified bands. At the time, however, this St. Louis quartet occupied a genre of one. When Skin Graft released the Killmen’s 1994 sophomore album, Face of Collapse, that genre had its touchstone. Nick Sakes, Darin Gray and Blake Fleming formed Dazzling Killmen just outside of St. Louis, Missouri in 1990. The following year Skin Graft made its debut with a 7″ single and comic book set from the band. Shortly afterward, Tim Garrigan joined the group, and the quartet began writing and refining material for what would become the label’s first, and the band’s second and final full-length, Face of Collapse. “As the songs progress, Dazzling Killmen bends the music just short of the breaking point, creating a frenzy that is always on the verge. They’re not linear melodies that arrive predictably in their neat little spaces. Rather there is a center to each song and in this space the band attempts to reach it from different directions. A phrase appears for a moment then vanishes and orbits around the next phrase, hovering and waiting for it’s next approach. Sometimes this center is the magnet that holds the whole shebang together. At other times the center cannot hold and the space collapses. It’s during these moments that Dazzling Killmen floor me.” – Randall Roberts, LA Times (from the band’s original presskit) Loud Life at Alternative Press magazine declared it the top album of the 90’s based on the following criteria: 1) Avoidance of formula or cliché. 2) Dexterity of rhythm section, 3) Quality of album’s production values, 4) Lack of predictable lyrical subjects – Satan, Straightedge, Viking folklore, etc. “Sounds like Dave Bruebeck’s Time Out played through Carcass’ PA system.” Face Of Collapse was a key influence on Dillinger Escape Plan: “Most of the great progressive underground bands of the ‘90s would not exist if it weren’t for them.” – Ben Weinman Spin Magazine called Blake Fleming one of the 100 Greatest Drummers of Alternative Music; while Fact Magazine named the album one of the Best Post-Metal Records Ever. Guitarist / vocalist Nick Sakes went on to form Colossomite (with Ed and John of Deerhoof) and now performs in Xaddax. Blake founded Laddio Boloko and then The Mars Volta; while Tim Garrigan and Darin Gray formed You Fantastic! Darin is renowned for his work with Jim O’Rourke, including their bands Brise-Glace and Yona-Kit.

File Under: Harcdcore, Metal, Prog
Listen Here

deadcan2

Dead Can Dance: Within the Realm of a Dying Sun (4AD) LP
Formed in Australia in the early-80s by Lisa Gerrard and Brendan Perry, Dead Can Dance had veered away from the punk explosion towards a more non-conformist style. But finding the music scene unreceptive they moved to London, landed a record deal with 4AD and embarked on a career with the label that would last 17 years. Highly respected artists with a loyal global fanbase, Gerrard and Perry consistently made music full of integrity and passion. Both immensely talented vocalists – Gerrard with her inimitable, mesmeric style and Perry’s haunting baritone – they were also gifted, instinctive musicians and their melding of traditional instruments with samplers created a bridge between ancient and modern music. 4AD are finally reissuing all the albums the band released on the label on vinyl. With three recently back in print (Dead Can Dance, Spleen And Ideal, and Into The Labyrinth), the next three will be Garden Of The Arcane Delights (which is being pressed as a double LP to also include both the band’s John Peel Sessions), Within The Realm Of A Dying Sun and Toward The Within, all coming out in November 2016. Dead Can Dance issued their third album Within The Realm Of A Dying Sun in the Summer of 1987, showing both a continued maturity in their sound and rise in their popularity. Recorded during an intense period of musical and personal growth for the band, the album’s 8 songs are split equally between the duo with the first half being sung by Brendan and the second Lisa. At the time, Q Magazine described the album as combining “superb voice, ethereal church choirs, sweeping strings and a brochure of ethnic music: Middle Eastern, Indian, Moorish, anywhere but London’s East End where the couple resided.” The album’s cover only adds to the album’s aura of mystery with a haunting photograph of the family grave at the Père-Lachaise cemetery in Paris of famed French biologist François-Vincent Raspail.

File Under: Electronic, Rock, Dark Ambient
Listen Here

dead-can1

Dead Can Dance: Toward the Within (4AD) LP
Formed in Australia in the early-80s by Lisa Gerrard and Brendan Perry, Dead Can Dance had veered away from the punk explosion towards a more non-conformist style. But finding the music scene unreceptive they moved to London, landed a record deal with 4AD and embarked on a career with the label that would last 17 years. Highly respected artists with a loyal global fanbase, Gerrard and Perry consistently made music full of integrity and passion. Both immensely talented vocalists – Gerrard with her inimitable, mesmeric style and Perry’s haunting baritone – they were also gifted, instinctive musicians and their melding of traditional instruments with samplers created a bridge between ancient and modern music. 4AD are finally reissuing all the albums the band released on the label on vinyl. With three recently back in print (Dead Can Dance, Spleen And Ideal, and Into The Labyrinth), the next three will be Garden Of The Arcane Delights (which is being pressed as a double LP to also include both the band’s John Peel Sessions), Within The Realm Of A Dying Sun and Toward The Within, all coming out in November 2016. Released in October 1994 and out of print on vinyl ever since, Toward The Within was an audio and video document of the 1993 sell-out Dead Can Dance World tour. Recorded at the Mayfair Theater in Santa Monica, California, it marked one of the final performances at the historic theatre as it later suffered major structural damage in an earthquake in 1994. Despite being a live recording, Toward The Within includes 12 previously unrecorded tracks as well as material from their six previous studio albums.

File Under: Electronic, Rock, Dark Ambient
Listen Here

blonde_-_frank_ocean

Frank Ocean: Blonde (Fanclub) LP
Blonde is the second studio album by American singer Frank Ocean. It was released on August 20, 2016, as a timed exclusive on the iTunes Store and Apple Music, and followed the August 19 release of Ocean’s visual album Endless. Initially known as Boys Don’t Cry and teased for a July 2015 release, the album suffered several delays and was the subject of widespread media anticipation. The album features guest vocals from Beyoncé, Kendrick Lamar, Yung Lean, André 3000, Sebastian, James Blake, and Kim Burrell among others, and production from Frank Ocean himself, as well as Pharrell Williams, Tyler, The Creator, Jamie xx, Rostam Batmanglij, Om’Mas Keith, and many more. The album was supported by the single “Nikes”. It received widespread acclaim from critics, and charted at number one on the Billboard 200.

File Under: Hip Hop, Soul
Listen Here

oneida

Oneida/Rhys Chatham: What’s Your Sign? (Northern Spy) LP
Four years after their inaugural union at Ecstatic Music Festival inside New York City’s Merkin Concert Hall produced a cosmic din for the ages, two genre-obliterating renegades who’ve made indelible marks in the experimental music pantheon – the NYC-bred, Paris-based avant-garde guitar legend and minimalist composer Rhys Chatham and long-running psychedelic free-rock juggernaut and Brooklyn institution Oneida – have joined forces on their first collaborative album proper titled What’s Your Sign? With six compositions credited to Oneida and Rhys Chatham, What’s Your Sign? – Oneida’s first set of original material since 2012’s A List of the Burning Mountains and Chatham’s second LP in 2016 (Pythagorean Dream the first) and third overall for Northern Spy – is an exercise in freethinking sonic explorations from an uncompromising, genre-defying group whose collective output has shaped the experimental music landscape extending over the last four decades. Recorded and mixed at Menegroth The Thousand Caves by Colin Marston, Oneida and Rhys Chatham and mastered by James Plotkin, What’s Your Sign?’s six shapeshifters are ecstatic journeys into a psych-rock future-world. Warped, alien jam action like the jet engine-drone roar of “Well Tuned Guitar” and the in-your-face noise-rock screams of “You Get Brighter” harken back to the legendary free-improv all-nighters that took place at The Ocropolis, Oneida’s former studio/performance space in Williamsburg. Both “Civil Weather” and “A. Philip Randolph and Back Bay Station” approach firebreathing 60’s free jazz vibes driven by Millions’ rolling and manic beats and ear bleeding double-horn-fueled drone, thanks to a Hanoi Jane-Chatham trumpet duet.

File Under: Indie Rock, Experimental
Listen Here

two-virgins

Yoko Ono/John Lennon: Unfinished Music No. 1: Two Virgins (Secretly Canadian) LP
Turns out the very sound of falling in love is just as abstract, subjective and loopy as the concept itself. Yoko Ono and John Lennon are two of history’s greatest lovers, and Two Virgins is the musique concrete fever dream document of the pair falling in love in real time. It’s a Cageian suite recorded over one weekend in Spring 1968 at Lennon’s Kenwood home: Distant conversations; comedic role playing and footsteps; laughter, birdcalls and plunking piano lines; silly songs and space; tape delay stretching shrieks, bass rumbles and moans to the moon and back again. It’s two young people attempting to weird one another out, attempting to make one another laugh, falling deeply into one another. John mucks around with delay and loops while Yoko exercises her expressionist vocalizations. The smoke and wine is nearly audible. Available on vinyl for the first time in decades, Unfinished Music, No. 1: Two Virgins has been remastered from the original tapes by Sean Lennon and Greg Calbi and comes complete with an accompanying download featuring the bonus track “Remember Love,” which did not appear on the original release. Secretly Canadian couldn’t be more proud to be a part of re-introducing Yoko Ono’s seminal work. The first batch to be reissued will be 1968’s Unfinished Music No. 1: Two Virgins, 1969’s Unfinished Music No. 2: Life with the Lions, and 1970’s Yoko Ono Plastic Ono Band, all out November 2016, with more to come in 2017. Comprised of 11 studio albums, the reissue project’s focus is to painstakingly reconstruct the original vinyl packaging, to thoroughly excavate and appropriately curate the treasure-laden archives of never-before-seen photos and ephemera, and to re-master the audio, all for the purpose of creating the definitive editions of this timeless work. In addition to making the vinyl available for the first time in decades, each album will also be available digitally for the first time ever.

File Under: Rock, Experimental
Listen Here

ono

Yoko Ono/John Lennon: Unfinished Music No. 2: Life with Lions (Secretly Canadian) LP
If Two Virgins is the ecstatic first kiss shared between two of pop culture’s greatest lovers, then Life with the Lions is the sound of the pair validating their love as something impenetrable and timeless. It’s when we, the listener, begin to fully understand that the scope of their recording efforts was much more than a recording collaboration, and something closer to a performative documentary, a declaration of “Our life and our love is our art every nitty, gritty part of it.” The collection begins with a more straightforward piece of improvised music, edited down from a live performance at Cambridge University’s Lady Mitchell Hall in March 1969. The entirety of Side B was recorded in a patient suite at London’s Queen Charlotte Hospital where Ono was admitted with pregnancy complications and ultimately lost a child, John Ono Lennon II. Available on vinyl for the first time in decades, Unfinished Music, No. 2: Life with the Lions has been remastered from the original tapes by Sean Lennon and Greg Calbi and comes complete with an accompanying download featuring the bonus tracks “Song for John” and “Mulberry,” which did not appear on the original release. Secretly Canadian couldn’t be more proud to be a part of re-introducing Yoko Ono’s seminal work. The first batch to be reissued will be 1968’s Unfinished Music No. 1: Two Virgins, 1969’s Unfinished Music No. 2: Life with the Lions, and 1970’s Yoko Ono Plastic Ono Band, all out November 2016, with more to come in 2017. Comprised of 11 studio albums, the reissue project’s focus is to painstakingly reconstruct the original vinyl packaging, to thoroughly excavate and appropriately curate the treasure-laden archives of never-before-seen photos and ephemera, and to re-master the audio, all for the purpose of creating the definitive editions of this timeless work. In addition to making the vinyl available for the first time in decades, each album will also be available digitally for the first time ever.

 File Under: Rock, Experimental
Listen Here

trainspotting

OST: Trainspotting (Rhino) LP
A 20th anniversary reissue of the original soundtrack from the iconic 1996 British drama Trainspotting. Based on the Irvine Welsh novel of the same name, the film version of Trainspotting directed by Danny Boyle became a cult sensation. Centered around the heroin subculture of Edinburgh in the 1980s, the film is occupied with surrealism, black comedy, and most importantly – a killer soundtrack. Including tracks from Iggy Pop, New Order, Blur, Primal Scream, Lou Reed, Pulp and Underworld, this timeless soundtrack is an essential part of any music lovers collection!

File Under: OST, Rock
Listen Here

sleigh

Sleigh Bells: Jessica Rabbits (Torn Clean) LP
Sleigh Bells wasted no time after getting off the ground in 2009, releasing three blistering records in four years. Ready for a break from the road, they took their time on their fourth LP, Jessica Rabbit, writing and finishing the record several times only to realize that they wanted to push themselves and the music further. As the three years elapsed, guitarist Derek Miller went looking for the abyss, found it, and crawled out in one piece. Vocalist Alexis Krauss, for her part, found something like heaven in nature and healthy living. The result of their combined experiences is an intense and vulnerable record that’s highly evolved and completely uncategorizable, a major statement from a band wholly committed to advancing their dynamic, uncompromising vision. Jessica Rabbit is the first release on the band’s own record label, Torn Clean, in partnership with Sinderlyn Records.

File Under: Rock
Listen Here

sy

Sonic Youth: Experimental Jet Set, Trash and No Star (Geffen) LP
In tomorrow??…. Following an unprecedented run of influential albums like Daydream Nation (1988), Goo (1990) and Dirty (1992) which marked Sonic Youth’s ascent to becoming America’s pre-eminent alternative band, the group issued Experimental Jet Set, Trash And No Star in 1994, an uncompromising record impacted as much by touring with acts like Royal Trux, Sebadoh and Pavement as contemporaries like Nirvana and Mudhoney had swayed the sound of its predecessors. Produced by Butch Vig yet as stripped down as ever, Experimental Jet Set, Trash And No Star saw the band simultaneously evolving and yearning for their pre-grunge art band days and less expectations, still just as interested in making remarkable underground sounds as songs with commercial appeal. Thurston Moore explained its synthesis, “The idea this time was to cut as much of it live as we could, and not labor over polishing and overdubbing in the usual big-rock manner, and that’s basically what went down.”

File Under: Indie Rock
Listen Here

watersMuddy Waters: Elevate Me Mama (Black Knight) LP
Mississippi born singer-guitarist Muddy Waters was much more than an influential blues man, he was an artistic epicenter, a rare, luminous astral body around whom it seemed, at certain points, the entire post-war blues galaxy was centered. It would not be an exaggeration to say that Muddy represented the celestial pole of the blues’ very center, a point of connection between the music’s symbolic heaven and earth, one through which owed a surging force so powerful it not only affected how musicians performed, it reached into the very social-cultural fabric of the nation, and eventually the world. Bound together by a rare symmetry of creative elements, he also ultimately represents a uniting force that, through his pervasive influence on rock & roll’s practitioners, brought black and white together at time of profound division. Muddy changed everything. He proposed a modern blues reality so tangibly potent and loaded with soul deep appeal that it was like a portal to undreamed of realm, and all who entered therein were made a gift of Muddy’s singular philosophical rhythms and truth. As a ringmaster for rock & roll – a Godfather who not only facilitated but also participated by leading Chuck Berry to the recording studio, inspiring and touring with the Rolling Stones – he is completely unique all over again. Not just another hits collection, this deep 14-track offering from Black Knight Records gathers some of the early Chicago blues numbers that Muddy Waters made his name on and where his legend began including: “Five Long Years,” “Elevate Me Mama,” “You Shook Me,” “Messin’ With The Man,” “I Got My Brand On You,” “Read Way Back,” “When I Get To Thinking,” “Baby I Done Got Wise,” “Recipe For Love,” “Diamonds At Your Feet,” “She’s Into Something” and “She’s All Right.”

File Under: Blues

daydead

Various: Day of the Dead (4AD) LP
Epic New 59-Track, 5 Hour Tribute to the Grateful Dead Curated by Aaron and Bryce Dessner of The National! Day of the Dead is an epic tribute to the music and artistry of the Grateful Dead, curated by Aaron and Bryce Dessner of The National. They have brought together some of their favorite musicians to reinterpret the songs and sounds of the Dead for a new generation. 59 tracks and over 5 hours of music makes the album a landmark to get lost in, to discover hidden treasures and to make your own playlists for whatever mood you’re in. The diversity in both material and performance on the tribute is astounding. Special collaborations include Grateful Dead touring member Bruce Hornsby with DeYarmond Edison (featuring Justin Vernon of Bon Iver and the band Megafaun) on “Black Muddy River,” Perfume Genius and Sharon Van Etten on “To Lay Me Down,” Arcade Fire’s Richard Reed Parry, the Band’s Garth Hudson, Little Scream, and composer Caroline Adelaide Shaw’s take on “Brokedown Palace,” Grizzly Bear’s Ed Droste and Little Joy’s Binki Shapiro on “Loser,” Lee Ranaldo and TV on the Radio’s Tunde Adebimpe’s “Playing in the Band,” Jenny Lewis and Moses Sumney’s “Cassidy,” Charles Bradley’s “Cumberland Blues,” and perhaps most expansively, Grizzly Bear’s Daniel Rossen and Chris Bear teaming up with members of the National, So Percussion, and the Brooklyn Youth Chorus to recreate 1977’s entire Terrapin Station medley. There are fresh interpretations of classics, like The War On Drugs’ “Touch of Grey,” Jim James’ “Candyman,” Mumford and Sons’ take on “Friend of the Devil,” Phosphorescent / Matthew Houck’s “Sugaree” and “Standing on the Moon,” “Shakedown Street” recorded by Unknown Mortal Orchestra, the Walkmen’s “Ripple,” and Lucius’ version of “Uncle John’s Band,” as well as a perfectly cast Kurt Vile and J Mascis on “Box of Rain.” But the compilation also explores lesser known Dead material such as the psychedelic folk gem “Mountains of the Moon” (Lee Ranaldo), and “Rubin and Cherise,” originally a Jerry Garcia song, later adopted by the Grateful Dead and recorded here by Will Oldham. Day of the Dead also features lively recordings from Senegalese collective Orchestra Baobob (“Clementine Jam”), composer Terry Riley and his son Gyan Riley (“Estimated Prophet”), electronic artist Tim Hecker (channeling John Oswald’s classic “Dark Star” exploration “Grayfolded”), jazz pianist Vijay Iyer (“King Solomon’s Marbles”), and Bela Fleck with Edgar Meyer, Zakir Hussain, and Chris Wood (“Help on the Way / Slipknot”). Wilco also contributes here on a live version of “St. Stephen” with Bob Weir in tow!

File Under: Indie Rock, Grateful Dead
Listen Here

killed-by

Various: Killed By Death Volume 2 (Sacred Bones) LP
After the initial blast of punk rock bands made their impression on the youth of the late 1970s, subgenres quickly emerged. Some preferred the faster, louder aggression of hardcore, others the angular danceability of post-punk, some the raw and more personal home-made sound of DIY, and so on. Looking back among and between these genres we now recognize various blends of punk, post-punk, goth rock, industrial, and DIY as “deathrock.” In 2014, Sacred Bones Records launched the series Killed By Deathrock to document an entire scene of bands that haven’t yet received proper recognition. The thread that holds these groups together as deathrock bands comes down to their willingness and sometimes compulsion to reveal and explore the darker side of their psyches. Night-soaked dirges of fatality, despair, and horror were rampant, rooted in that sublimity that is found on the edge of the horror genre, as famously developed by Edgar Allan Poe – an edge that relished in misery and openly recognized the inevitable end of any human life. Killed by Deathrock Vol. 2 brings together essential underground bands from Denmark, the United Kingdom, Belgium, California, and Colorado. Though separated initially by the thousands of miles between their local scenes, these bands are united at last under the banner of this eternally underappreciated punk subgenre. Vinyl comes with exclusive poster designed by Heir.

File Under: Punk, Post Punk, Goth
Listen Here

…..Restocks…..

Arctic Monkeys: AM (Domino) LP
Arctic Monkeys: Suck it and See (Domino) LP
Arctic Monkeys: Humbug (Domino) LP
Beach House: Depression Cherry (Sub Pop) LP
Beach House: Thank Your Lucky Stars (Sub Pop) LP
Black Keys: The Big Come Up (Alive) LP
Guy Clark: My Favorite Picture of You (Dualtone) LP
Dinosaur Jr.: Give A Glimpse of What Yer Not (Jagjaguwar) LP
Nils Frahm: Spaces (Erased Tapes) LP
Goat: Commune (Sub Pop) LP
Gorillaz: Demon Days (Fanclub) LP
Jesu/Sun Kil Moon: s/t (Caldo Verde) LP
Sharon Jones: It’s A Holiday Soul Party (Daptone) LP
Kraftwerk: Computer World (Fanclub) LP
Kraftwerk: Ralph & Florian (Fanclub) LP
Metallica: Metal Up Your Ass (Fanclub) LP
Metz: s/t (Sub Pop) LP
Metz: II (Sub Pop) LP
My Bloody Valentine: Loveless (Fanclub) LP
National: Alligator (Beggars) LP
National: Trouble Will Find Me (4AD) LP
Frank Ocean: Channel Live (Fanclub) LP
Organization: Tone Float (Fanclub) LP
Pavement: Slanted & Enchanted (Matador) LP
Pixies: Trompe Le Monde (4AD) LP
Queens of the Stone Age: Like Clockwork (Matador) LP
Radiohead: A Moon Shaped Pool (XL) LP
Radiohead: The Bends (XL) LP
Real Estate: Atlas (Domino) LP
Savages: Silence Yourself (Matador) LP
Sigur Ros: Meo Suo I Eyrum Vio Spilum Endalaust (XL) LP
Sigur Ros: Valtari (XL) LP
Elliott Smith: Either/Or (Kill Rock Stars) LP
Elliott Smith: s/t (Kill Rock Stars) LP
Elliott Smith: An Introduction… (Kill Rock Stars) LP
Elliott Smith: New Moon (Kill Rock Stars) LP
Kaitlyn Aurelia Smith: Ears (Western Vinyl) LP
Kaitlyn Aurelia Smith: Euclid (Western Vinyl) LP
System of a Down: s/t (Fanclub) LP
System of a Down: Toxicity (Fanclub) LP
System of a Down: Mesmerize (Fanclub) LP
System of a Down: Hypnotize (Fanclub) LP
Todd Terje: It’s Album Time (Olsen) LP
Tool: 10,000 Days (Fanclub) LP
U2: Achtung Baby (Fanclub) LP
U2: Zooropa (Fanclub) LP
Vampire Weekend: s/t (XL) LP
Kurt Vile: B’Lieve I’m Goin’ Down (Matador) LP
War On Drugs: Lost in the Dream (Secretly Canadian) LP
Warpaint: Heads Up (Rough Trade) LP
White Lung: Paradise (Domino) LP
Whitney: Light Upon the Lake (Secretly Canadian) LP
Wire: Pink Flag (Fanclub) LP
Women: s/t (Flemish Eye) LP
Women: Public Strain (Flemish Eye) LP
Neil Young: Mirror Ball (Fanclub) LP

Tagged , , , , , , ,

…..news letter #765 – gate…..

Heavy week for November. Loads of killer wax this week. And we’ve been buying some fresh stuff for the used bins too. It’s supposed to be lovely out this weekend, so come on down for a dig.

…..pick of the week…..

olympiansThe Olympians: s/t (Daptone) LP
Limited stock on “cosmic” colored vinyl! After repeatedly being visited by a strange messenger in his dreams while on tour in the islands of Greece, Toby Pazner became consumed with a vision to tell the stories of The Olympians through music. Chosen by the gods as a messenger for not only his musical gifts, but for his unique position at the center of the Daptone family, Toby built a home studio from scratch and employed some of the top soul musicians in the world to help him breath life into this album. The result is a dramatic and cinematic journey to the outer limits of instrumental soul music, built on a foundation laid by the same craftsmen who’s bricks built the legacies of Sharon Jones, Lee Fields, Charles Bradley, The Budos Band, and Menahan Street Band, and painted with lush strings, harpsichord, harp and horns. The Olympians is destined to be the instrumental gem of the year.

File Under: Funk, Soul, Daptone
Listen Here

…..new arrivals…..

94east

94 East (Featuring Prince): Just Another Sucker (Snapper) LP
This latest Charly re-issue holds the earliest known recordings of Prince, made with Pepé Willie’s band 94 East, recorded between December 1975 and February 1979. Prince contributes electric guitar, bass, keyboards, synths, organ, drums, harmony and backing vocals to the proceedings and is clearly heard on all of these historic recordings. This release has received a new, pure analogue remastering from Pepé Willie’s original tapes by Matt Colton at Alchemy Studios, and comes pressed on 180g heavyweight audiophile vinyl by Optimal Media, GmbH, Germany. Limited edition first pressing of 1000 copies will be offered on purple colored vinyl. “What makes these recordings particularly special is that they reflect an important element in the development of the ‘Minneapolis Sound’ – a phenomenon bought to the world’s attention by the emergence of Prince. And the outstanding contributions that Prince bought to these recordings are testimonial to his phenomenal, precocious abilities at such a young age.” – Pepé Willie

File Under: Funk, Soul, Disco
Listen Here

frond

The Bevis Frond: Superseeder (Fire) LP
“Superseeder marks a return to the sort of extended raga-like acid rock workout that typified early Bevis Frond releases.. the whole album is excellent.” Allmusic Released on Nick Saloman’s label Woronzow in 1995, The Bevis Frond’s ‘Superseeder’ arrived after ‘Sprawl’. At this point, Nick began releasing albums annually compared with his earlier recordings that would see multiple releases per year. Soaring and melodic rock workouts prevail with a notably strong rhythm section making this record another favourite. Eastern tinged opener ‘Superseded’, ‘I Can’t Cry’ and 17-minute ‘House Of Mountains’ are exemplary workouts whilst the garage-punk of ‘Dolly Bug’ takes a different tone as do ‘Golden Walks Of London’ and ‘Queen Of May’ which have more traditional British influences. Playing many instruments on the record, Nick continues here to work with his live band with Andy Ward on the drums, Adrian Shaw on bass and guest second guitarist Bari Watts returns (tracks 6 & 12). ‘Superseeder’ is reissued on double LP, single CD and download, it’s released alongside ‘Sprawl’ and ‘It Just Is’ on Fire Records ahead of their 30th anniversary year in 2017.

File Under: Psych, Stoner
Listen Here

danny-brown

Danny Brown: Atrocity Exhibition (Warp) LP
Atrocity Exhibition is one of the freshest and boldest-sounding rap albums in recent memory, a sonic swirl inspired by the work of Talking Heads and Joy Division that nonetheless sounds like nothing else from the past or present. Featuring contributions from producers like Evian Christ, Petite Noir (who also lends vocals to the world-weary clang of “Rolling Stone”), Black Milk, the Alchemist and frequent collaborator Paul White, the album is full of laser-beam guitars, gym-teacher whistles, creaking vocal samples, and air-raid drones. It is the most intriguing take on hallucinatory rap since the heady heights of Cold Vein or Madvillainy. Known for his wide range of collaborations, including everyone from Purity Ring, the Avalanches and Rustie to Schoolboy Q, E-40, and Ghostface Killah, Atrocity Exhibition sees a continuation of this carefully curated mix. Kelela lends her snaking vocals to the intriguingly murky “From the Ground,” Cypress Hills B-Real delivers “Get His” languid hook, and Earl Sweatshirt, Kendrick Lamar, and Ab-Soul all convene for the twinkling ominousness of album standout “Really Doe.” “When XXX came out, all of us were peers, and those were the three rappers who were the best,” Brown explains on having the star-packed trio appear on the track. “I felt like we were competitors, they made me want to step my game up. I wanted to put the hottest rappers in the game on there.” This album is a highly personal take on Danny Brown’s ruminations on life and the changes that have occurred – and those that didn’t – following the ups and downs of career success. Atrocity Exhibition makes for a thrilling third installment in his singular biopic, one not to be missed.

File Under: Hip Hop
Listen Here

overground

Sandro Brugnolini: Overground (Cinedelic) LP
1970 Italian obscure psychedelic jazz-rock masterpiece composed by Sandro Brugnolini and recorded in Rome at Dirmaphon Studio. Performed by Silvano Chimenti (Guitar), Giorgio Carnini (Organ), Giovanni Tommaso (Bass) and Enzo Restuccia (Drums).

File Under: Italian, Library, Psych, Jazz
Listen Here

brugnolinoBrugnolini/Torossi: Musica per Commenti Sonori (Schema) LP
‘Musica per commenti sonori’ is a cult series within the diverse world of Italian library music. In the late sixties and seventies, the small record label Costanza Records has published several releases precisely focusing on ‘background music’, including works of great composers such as Peppino De Luca, Roberto Pregadio, Franco Micalizzi, Vito Thomas, Giancarlo Thomas Puccio Roelens, Riccardo Luciani, and by the protagonists of this long-time due reissue: Sandro Brugnolini and Stefano Torossi. The two musicians, who had also worked together on the masterpiece “Feelings” (1974), have often collaborated and delivered some of the best Italian library music of all time. “Musica per commenti sonori” is certainly one of the most interesting. On the two equally split sides of this LP, the first for Torossi and the second for Brugnolini (but it seems that this partition was exclusively dictated by legal demands), there are twelve amazing tracks that will excite lovers of the wildest funk, producers in search of rare breaks, and those with a penchant for the psycho-beat atmospheres of the sixties. Among the most heated tracks featured on Torossi’s side, we can’t pass over the amazing “Sweet-Beat”, “Interrupted” (perhaps the best track of the album) and “Repetition” while “Polyphony”, “Motuproprio” and the closing track “Flyer” shine on Brugnolini’s. Virtually impossible to find, even at astonishing prices, this reissue puts back into the market one of the best examples of ‘The art of Italian library music’: a genre worldwide envied and collected.

File Under: Italian, Library
Listen Here 

buckley

Tim Buckley: Lady, Give Me Your Key (Light in the Attic) LP
In 1967, the face of rock was changing. In that year alone there were debut albums from The Velvet Underground, The Doors, and Pink Floyd, to name a few. The Beatles had combined orchestration with their music—the result was Sgt. Peppers in June, the same month that Tim Buckley recorded Goodbye & Hello. Buckley was no longer just another singer-songwriter with an acoustic guitar; he was drenched in acid-folk tinges of harpsichord and harmonium. Lyricist Larry Beckett embellished Tim’s songs with introspective lyrics at times, worldly views at others. It was the first major triumph for Tim as an album artist, partially because there were a remarkable amount of pre-production demos that led to it. Available here for the first time are these newly discovered master tapes, recorded by Goodbye & Hello’s producer Jerry Yester, along with an ultra-rare acetate, found to be in co-songwriter (and best friend) Beckett’s possession. Of the 13 previously unreleased solo acoustic songs contained here, six of them did eventually appear with more expansive instrumentation on Goodbye & Hello (along with another four not included here). However, the crown jewel of this package is seven never-before-heard compositions. These will be new to even the most devoted Buckley fan. Arguably, two of them crept out decades after Tim’s death (albeit, much different recordings than what you have here) but with little fanfare. So much has been written about Tim Buckley but so little of it by people who actually knew him. This booklet, however, includes a detailed interview with both Larry Beckett and Jerry Yester, providing real insight on how these recordings came to be and attempting to uncover the man behind all the myths, the real Tim Buckley. Several rarities releases in the 1980s and ‘90s shed light on his talent, especially the live recordings, but all of the studio material has generally been alternative versions of songs that fans already knew—until now. This is the first-ever posthumous release that reveals a wealth of previously unreleased and unheard tracks from Tim at the peak of his career. In short, you need this!

File Under: Folk
Listen Here

chiariFranco Chiari: Al Sint (Cinedelic) LP
Franco Chiari, born in 1927 in Naples, was an eclectic artist who is considered a bit of a wildcard of keyboard instruments: he played the piano, accordion, synthesizer, vibraphone and marimba in both jazz and symphony. For three consecutive years (1957/58/59) he won the National Jazz referendum, was vibraphonist in the national TV Orchestra and participated in numerous important broadcasts. He received many awards in his career, and numerous are the artists who have wanted to play live alongside him, including Lionel Hampton, Stéphane Grappelli, Django Reinhardt, Piero Piccioni, Armando Trovajoli, Lelio Luttazzi, and more. In this album released in 1973, the most groovy in his career, and now the most wanted from collectors, he rearranges the compositions of Mario Bertolazzi electronically with the use of synthesizer on rhythms ranging from latin beats to funk.

File Under: Funk, Jazz, Library
Listen Here

crazy-horse

Crazy Horse: Crazy Moon (Dust Bug) LP
The Crazy Horse masterpiece and often overlooked hidden jewel in the Neil Young and Crazy Horse canon of releases is now finally restored to vinyl for the first time since 1978 from the original analogue tapes. Features tracks initially written around the Zuma sessions and subsequently toured as part of the Neil Young and Crazy Horse Rolling Zuma Revue of Northern California in 1975. Crazy Moon shows the band at their laid back and rocking best. Features Neil Young on 5 tracks on what some consider to be his most searing guitar work of the period, plus former members of The Rockets and Crazy Horse. If you’ve never heard Crazy Moon in all its glory… you are in for a treat.

 File Under: Classic Rock
Listen Here

czarface

Czarface: A Fistful of Peril (Silver Age) LP
“Czarface (Wu-Tang Clan’s Inspectah Deck & 7L & Esoteric) are back! Fresh off the heels of their collaboration with Marvel Comics, the trio continues to combine music and art with their latest release A Fistful Of Peril. The back story of this album begins in the summer while Deck and Esoteric were in the studio recording some new Czarface material. During this time Marvel Comics had reached out to Czarface wanting some music to soundtrack their Black Panther web series, promoting their breakout comic of the same name. This Marvel meeting spawned the lead track ‘All in Together Now’ and served as the primary inspiration for a fleshed-out album that nobody saw coming. The group camped out in the studio playing beats, talking comics, video games, and pop culture….what came about was A Fistful Of Peril. Starting the album off with the ARP keyboard odyssey of ‘Electric Level 1’ is like entering the vortex of color and light in Kubrick’s 2001. The aptly titled ‘Two In The Chest’ showcases Deck & Eso’s ability to deliver punchlines and pop culture references with ease over an exceptional bass and guitar combo. ‘Czar Wars’ has the two sparring back and forth bringing that ‘X-Men/Danger Room’ mentality that Deck often to refers to when in Czar-mode. Psycho Les of The Beatnuts steps in on ‘Dust’ while ‘Lizard City’ introduces ‘Czarface Pajamas’. Yes you read that correctly. The off-kilter ‘Steranko’ has Meyhem Lauren and Rast join forces with Czarface as they weave their way through a mind-bending array of varying beats. Other features on the album are Conway on ‘Machine, Man & Monster’ and AOTP’s Blacastan on ‘Tarantulas’. Another one of the album’s highlights is ‘Dare Iz A Darkseid’ which, along with ‘Talk That Talk’, is the perfect balance of wit and humor that make up the core of Czarface.”

File Under: Hip Hop
Listen Here

dixie

James Luther Dickinson: Dixie Fried (Future Days) LP
“People like Stan Phillips thought I was scary, that I was over the top – but I could play rock’n’roll.” -Jim Dickinson The late Jim Dickinson is one of the most eclectic personages rock n’roll has ever thrown up: a musical maverick. From Sun Records and Ardent Studios in the 1960s, to sessions with the Rolling Stones, Ry Cooder and Bob Dylan, significant productions of Big Star and the Replacements, and the twisted roots rock of his own Mud Boy & The Neutrons, the man was never, ever predictable. A solo album had not been at the forefront of Jim Dickinson’s mind then, but once the idea was put in place by Jerry Wexler at Atlantic, he reacted conceptually, and with gusto. Dickinson always shot from the hip. He could be coarse on a rocker like “Wine,” or dignified and joyous when celebrating “The Strength of Love.” Inebriated laments like “Wild Bill Jones” contrast sharply with the carny talk of “O How She Dances,” and a shifting, indignant anti-war recitation entitled “John Brown.” As a music maker who could relate equally to both the intellectual and the visceral aspects of popular culture, anything Dickinson lent his hand to was at least interesting and frequently rewarding. Such is the case with Dixie Fried, his solo debut from 1972. Unsuccessful upon release, the record now is now a cult item that, for many, mirrors the deliciously unexpected twists and turns of Dickinson’s subsequent career.

File Under: Blues Rock
Listen Here

Ddrake2rake: If You’re Reading This It’s Too Late (Republic) LP
Grammy Award-winning multiplatinum artist Drake issued the surprise album/mixtape If You’re Reading This It’s Too Late in February 2015. The release debuted at No. 1 on the US Billboard 200 and features 17 tracks including “Legend,” “Madonna” and “Used To” plus collaborations with Lil Wayne, Travis Scott and PartyNextDoor. If You’re Reading This It’s Too Late was nominated for Album of the Year at the 2016 Juno Awards. “With each new major full-length, Drake has pushed through major leaps in maturity and technical skill and shifts in his artistic sensibility…If Nothing Was the Same was a glimpse at an artist just starting to realize the weight of the crown on his head, If You’re Reading This It’s Too Late captures a monarch compromised by the demands of his kingdom: the pressure to stay relevant, the hordes of fake friends and snakes aiming daggers at his back, the struggle to find anyone true to share in your success.

File Under: Hip Hop, Pop
Listen Here

drake1Drake: Take Care (Universal) LP
Take Care is the highly anticipated sophomore full-length release from platinum-selling, Grammy nominated recording artist Drake and follow-up to his 2010 breakthrough debut Thank Me Later.  The album features guest appearances from The Weekend, Lil Wayne, Rick Ross, Birdman, Nicki Minaj, and Andre 3000 along with production from the likes of Noah ’40’ Shebib, T-Minus, and Just Blaze among others.”Drake’s 2010 debut Thank Me Later was one of the most striking hip-hop coming-out parties in recent memory. The Canadian rapper’s tales of the high life were tinged with a sense of regret that perfectly fit the spare, somber tone in his music. The much-anticipated follow-up is more expansive, with producers from Just Blaze to the Neptunes to Lex Luger creating tracks that range from piano-laden R&B to Southern hip-hop, and guests like Rihanna, Nicki Minaj, Rick Ross, The Weeknd and Lil Wayne rolling through to liven things up. Drake is still the same lovably conflicted dude, and that’s part of what makes Take Care…compelling.” – Rolling Stone “Drake’s debut effort, Thank Me Later, (2010), cemented Drake as a force in the hip-hop game. But Take Care presents Drake at his best: unraveling without the care of being judged when spit-singing emotional verses over intricate, piano-heavy synths.” – Billboard

File Under: Hip Hop, Pop
Listen Here

drake

Drake: Views (Republic) LP
Grammy Award-winning multiplatinum superstar Drake who The New York Times says, “…is still his own genre,” returned in April 2016 with his fourth official full-length effort, Views, and yet another US Billboard 200 No. 1 showing. Drake told Beats 1 anchor Zane Lowe that the album was, “…probably the most blatant display of being proud of where I’m from.” The 20-track set is home to hit lead single “Hotline Bling,” groovy club banger “One Dance” featuring Wizkid and Kyla and “Pop Style” which features a reunion of epic proportions with contributions from the legendary Kanye West and Jay-Z. Longtime collaborators Noah “40” Shebib, Boi-1da, and Nineteen85 provide production while additional famous guests include PARTYNEXTDOOR, Pimp C, dvsn, Future and Rihanna. “Views – Drake’s fourth solo album, not counting umpteen mixtapes and other ephemera – finds him a conqueror between territories: fending off attacks from below, maintaining his grip on turf he controls and wondering what might be next…Views shows how Drake’s original sound has become a genre unto itself – not just as a template for others but also for Drake himself. The framework pioneered by him and his right-hand producer, 40 – tender, lush, soothing melodies about romantic vulnerability – can be used for songs about heartbreak, but also for songs about competitive stress, mistrust and fear.” – Jon Caramanica, New York Times

File Under: Hip Hop, Pop
Listen Here

federale

Federale: All the Colours of the Dark (Death Waltz Originals) LP
Federale, a seven-piece ensemble based in Portland, OR spearheaded by longtime Brian Jonestown Massacre bassist Collin Hegna, have announced details of the release of their fourth album. All The Colours Of The Dark is released on Friday 2nd December 2016 on Death Waltz Recording Co. The album is heralded by a video, directed by Paul Dillon, an ex-member of Mercury Rev and Sparklehorse, for the track I Swore I’d Never Kill Federale has always operated under the guidance of a larger story arc. 2007’s La Rayar is a classic tale of betrayal and vengeance. 2009’s Devil In A Boot centers on a small town terrorized by a railroad company baron’s expansion and destruction. 2012’s The Blood Flowed Like Wine tells the supernatural tale of an evil so powerful that not even hell can hold back its wrath. All The Colours Of The Dark continues this tradition while breaking new musical terrain. Though the new record includes cinematic instrumentals and that the band is known for, it also sees Federale expanding their vision to narrative songs in the baritone-driven style of heroes Lee Hazlewood, Scott Walker and Nick Cave. Murder, revenge, regret, power and corruption are the lyrical themes of this collection. This album will be the band’s first on Death Waltz Records. In 2014, Federale, a band conceived as an outlet to channel inspiration from ‘60s & ‘70s European soundtracks, particularly those from Italy made famous by the Spaghetti Western & Giallo genres, contributed five songs to Ana Lily Amirpour’s acclaimed gothic vampire film noir, A Girl Walks Home Alone At Night, setting the mood of both the film and the soundtrack. Lily’s new film, The Bad Batch, will feature the title track from the new album.

File Under: OST
Listen Here

fields

Lee Fields & The Expressions: Special Night (Big Crown) LP
“There are a few terms that get thrown around loosely, two of which are legend and retro-soul. One of these fits Lee Fields hand and glove, one of these doesn’t fit at all. Very few people in music have both earned the status of legendary and continue to solidify it. 50 years in the game and only getting better, gaining more fans, and evolving his sound on each album, Lee is in fact a living legend. This brings us to the misuse of the term ‘retro-soul’ when talking about Mr. Fields. You don’t have to look far to find a younger generation emulating the essence and styles of an era they’ve only experienced through music and movies. It seems unfair to tag Lee with a term that implies imitation when he is part of the generation that actually defined the genre. Plain and simple, this is not that. Special Night is a masterclass in soul music past and present. ‘I feel that every human being’s purpose is to do what their inner voice says to do,’ says Lee Fields. ‘And my inner voice, my driving force, wants me to put out music and keeping making better records.’ Produced by Leon Michels and Thomas Brenneck, and brilliantly performed by the Expressions, Special Night was written, recorded, mixed, and mastered entirely to tape in three weeks at the legendary Diamond Mine Studios in Queens, NY. A sense of urgency, equal parts fun and inspiration, and a decent amount of beer and Jack Daniels were the driving forces during the sessions that produced Lee Fields & The Expressions latest offering. Special Night is also the first record in the Expressions catalogue in which every song was written jointly by Lee Fields and The Expressions. ‘When I record, I make every song like I actually mean it. I mean every word I say. On Special Night I’m talking to my lady — literally, expressing the way I feel,’ says Lee Fields. ‘You can tell if a song is real or not, and every moment I’m recording, those moments are real, this is a record about what people do in real life.’ For one example, he cites the song ‘Work to Do,’ which tells the story of ‘a guy going to counseling, drinking too much, apologizing to the old lady and trying to keep family together, doing the manly thing.’ On ‘Make This World’, Lee makes a nod back to his early funk roots with a cautionary tale about the health of the planet. ‘The world was designed to last indefinitely,’ says Fields. ‘We’re the only living species on Earth who can alter that process. I’m hoping that song has a chain reaction, helps somebody put into action whatever contribution they can to change what the world is going through.’ As always, sticking to the formula but pushing the boundaries ‘Never Be Another You’ from the first note doesn’t sound like something you would hear on a Lee record, that is until he starts singing anyhow. A low tempo ballad with a head nodding drum track, sparse piano lines, and all the space Lee needs to lay down what is sure to be one of the flyest love songs of 2017. Whether tackling a tune about love lost, found, or broader topics like the state of humanity, Lee has a very unique and honest perspective that is on display with each unforgettable performance. Also, The Expressions have never been sharper, they, along with Lee, have created a collection of music on Special Night which holds court with pretty much any soul music that came before it.”

File Under: Funk, Soul
Listen Here

galss

Philip Glass/Kronos Quartet: Dracula (Orange Mountain) LP
Orange Mountain is pleased to announce for the first time on vinyl Philip Glass’s 1998 score to the 1931 film Dracula starring Bela Lugosi. For his new score, Philip Glass tapped the all-star Kronos Quartet and wrote specifically for them. In the late-1990s Universal Pictures approached composer Philip Glass to compose a new score for one of its classic monster movies. Glass chose to compose a score for Tod Browning’s 1931 Dracula because it never had an original score. He composed the work for string quartet to evoke an ancient sound and now almost 20 years later Glass and Kronos continue to perform the music live to film around the world. In the end Glass’s music gave the film new life, perhaps adding something that had been missing before there was music: structure and pacing and above all a new sense of mystery and soul. Dracula album was originally available on Nonesuch in the late-1990s. This is the first time Dracula is available on vinyl.

File Under: OST, Classical
Listen Here

LP Vinyl Outer Sleeve_5 mm Spine.indd

Wojciech Golczewski: Reality Check (Death Waltz Originals) LP
Polish born Film and TV composer Wojciech Golczewski (400 Days, We Are Still Here) delivers his debut solo LP for Death Waltz Originals. Using his knowledge of film scoring and his love of melodic modern electronica he has managed two create an absolutely flawless, beautiful synth record that soars above all others creating this style of music at the moment . 14 tracks of dystopian decayed synth workouts that are both incredibly intricate yet moving and melodic. A truly immersive listening experience.

File Under: Synth, Electronic
Listen Here

green-birds

The Green Birds: Diapason (Four Flies) LP
Totally brilliant and obscure psych era Italian library music. Originally released in 1971 for the microsmall label Vi.Di.Elle, the same label as another psych bomb, “The Black Fire – Cream”. Behind the mysterious “The Green Birds” name is a marvellous trio of unsung composers like Franco Bonfanti, Romano Rizzati (Corfull) and Renato Sperduti (Myrval), playing here some really dope jams in the style of the Braen’s Machine’s Underground LP. The whole album is full of psych effects, synth melodies, wah-wah & fuzz guitars, drum breaks & loungey vibes. Track A4 “Ambiente Elegante” by Franco Bonfanti was compiled in the cultish Speedball Experience in 1996.

File Under: Italian, Library, Funk
Listen Here

gruppo

Gruppo di Improvvisazione Nuova Consananza: s/t (Schema) LP
Way ahead of their time, Gruppo di Improvvisazione Nuova Consonanza were an experimental collective fully based on improvised music. It was the only European group exclusively made of composers, instead of simple performers. The Group tried to break the schemes by making use of new instruments and electronic effects, reinventing new timbres, using the voice in an unconventional way. They were also known for the presence of Ennio Morricone on trumpet who, at the same time (1966), was also working as a soundtrack composer for Sergio Leone’s western movies! Up until now all the works have been the fruit of a composer and that this open form was in reality still closed to a still greater opening. It was the presence in Rome of one of its principal members, the composer Larry Austin, that encouraged the formation of the IMPROVISATION GROUP OF THE NUOVA CONSONANZA, which is the only group in Europe formed exclusively of Composers.

File Under: Italian, Library, Morricone
Listen Here

almost

Hold Steady: Almost Killed Me (French Kiss) LP
Frenchkiss Records and The Hold Steady present the long awaited release of Deluxe Editions of the New York-based rock ‘n’ roll band’s milestone first two LPs, Almost Killed Me (2004) and Separation Sunday (2005). Both records have been remastered from the original tapes, with each now appended by an array of bonus material (available via a download for the vinyl releases not on the actual LP). Almost Killed Me: Deluxe Edition comes joined with five rare tracks, including the very first Hold Steady 7″ single, “Milkcrate Mosh,” and songs previously only available on the album’s original Australian CD release. Separation Sunday: Deluxe Edition features six additional tracks, including the never before available “212-Margarita” and “The Most Important Thing” along with previously unreleased demos of “Cattle and the Creeping Things,” “Charlemagne in Sweatpants,” and “Crucifixion Cruise.” As if all that were not enough, Almost Killed Me will be offered on bright blue vinyl, with Separation Sunday pressed on pristine white vinyl. The Deluxe Edition LPs mark the first time both albums have been available on vinyl in more than a decade. Released by Frenchkiss in March 2004, Almost Killed Me instantly marked The Hold Steady as one of the most vital and original rock ‘n’ roll bands of the new millennium, blazing with the raw riffs and conceptual songcraft that continue to define their extraordinary canon. Kicking off with the classic “Positive Jam,” the album introduces singer/guitarist Craig Finn’s utterly unique lyricism and intensely detailed storytelling, a world of tough love, hard drugs, and barstool blues unlike any other before or since. Almost Killed Me received unanimous praise upon its arrival and was ultimately ranked at #2 on Rolling Stone’s “100 Best Albums of the 2000s” tally, who praised its “Springsteen-size cast of characters, lost kids staggering through America in search of sex, drugs and salvation. The band sounded so real and raw, so loaded with compassion and wit and raunch, they became a word-of-mouth sensation. Suddenly the 2000s didn’t look so hopeless after all.”

File Under: Indie Rock
Listen Here

separation

Hold Steady: Separation Sunday (French Kiss) LP
Frenchkiss Records and The Hold Steady present the long awaited release of Deluxe Editions of the New York-based rock ‘n’ roll band’s milestone first two LPs, Almost Killed Me (2004) and Separation Sunday (2005). Both records have been remastered from the original tapes, with each now appended by an array of bonus material (available via a download for the vinyl releases not on the actual LP). Seperation Sunday: Deluxe Edition features six additional tracks, including the never before available “212-Margarita” and “The Most Important Thing” along with previously unreleased demos of “Cattle and the Creeping Things,” “Charlemagne in Sweatpants,” and “Crucifixion Cruise.” As if all that were not enough, Almost Killed Me will be offered on bright blue vinyl, with Seperation Sunday pressed on pristine white vinyl. The Deluxe Edition LPs mark the first time both albums have been available on vinyl in more than a decade. The Hold Steady followed up their breakout 2004 debut Almost Killed Me with Separation Sunday in May 2005. It was greeted as The Hold Steady’s finest work to that point – a dazzling collection that forwarded the band’s distinctive sound and vision on virtually every level. And as was the case with its predecessor, Separation Sunday was also greeted by reams of critical applause. “The elegiac Biblical lost-innocence junkie odyssey that Denis Johnson never wrote…(Finn is) the poet laureate of the loading dock behind the mall where the runaway kids get together to sniff cheap coke at 5 a.m.” – Pitchfork “A triumph of non-judgmental storytelling delivered within purgative rock ‘n’ roll.” – The Guardian (5 Stars) “Chapter Two of indiedom’s most incisive soap opera…[Finn’s] stories unpack post-hardcore emotional verities, scene mythologies, and tragicomic punch lines.” – SPIN

File Under: Indie Rock
Listen Here

urbanistica

Gerardo Iacoucci: Urbanistica (Four Flies) LP
Gerardo Iacoucci’s Urbanistica is one of the most elusive LP from the very sought after Octopus series. Released in 1971 as a non-commercial album of background music specially recorded for cinema, radio and television, Urbanistica is now come back to life in a special 180gr limited edition of 500 copies. Gerardo Iacoucci is one of the men behind Flipper’s sound scene, also known for L’avventura and Simbolismo Psichedelico (both published for Deneb label), but this is definitively his grooviest record, totally psych-beat, with jazzy-breaks, killer hammond, stunning drums and soul-jazz brass section.

File Under: Italian, Library, Psych
Listen Here

jerusalem

Jerusalem: s/t (Lion) LP
“Sledgehammer-heavy masterpiece of underground British rock!” —Classic Rock Magazine “Big fat chords, wailing guitar, punch-drunk bass and straight-ahead solid drums all strutting in your face like some massive guy you just don’t want to f**k with.” —Head Heritage “I made the record because they are bloody good and it seems a shame for their sound not to be recorded… right now there’s a rawness and excitement…” Ian Gillan, in Disc & Music Echo, January 29th, 1972 Heavy UK hard rock album from 1972, produced by Deep Purple’s legendary frontman, Ian Gillan, originally released on the Decca/Deram label. It was Gillan who said of them: “Not many bands really excite me. But this one’s so raw and completely unpretentious. They make the biggest, bloodiest noise you can imagine, tempered with moments of extreme emotion.” And, of course, he’s right—the music is a menacing combination of over-the-top vocals and screaming lead guitars that could easily pass for something from the early British heavy metal scene—or something from the emotional hard core scene of the mid-1990’s (‘Primitive Man’). A favorite among vinyl collectors, the album is presented here in its ultimate glory, with all tracks direct from the original master tapes, housed in a high quality old-style gatefold cover; insert has liner notes written by bassist Paul Dean + rare photos. Stickered to indicate that this is the purple vinyl edition. Rough, raw, and doomy!

File Under: Hard Rock, Metal
Listen Here

kronos

Kronos Quartet: Pieces of Africa (Nonesuch) LP
For more than 40 years, San Francisco’s Kronos Quartet – David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Sunny Yang (cello) – has combined a spirit of fearless exploration with a commitment to continually re-imagining the string quartet experience. In the process, Kronos has become one of the world’s most celebrated and influential ensembles, performing thousands of concerts, collaborating with many of the world’s most eclectic composers and performers, and commissioning over 850 works and arrangements for string quartet. A Grammy winner, Kronos is also the only recipient of both the Polar Music Prize and the Avery Fisher Prize. Originally issued on Nonesuch Records in 1992, this “potent new brew of folk influences, minimalism, and European forms by eight black, brown, and white African composers,” as Time described it, became a cross-cultural and commercial landmark: the first album to top both the Classical and World Music Billboard charts. Includes moving guest performances by such artists Dumisani Maraire, Hassan Hakmoun, Foday Musa Suso, Hamza el Din, Obo Addy, Radouane Laktib, Said Hakmoun, Dan Pauli, and the Oakland Interfaith Gospel Choir.

File Under: Classical, World, Africa
Listen Here

lambchop

Lambchop: Flotus (Merge) LP
For Love Often Turns Us Still – officially titled FLOTUS – is like many of Lambchop’s records: a subtle masterpiece, the kind that slowly and generously reveals its quiet wisdom to those patient and attentive enough to receive it. Inspired as always to make art from the unsung sounds and scenes of his South Nashville neighborhood, Kurt Wagner set aside what he has learned over the last 30 years and embarked on a musical adventure to bring us this album that sounds like no one else – or rather, completely, unmistakably, like himself. Start to finish, FLOTUS is imbued with that magic energy that comes when an artist stumbles upon the thrill of the new – something that makes them crazy enough to want to start the whole process over again. The album is bookended by two long-form pieces: the first, “In Care of 8675309,” is most reminiscent of where Lambchop has been, while the second, the sprawling, hypnotic “The Hustle,” suggests where they might still be headed. The latter seamlessly shifts between movements, a foundation suggestive of krautrock and early electronic music, gorgeously ornamented with perfectly placed piano and horns. Drawing upon a diverse palate of influences and transcending each one, it’s a stunning piece of work – certainly one of the most impressive achievements of Lambchop’s catalogue.

File Under: Indie Rock, Folk, Electronic
Listen Here

califfa

Ennio Morricone: La Califfa (Vinyl Magic) LP
La Califfa (1970) is a rare example, probably very rare, in which the director and author of the book on which the film is inspired coincide; we’re talking about Antonio Bevilacqua, who won the Nastro D’Argento prize as Best New Director with this film. The film deals with the issue of the class struggle, and in particular the love-hate relationship between a businessman (Ugo Tognazzi) and a female worker (Romy Schneider, almost too sensual here) who lost her fiancé at the working place. A romantic and dramatic work, as the music written and orchestrated by Ennio Morricone, here often surrounded by an impressive aura of sacredness. This LP also features, as guests on voices and choirs, Edda Dell’Orso and I Cantori Moderni di Alessandro Alessandroni. Surprisingly, despite the success of the film and its soundtrack received at the time, “La Califfa” has never been reissued on LP since the early ’70s. This new edition on Vinyl Magic record label eventually fills this gap and, except for the front cover image, the artwork has been completely renewed: the inner sleeve contains in fact many reproductions of posters and lobby cards of the film. Various tracks, never released on LP until today, have also been added to the final tracklist.

File Under: OST, Maestro
Listen Here

stagioni

Ennio Morricone: Le Due Stagioni Della Vita (Vinyl Magic) LP
More than a halo of mystery surrounds Le due stagioni della vita (The two seasons of life), a film virtually impossible to find in any format, that we hardly know the names of its actors and director. The latter, Samy Pavel, of Belgian nationality but born in Egypt in 1944, debuted in 1972 precisely with this film, which was presented at the Venice International Film Festival in the same year. The author of the soundtrack is Ennio Morricone, who was already a World famous composer in those years thanks to his unforgettable soundtracks written for Sergio Leone’s western movies and beyond. He’s here accompanied, as often happened in those years, by conductor Bruno Nicolai and singer Edda Dell’Orso. Entirely orchestral, first of all the LP shows a long suite on side A, composed of a series of the main theme variations; the B-side, on the other hand, presents a brief interlude for solo voices, followed by another long composition that we wouldn’t hesitate to define ‘unbelievable’: sixteen long minutes of a constant tension generated by string instruments only, with sporadic inserts of tribal percussion, dissonant piano chords and notes, and darkened choirs.

File Under: OST, Maestro
Listen Here

teorema

Ennio Morricone: Teorema (Vinyl Magic) LP
Teorema is a film directed by Pier Paolo Pasolini, publicly presented for the first time in September 1968 at the International Film Festival in Venice; it immediately shocked its viewers, like many other of Pasolini’s works, and was seized by the Public Prosecutor of Rome and the director, with producer Donato Leoni, were charged with obscenity – and eventually absolved. The music of the film is divided in two: the original vinyl B-side is entirely occupied by Mozart’s “Messa da Requiem”, while the A-side houses five original compositions written by Ennio Morricone. These ones consist of two opening dissonant and discordant tracks, solely played with classical instruments (“Teorema”, “Frammenti”), a ballad sung by the Junior Trio (“Fruscio di green leaves”), a piece that reminds of a western movie by Sergio Leone (“L’ultima corrida”) and a closing instrumental beat/psych song (“Beat N° 3”).

File Under: OST, Maestro
Listen Here

vergogna

Ennio Morricone: Vergogna Schifosi (Vinyl Magic) LP
Vergogna schifosi is a 1969 movie directed by Mauro Severino, a “Generation ’68” film whose aim is to depict a social protest against the middle-class youth of the time, with the deserted – as empty as the protagonists – city of Milan in the background; everything is tied together by a mysterious murder that occurred years before, resurfaced by a mysterious individual. The soundtrack of this film was entrusted to Ennio Morricone who, with the collaboration of I Cantori Moderni di Alessandro Alessandroni and an incredible Edda Dell’Orso, combined symphonic and pop music, with a jazzy rhythmic background. Six tracks with a soothing and romantic atmosphere that wouldn’t look out of place in a ‘lounge’ compilation; undoubtedly brilliant is the reinterpretation of the famous nursery rhyme melody of “Giro Giro Tondo”, included in the two pieces of the same title “Matto, Caldo, Soldi, Morto… Girotondo”.

File Under: OST, Maestro
Listen Here

MY1601 Night of the Living Dead album cover

Morricone Youth: Night of the Living Dead (Country Club) LP
Original live score composed (except where noted) and performed by MORRICONE YOUTH to George A. Romero’s 1968 Zombie Classic.

File Under: Electronic, OST
Listen Here

newman

Colin Newman: A-Z (Sentient Sonics) LP
Colin Newman’s early 80’s solo albums, originally released on Beggars Banquet / 4AD, now re-released on his own new imprint Sentient Sonics. The vinyl editions have been unavailable for many years—remastered original albums on single LP. The CD versions of the 3 remastered albums are accompanied by a 2nd CD of extra tracks, b-sides & demos – quite a lot of which have never been released – released as double digipacks. These albums were recorded and released between 1980 & 1982 in a “post 154” rush of activity. While all the albums bear the name Colin Newman they differ in that A-Z & Not To were recorded as “band” albums with Colin being joined by Wire’s Robert Grey, Mike Thorne (who also produced, as he had the first 3 Wire albums) & Desmond Simmons on A-Z and Robert, Desmond & Simon Gillham on Not To. provisionally entitled the singing fish was more an “actual” solo album in that everything was played by himself. Colin produced the latter 2 albums with Steve Parker engineering.

File Under: Rock, New Wave, Wire
Listen Here

newman21

Colin Newman: Not To (Sentient Sonics) LP
Colin Newman’s early 80’s solo albums, originally released on Beggars Banquet / 4AD, now re-released on his own new imprint Sentient Sonics. The vinyl editions have been unavailable for many years—remastered original albums on single LP. The CD versions of the 3 remastered albums are accompanied by a 2nd CD of extra tracks, b-sides & demos – quite a lot of which have never been released – released as double digipacks. These albums were recorded and released between 1980 & 1982 in a “post 154” rush of activity. While all the albums bear the name Colin Newman they differ in that A-Z & Not To were recorded as “band” albums with Colin being joined by Wire’s Robert Grey, Mike Thorne (who also produced, as he had the first 3 Wire albums) & Desmond Simmons on A-Z and Robert, Desmond & Simon Gillham on Not To. provisionally entitled the singing fish was more an “actual” solo album in that everything was played by himself. Colin produced the latter 2 albums with Steve Parker engineering.

File Under: Rock, New Wave, Wire
Listen Here

newman2

Colin Newman: Provisionally Entitled… the Singing Fish (Sentient Sonics) LP
Colin Newman’s early 80’s solo albums, originally released on Beggars Banquet / 4AD, now re-released on his own new imprint Sentient Sonics. The vinyl editions have been unavailable for many years—remastered original albums on single LP. The CD versions of the 3 remastered albums are accompanied by a 2nd CD of extra tracks, b-sides & demos – quite a lot of which have never been released – released as double digipacks. These albums were recorded and released between 1980 & 1982 in a “post 154” rush of activity. While all the albums bear the name Colin Newman they differ in that A-Z & Not To were recorded as “band” albums with Colin being joined by Wire’s Robert Grey, Mike Thorne (who also produced, as he had the first 3 Wire albums) & Desmond Simmons on A-Z and Robert, Desmond & Simon Gillham on Not To. provisionally entitled the singing fish was more an “actual” solo album in that everything was played by himself. Colin produced the latter 2 albums with Steve Parker engineering.

File Under: Rock, New Wave, Wire
Listen Here

drive

OST: Drive (Invada) LP
Cliff Martinez’s iconic soundtrack to the cult classic film Drive by Nicolas Winding Refn is turning 5, and to mark the anniversary, Invada Records and Lakeshore Records will be co-releasing a limited edition version of the soundtrack. This features Martinez’s score and all other music used in the film, including the legendary tracks by College, Kavinsky and Desire. This release will feature brand new liner notes written by the film’s director Nicolas Winding Refn, and also by the score’s composer Cliff Martinez. Pictured above, this edition is also presented with stunning new artwork by Lakeshore art director John Bergin. Cliff Martinez has made a name for himself as one of the soundtrack world’s most innovative composers, having worked on many other classics such as Solaris, Farcry 4, The Neon Demon and Lincoln Lawyer.

File Under: Electronic, OST
Listen Here

narcos

OST: Narcos (Invada) LP
Invada are thrilled to announce the vinyl release of Pedro Bromfman’s incredible score to “Narcos” season one, the 10-episode Netflix series which tells the story of notorious drug kingpin Pablo Escobar, detailing his gory rise to power. The 28-track release includes Bromfman’s sinister instrumental cues, with dark, criminal undertones and a haunting atmosphere. The release also contains the show’s theme song ‘Tuyo’ by Brazilian songwriter Rodrigo Amarante. Bromfman is known for his previous work on Brazilian crime thriller “Elite Squad” and for his work on “Robocop”. His score for “Narcos” will appeal to fans of Paris Texas OST, Drive OST and Donnie Darko OST.

File Under: OST
Listen Here

planet

OST: Planet of the Apes (Mondo) LP
Mondo is thrilled to be releasing Jerry Goldsmith’s absolutely astounding score to one of the greatest science fiction films of all time: the original Planet of the Apes. Nominated for an Academy Award, Goldsmith’s score is unlike anything moviegoers had heard before – avant garde, experimental and using every instrument Goldsmith could get his hands on. It stills spins heads today. Essential listening for soundtrack collectors, and fans of the franchise.

File Under: OST, Mondo
Listen Here

tp0004c_Double_Gate_Cover_only

OST: Shock Waves (Waxwork) LP
Waxwork Records is thrilled to announce the vinyl debut of SHOCK WAVES. The 1977 film stars horror movie legend Peter Cushing and is directed by Ken Wiederhorn (Return Of The Living Dead 2). The 100% analog synth score composed by Richard Einhorn (The Prowler, Don’t Go In The House) marks one of the earliest electronic compositions created for film. Waxwork is proud to finally release this landmark electronic horror score in vinyl format 40 years after the film’s initial public release. LP package features include the complete score available on vinyl for the very first time, composer liner notes by Richard Einhorn, director liner notes by Ken Wiederhorn, heavyweight old style tip-on gatefold jackets, “Sea Foam Green” colored vinyl, all new album artwork by Marc Schoenbach of Sadist Art Designs, and center label art by Ghoulish Gary Pullin.

File Under: OST
Listen Here

roelens

Puccio Roelens: Musica Per Commenti Sonori (Schema) LP
“Musica per commenti sonori”, also known as “Lipstick” and released by Costanza, came out in 1979 and is one of Roelen’s latest examples of library music before his death, which occurred in 1985. The tracks are often characterized by a typical late-seventies funky mood, but they also feature some laid down moments that would sound great in some erotic films soundtracks. ‘Music for all hours’ says the back cover, and that’s perfectly true!

File Under: Italian, Library
Listen Here

simone

Nina Simone: A Very Rare Evening (Tidal Waves) LP
Tidal Waves Music proudly presents the re-issue for Nina Simone’s A Very Rare Evening. Originally released on PM records in 1979, featuring Weldon Irvine on organ, Don Allias on drums and Jazz legend Gene Perla on bass. Included on these European sessions from 1969 you’ll find Nina classics & rare versions of recordings written by Aretha Franklin, Barry Gibb, Randy Newman & Pete Seeger. One of the most sought after Nina Simone albums is now back available as a deluxe limited vinyl edition for the first time since 1979. Produced by Gene Perla, officially licensed from PM Records & featuring the original artwork created by A.M. Schnider. “It’s her first LP in years, but was taped back in 1969 in Europe with a confident, impressive organ and rhythm section backup band. Simone is an acquired taste. But, for those who appreciate her singing, these eight tracks will prove welcome.” – BILLBOARD Anything by this lady of song is welcome, especially when she’s in front of an adoring audience, as she is in these decade-old, never-released sides. Simone covers all bases from Barry Gibb’s “In The Morning,” to Pete Seeger’s adaptation from the Book of Ecclesiastes, “Turn! Turn! Turn!” She gives special meaning to such tunes as the poignant “The Other Woman,” the gospel inflected “Save Me,” and “I Think It’s Going To Rain Today.” But the highlight is her own tune, composed with keyboardist Weldon Irvine, Revolution.”- CASH BOX MAGAZINE “Though the Simone catalog overflows with live recordings, this 1969 German concert outranks all others. Focusing almost exclusively on then-contemporary material—the Gibb brothers’ “In the Morning” and “To Love Somebody,” Randy Newman’s “I Think It’s Going to Rain Today,” Aretha Franklin’s “Save Me,” the Byrds’ “Turn! Turn! Turn!”—Simone is at her most assuredly earthy and intrepidly regal.” – THE JAZZ TIMES

File Under: Jazz, Soul
Listen Here

zoo

Giuliano Sorgini: Zoo Folle (Four Flies) LP
First official reissue ever for this Italian holy-grail soundtrack, finally back to life in a long-waited 180gr. limited edition, supervised by M° Giuliano Sorgini himself, who also wrote his personal liner notes. Remastered from the original master tapes that were preserved for more than 40 years in almost perfect shape, ZOO FOLLE is a highly sought after psych-funk album, a true masterpiece for all breaks-beat lovers, full of rhythmic percussion, acid flute, synth work, dark electronics, drum machines, and crazy hand-claps. The score was composed for an Italian TV movie in 1974, directed by Riccardo Fellini (brother of the most well-known Federico), and originally released on Ricordi Label in the same year. Featuring Edda Dell’Orso and some of the best and leading Italian session players in the soundtrack and library landscape, such as Maurizio Majorana and Antonello Vannucchi (from I MARC 4), Nino Rapicavoli on flute, and Giuliano Sorgini himself on organ, keyboards, piano, drums, and percussion.

File Under: Italian, OST, Funk
Listen Here

stone

Carl Stone: Electronic Music from the Seventies & Eighties (Unseen Worlds) 3LP
“Of the serious composers to come out of 1980s California, Carl Stone is the one who has always performed in nightclubs as well as concert halls, for spiky-haired punks as well as the Ph.D-and-ponytail set – his brand of electro-acoustic bricolage was probably better known among jazz musicians than it was to the blue-haired Monday Evening Concerts crowd.” – Jonathan Gold, from the liner notes. This 3LP set contains a selection of seven early works by American composer Carl Stone, all previously unpublished except for “Shing Kee,” which appeared on the 1992 New Albion CD release, Mom’s. Notorious, formerly elusive recordings like “Sukothai,” “Shibucho,” and “Dong Il Jang” exemplify how Stone masterfully guided his art through the transition period when New Music exited the loft scene of the 1970s for a stab at commercial presence in the 1980s, satisfying both impulses by fusing his compositional ambition with systems of live performance that were simultaneously pop savvy, commercial suicide, and technologically and aesthetically forward thinking. His live performance practice, documented here in a carefully restored archival recording of “Kuk Il Kwan” at The Kitchen in 1981, has merged seamlessly with today’s computer-driven methods. The earliest works of this collection, “LIM” and “Chao Praya,” realized on the Buchla 200, date to the early 1970s while Stone was a student of James Tenney and Morton Subotnick at CalArts, a rare glimpse of Stone working with purely electronic source material. Liner notes by Carl Stone, Jonathan Gold, Richard Gehr, and Marc Weidenbaum accompany on a gatefold sleeve. Download card is included with a digital-only bonus track, “Unthaitled” from 1978. Mastered and cut by Rashad Becker.

File Under: Early Electronic, Experimental
Listen Here

saltlick

Tad: Salt Lick (Sub Pop) LP
TAD was a mighty force in the late-‘80s/early-‘90s Seattle scene. Their heavy, churning rock/metal/punk buzz was a crucial part of Sub Pop’s early years, and, along with peers like Mudhoney, Nirvana, and Soundgarden, they defined the sound that reinvigorated the rock world in the early ‘90s. TAD was led by the physically imposing yet incredibly sweet singer/guitarist Tad Doyle, with bassist Kurt Danielson (Bundle of Hiss), drummer Steve Wied, and guitarist Gary Thorstensen. With an image that sometimes cast the band as deranged lumberjacks, and influence from Head of David and Killdozer, TAD put a uniquely rain-and-fog-coated Northwest spin on ‘80s underground rock. The band released two albums and a few EPs on Sub Pop between 1988 and 1991, all of which are now lovingly remastered by the band’s friend and engineer Jack Endino (Soundgarden, Nirvana, Mudhoney, Screaming Trees) and repackaged with bonus tracks (available on an accompanying download) and expansive liner notes. After their 1989 debut album, God’s Balls, TAD continued to write and record, releasing a string of singles and the Salt Lick EP between 1989 and 1990. Salt Lick features the single “Wood Goblins,” the video for which MTV banned because it was, to the delicate eyes of MTV programmers, “too ugly.” The sounds of Salt Lick are, indeed, wonderfully ugly, thanks in part to the involvement of noise-rock technician Steve Albini (Big Black, Shellac, Nirvana, The Jesus Lizard), who recorded the EP. The band continued to release singles and gain momentum in the press. As Tad himself puts it: “Lyrically we had a lot of subject matter that was meant to be tongue in cheek from the beginning but had been presented by Sub Pop and ourselves as true-to-life. As a result, the press had taken it all seriously and began to feed on and ravenously devour the mythology that we had created.” This reissue of Salt Lick includes tracks from the “Wood Goblins” single, a split 7″ with Pussy Galore, and the “Loser” 7″ on an accompanying download.

File Under: Noise Rock, Grunge
Listen Here

8way-santaTad: 8-Way Santa (Sub Pop) LP
TAD was a mighty force in the late-‘80s/early-‘90s Seattle scene. Their heavy, churning rock/metal/punk buzz was a crucial part of Sub Pop’s early years, and, along with peers like Mudhoney, Nirvana, and Soundgarden, they defined the sound that reinvigorated the rock world in the early ‘90s. TAD was led by the physically imposing yet incredibly sweet singer/guitarist Tad Doyle, with bassist Kurt Danielson (Bundle of Hiss), drummer Steve Wied, and guitarist Gary Thorstensen. With an image that sometimes cast the band as deranged lumberjacks, and influence from Head of David and Killdozer, TAD put a uniquely rain-and-fog-coated Northwest spin on ‘80s underground rock. The band released two albums and a few EPs on Sub Pop between 1988 and 1991, all of which are now lovingly remastered by the band’s friend and engineer Jack Endino (Soundgarden, Nirvana, Mudhoney, Screaming Trees) and repackaged with bonus tracks (available on an accompanying download) and expansive liner notes. In 1991, after tens of thousands of miles on the road in support of God’s Balls, and a run of powerful EPs/singles, TAD released their second full-length album, 8-Way Santa. Recorded at Smart Studios in Madison, Wisconsin with Butch Vig, whose work with Killdozer the band admired, 8-Way Santa finds TAD pushing their sound in new directions. Not a band to rest on its laurels, TAD began to add melodic touches to their sound, as evidenced by the lead single, “Jinx.” Many touring dates and shows followed the record, plus a copyright-infringement brouhaha over the original album cover – which was quickly pulled from stores when the couple portrayed in the cover photo objected. 8-Way Santa was the last record with the original TAD lineup, and their last album for Sub Pop before jumping to a major label. This reissue of 8-Way Santa includes tracks from the “Jinx” single, a 1990 EP, and a handful of unreleased album demos recorded by Jack Endino on an accompanying download coupon.

File Under: Noise Rock, Grunge
Listen Here

godsballs

Tad: God’s Balls (Sub Pop) LP
TAD was a mighty force in the late-‘80s/early-‘90s Seattle scene. Their heavy, churning rock/metal/punk buzz was a crucial part of Sub Pop’s early years, and, along with peers like Mudhoney, Nirvana, and Soundgarden, they defined the sound that reinvigorated the rock world in the early ‘90s. TAD was led by the physically imposing yet incredibly sweet singer/guitarist Tad Doyle, with bassist Kurt Danielson (Bundle of Hiss), drummer Steve Wied, and guitarist Gary Thorstensen. With an image that sometimes cast the band as deranged lumberjacks, and influence from Head of David and Killdozer, TAD put a uniquely rain-and-fog-coated Northwest spin on ‘80s underground rock. The band released two albums and a few EPs on Sub Pop between 1988 and 1991, all of which are now lovingly remastered by the band’s friend and engineer Jack Endino (Soundgarden, Nirvana, Mudhoney, Screaming Trees) and repackaged with bonus tracks (available on an accompanying download) and expansive liner notes. God’s Balls, TAD’s punishing, noise-drenched debut album, was recorded with Jack Endino at Reciprocal Recording in Seattle in 1988, and released early the following year. In addition to their usual arsenal of guitars, bass, and drums, the band employed a variety of unusual instruments – an empty gas tank from a car, a hacksaw, a large brass tube from a microwave transmitter, CB radio mics, a cello bow used on cymbals to emulate guitar feedback – to thunderous effect, adding a Neubauten-esque clang to the band’s rock riffs. After releasing God’s Balls, TAD flew to Europe with Nirvana for both bands’ first European tour. The now-legendary, month-long tour took the bands to the UK, Ireland, Scotland, France, Belgium, Switzerland, Germany, Austria, Czechoslovakia, Hungary, Italy, Denmark and Sweden. This reissue of God’s Balls features bonus tracks from TAD’s 1988 debut 7″, plus the previously unreleased “Tuna Car” from the 7″ session on an accompanying download coupon.

File Under: Noise Rock, Grunge
Listen Here

victims

Victims: Form Hell (Death Waltz) 10″
Form Hell is the debut release by Victims, the collaborative project of film composer Timothy Fife, and Video Nasties member, Chris Livengood. Mainstays in the darkest, most obscure netherworlds of the New England underground scene, the work of these individuals has circulated over the past decade only amongst the filthy hands and minds of those in the know. Together as Victims, the two make synthesizer music inspired in equal measure by the highest and lowest expressions of the medium. For every nod to Subotnick and Mort Garson there’s a indiscrete wink aimed at Marcello Giombini and Walter Sear. “Form Hell” finds the two minds meeting and melting at their most damaged point: the holes torn open by repeated viewings of the most filthy of films, setting forth a pulsating kosmiche geyser of shimmering cinematic sounds. Perhaps if Tangerine Dream geared up and jammed immediately after their 12th consecutive viewing of Burial Ground: Night of Terror, it might sound something like this. If Michael Hoenig had scored The Gate before abandoning his analog synths, those fleshy little minions would’ve been dancing to the arpeggiated menace of Form Hell.

File Under: Electronic, Synthwave
Listen Here

weezer

Weezer: s/t (Geffen) LP
Weezer doesn’t look like rock stars, its amusing name doesn’t evoke stadium-heights glories, and the group’s lyrics don’t exude confidence or flash. For precisely these reasons, and the fact that the band’s songs on their Ric Ocasek-produced 1994 self-titled debut are the stuff of air-guitar dreams and shout-it-out choruses, the quartet became ironic arena-rock stars equally celebrated by in-the-know hipsters and mainstream radio listeners. Underdogs and misfits, Weezer emerged from Los Angeles, CA as nerdy kids that eschewed traditional party-hard ways in favor of studying Kiss records, engaging in conversations about old LPs, and playing Dungeons and Dragons. The band’s awkwardness joyfully translates in the songs on their debut, largely concerned with jealous insecurities, pop culture, true-to-life heartbreak, common accidents, youthful misconceptions, and daydreaming. Replete with urgent melodies, quirky confessional narratives, wry humor, and gargantuan hooks, Weezer (Blue Album) remains the best geek-rock record ever made. More than three-times platinum, the Blue Album claims an iconic cover that pays tribute to that of the Feelies’ Crazy Rhythms. The picture – as well as the bubblegum-inspired content within – has become an indelible part of modern culture. And “My Name Is Jonas,” “Say It Ain’t So,” “Buddy Holly,” and “Undone (The Sweater Song)” are all modern classics.

File Under: Rock
Listen Here

younge

Adrian Younge: The Electronique Void: Black Noise (Linear Labs) LP
Adrian Younge calls The Electronique Void an academic album, by which he means it is both instructional and informational. There’s a problem at the heart of it, a woman who’s been told that she’s loved, but she doesn’t recognize that, can’t feel it, may have heard it all before, may be worrying about the wrong things. Jack Waterson, long a guitarist in Younge’s band, plays the role of narrator, sounding professorial and rather superior as he lays out for the woman where she’s erred. That vocoder you hear is Adrian, talking to her on a subterranean level, the way an artist must. Music, especially electronic music, reliant as it is on abstraction and unrepentant as it is about hijacking your physiological responses to tempo and rhythm and dynamics, is a way to get there without going through it. Electronic music as practiced and developed by pioneers like Dick Hyman and Raymond Scott and Wendy Carlos is precise and intentional. In making his first electronic album, Younge took his cues from them, reminding a contemporary audience what a synthesizer, deep in its heart, really could be. The lady of The Electronique Void, only ever seen through a man’s eyes, who’s being told what to do by him, sounds trapped by her history and by her position, her ancestors’ trauma echoing through her lineage and booming out of her as a phobia, distrust, misapprehension, rational response to a fucked up situation. Waterson’s text here seems to say that if his character could go back in time, catch her before the damage was done, she would be able to love. And that’s reasonable. Don’t get hooked. Don’t do wifey shit for a fuck boy. Don’t let it go to your head, no. It’s also possible he has no idea what he’s talking about. The lessons for men in The Electronique Void are unspoken but plain as day. This music is an urgent tutorial. Adrian Younge looks at us and sees the frontline of a crisis, something we only have time to triage right now. This isn’t romantic and it isn’t about settling down. This is the fight of our lives: how to love.

File Under: Electronic
Listen Here

lazarusVarious: David Bowie’s Lazarus (Columbia) 3LP
As the November 2016 UK opening of Lazarus at London’s King Cross Theatre approaches, the cast and band of the original New York production will release their versions of the David Bowie songs from the show as the Lazarus Cast Album in October. Standing alongside the cast’s interpretations of classics from his canon are the three final Bowie studio recordings. Co-produced by Bowie and Tony Visconti and recorded with Donny McCaslin and his quartet, the same band that played on Bowie’s ★ album, these last three songs – “No Plan,” “Killing A Little Time,” “When I Met You” – bring completely new dimensions to their cast counterparts. The original ★ version of “Lazarus” is also included on the cast album.  The Lazarus cast album was produced by the show’s musical director Henry Hey, who had previously worked with Bowie on “The Next Day” and features vocals from Hall, Caruso, Cristin Milioti, Michael Esper and other cast members backed by the seven-piece house band Hey assembled for the New York run. The album was recorded January 11, 2016. Upon arriving at the studio, the musicians and cast were shocked and saddened to learn that Bowie had passed away the evening before. Their emotional performances that day are captured on this recording. The distinctive artwork for the Lazarus cast recording has been designed by Jonathan Barnbrook who also worked with Bowie on the ★, The Next Day, Heathen and Nothing Has Changed albums.  Written by Bowie and Enda Walsh, directed by Ivo Van Hove and produced by Robert Fox, Lazarus opened December 7, 2015 at the New York Theatre Workshop to great critical acclaim. The New York Times raved “Ice-cold bolts of ecstasy shoot like novas through the glamorous muddle and murk of Lazarus, the great-sounding, great-looking and mind-numbing new musical built around songs by David Bowie,” while Rolling Stone hailed it as a “Surrealistic Tour de Force… milk-swimming, lingerie-sniffing, gin-chugging theater at its finest.”

File Under: OST, Rock
Listen Here

puissance

Various: Puissance 13 + 2 (Lion) LP
“The atmosphere was wonderful throughout all of the recording sessions, sessions recorded in the open air, in the sunshine, amongst friends. We were motivated simply by the desire to play music, the music we love the way we wanted to play it. All the titles on this album are unreleased, and most of them were recorded specifically for this occasion…. this isn’t any old debut, it’s the Debut.” — Laurent Thibault (1971) Amazing sessions by the cream of underground French prog and psych bands, first released in 1971 on Thélème, a boutique label owned by Magma bassist and Barclay Records manager Laurent Thibault. When Thibault founded Thélème, he wanted to set up a prestige outfit. He had this in mind when he set out to fulfill his ambition of presenting a panorama of the French rock scene by gathering the best groups in France together on one double-album, to be recorded at the legendary Chateau d’Hérouville studio, live in the courtyard with no overdubs. Thibault had hoped that labels would allow their best acts to appear. Philips offered Magma (the version of ‘Mekanik Kommando’ appearing on Puissance is the first ever conceived or recorded by the band) and Catherine Ribeiro; Barclay allowed Alain Markusfeld to participate; Le Chant du Monde let Voyage appear. The band Catharsis said yes; so did Contrepoint, discovered by Magma’s René Garber. Thélème artists included Ergo Sum, MOR, Zabu, and Solitude. Two guests from America were recommended by Le Chant du Monde: folk-singers Roger Mason and Steve Waring. And happily Spectre, a band featuring legendary Hérouville engineer Dominique Blanc-Francart, brought the monster prog jazz funk synth madness of ‘Arkham’. Brilliant!

File Under: Prog
Listen Here

…..Restocks…..

Avalanches: Wildflower (Astralwerks) LP
Butthole Surfers: Electriclarryland (Plain) LP
Cranberries: No Need To Argue (Plain) LP
Damned: Machine Gun Etiquette (Chiswick) LP
Miles Davis: Agharta (4 Men With Beards) LP
Miles Davis: Bitches Brew (Legacy) LP
Miles Davis: In A Silent Way (Legacy) LP
Miles Davis: Kind of Blue (Legacy) LP
Miles Davis: Sketches of Spain (Legacy) LP
Goblin: Susperia (AMS) LP
Jaylib: Champion Sound (Stones Throw) LP
King Crimson: In the Wake of Poseidon (Pangaea) LP
Michael Kiwanuka: Home Again (Universal) LP
LCD Soundsystem: Sound of Silver (DFA) LP
Lydia Loveless: Real (Bloodshot) LP
Massive Attack: Mezzanine (EMI) LP
James Vincent McMorrow: We Move (Dine Alone) LP
Minor Victories: s/t (Fat Possum) LP
Mumford & Sons: Babel (Glass Note) LP
Mumford & Sons: Sigh No More (Glass Note) LP
OST: It Follows (Milan) LP
OST: The Neon Demon (Milan) LP
Pharcyde: Labcabincalifornia (Bicycle Music) LP
Porcupine Tree: Stupid Dreams (Kscope) LP
Prince: Sign o the Times (Warner) LP
Steve Reich: Music For 18 Musicians (Nonesuch) LP
The Shaggs: Philosophy of the World (Light in the Attic) LP
Slint: Spiderland (Touch & Go) LP
Sparklehorse: It’s A Wonderful Life (Plain) LP
William Tyler: Modern Country (Merge) LP
Wilco: Schmilco (Anti) LP
Various: Wayfaring Strangers: Cosmic American Music (Numero) LP

Tagged , , , , , ,

…..news letter #764 – disco disco dj…..

This might be a tad last minute for some of y’all, but I’m not one for a lot of self promotion, but…. I’m heading to the Black Dog to DJ tonight after I close up the shop. I’ll be upstairs spinning records with Yuri for the final installment of Dig It! Thursdays. If you find yourself bored and on the southside, you should come hang out and have a beer while I play some wild and wonderful things!

…..pick of the week…..

deuter

Deuter: Kundalini Meditation (Deuter) LP
New age masterpiece from krautrock mystic Deuter, this album contains the music for the first two stages of an hour long kundalini meditation developed for westerners by Rajneesh (later known as Osho). The stages involve listening to the music and “Shaking” (stage one), “Dancing” (stage two), and “Witnessing” (stage three). These stages are not really meditations but a sort of preparation to facilitate meditation. Rajneesh had been trying to teach the practice of direct meditation for ten years before he realized his effort was futile: “I would say, ‘Relax’, to those I was teaching. They would appear to understand the meaning of the word, but they could not relax.” He developed a technique that would activate the body with intense movement, creating tension in order to allow for the stillness of the meditation. Deuter and Rajneesh (along with a team of disciples that tested and consulted on these methods) collaborated to make music that would (in stage one and two) occupy the mind and compel the body. The music of stage three was designed to relax the body and compel the mind to awareness, acting as a transition to stage four, which is silent, with the person lying down, (actually) meditating. Speaking about music, Rajneesh wrote, “Between sounds of music there are gaps of silence. The authentic music consists not of sounds, but of the gaps. Music can make you aware of those gaps more beautifully than anything else.” While living at the ashram as a disciple of Rajneesh, Deuter produced a series of compositions to be used in these “active” meditations. They were recorded using a multitrack tape machine and an assortment of acoustic and electronic instruments – guitar, tambura, bells, percussion, and synthesizers. The playing style is repetitious yet dynamic, incorporating loops, Indian classical motifs, musique concrète, and pastoral acoustic passages. Kundalini Meditation, never released on vinyl in the states, is presented here for the first time with the full length tracks. It was originally released in 1979.

File Under: Krautrock, New Age, Kosmische

…..new arrivals…..

allen

Tony Allen: HomeCooking (Comet) LP
Originally released in 2002, Comet presents the legendary album from Tony Allen, HomeCooking, reissued with a remastered version. Tony Allen talks about the album: “After Black Voices and Psyco On Da Bus albums, I came back with HomeCooking which was an album filled with guests. I brought in Ty, who had remixed some of my work previously, to rap on the record, and Damon Albarn, who had already sung about me on ‘Music Is My Radar’. On the first day in the studio, Damon didn’t record anything because we were enjoying ourselves too much. He came with two boxes of champagne and everyone got boozed and he decided he’d take the music back to his own studio and finish it there. That was the beginning of our friendship and since then we’ve done a lot of different things. Since the early days I’ve been trying to find things that everybody will want to listen to. I’ve always been pushing Afrobeat in different directions. Here’s another one again, another style, almost clean but still rough, raggedy and radical.” Also features: Mary & Norman and Eska.

File Under: Afrobeat, Funk, Jazz
Listen Here

hubris

Oren Ambarchi: Hubris (Editions Mego) LP
“Hubris continues the exploration of relentless, driving rhythms heard on Oren Ambarchi’s Sagittarian Domain and Quixotism. Where those records looked to krautrock and techno for their starting points, the side-long opening track on Hubris begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack to William Friedkin’s To Live and Die in L.A. (1985). Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O’Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell’s electronic percussion in its final section. After a short second part, in which Ambarchi, O’Rourke and Crys Cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered bass guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronic rhythms from Ricardo Villalobos and the twin drums of Joe Talia and Will Guthrie, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP (1983). As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi’s own fuzzed-out guitar harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.” — Francis Plagne. Mastered and cut by Rashad Becker at D&M, Berlin, April 2016. Photography by Estelle Hanania. Sculptures by Daniel Druet. Design by Stephen O’Malley.

File Under: Electronic, Krautrock, Minimal
Listen Here

aycockDylan Golden Aycock: Church of Level Tracks (Scissor Tail) LP
“Dylan Golden Aycock is part of the new generation of guitar pickers young enough to first have been influenced by early volumes of Tompkins Square Records’ Imaginational Anthem series and then to be anthologized on a later one. The Oklahoma native is on Volume 7, should you feel like looking, playing an early version of ‘Red Bud Valley,’ which sits in the middle of the B-side of the LP under consideration here. Aycock’s composing on Church Of Level Track offers evidence that he’s well studied in a lineage of American Primitive pickers that stretches back decades before he was born. ‘Lord It Over’ puts it right out there by opening with a double-thumbed bass line right out of John Fahey’s bag of tricks. But this quotation is merely an opening gambit, and one that is quickly followed by moves that prove Aycock is no parrot but a bird with his own song to sing. The steel guitar that sails in over his picking evokes first the bucolic playfulness of Jim O’Rourke’s Bad Timing and then keeps going back into the deep back shelves of country-rock lyricism. At the same time a virtual band (Aycock plays everything on the track and nearly everything on the LP) sets up a subtle undertow of entropic drumming and echo-laden feedback. . . .” –Bill Meyer (Dusted Magazine, Chicago Reader)

File Under: Folk, Blues, Guitar Soli
Listen Here

bitori

Bitori: Legend of Funana (Analog Africa) LP
In 1997, an unassuming 59-year-old man named Victor Tavares — better known since the late 1950s as Bitori — walked into a studio for the very first time to record a work that many Cabo Verdeans consider to be the best funaná album ever made. Analog Africa’s Legend Of Funaná marks the first time that these recordings, originally issued as Bitori Nha Bibinha & Chando Graciosa in 1998, have been available outside of Cape Verde, bringing Bitori’s beloved accordion-based sound to the world. In 1954, Bitori embarked on a journey across the seas to the island nation of São Tomé and Príncipe with the hopes of returning with an accordion. Following two years of hard labor, Bitori had saved enough money to acquire what was to become his most valued possession. The two-month journey back to Cape Verde provided time enough for him to master the instrument. Self-taught, Bitori developed his own style, an infectious blaze that quickly caught the attention of the older generation. Before long Bitori was asked to perform at local festivities around Praia, the capital of Cape Verde. But not everybody welcomed the rural accordion-based sound of the funaná. Perceived as a symbol of the struggle for Cabo Verdean independence and frowned upon as music of uneducated peasants, the funaná was prohibited by Portuguese colonial rulers. Performing it in public or in urban centers had serious consequences — often jail time and torture. As a result, the funaná began to slowly disappear. In 1975, Cape Verde achieved independence from Portuguese colonial rule, and the ban on the funaná was lifted. Many artists embraced the funaná, translating and adapting its musical form in new ways. It was not until the mid-1990s, however, that the funaná in its traditional form was actually recorded. A young singer from the Cabo Verdean town of Tarrafal, Chando Graciosa, heard Bitori and immediately felt drawn to his playing style — a raw, passionate sound accompanied by honest lyrics that reflected the harsh reality of the Cabo Verdean working class. He approached Bitori suggesting they join forces and travel overseas to take the funaná beyond its rural roots. After introducing a receptive European audience to the vibrant energy of the funaná, Bitori eventually returned to his beloved Cape Verde, while Graciosa settled in Rotterdam. Graciosa vowed, however, to bring Bitori to Holland to eventually record an album. In 1997, the time was ripe to immortalize the sound Bitori had shaped over four decades. Drummer Grace Evora and bassist Danilo Tavares helped record “Bitori Nha Bibinha,” which catapulted Graciosa to stardom, establishing him Cape Verde’s foremost interpreter of the funaná. Bitori’s songs quickly became standards — classics known and loved throughout the country.

File Under: African, Latin, Funk
Listen Here

darkthrone

Darkthrone: Arctic Thunder (Peaceville) LP
Norwegian duo, Darkthrone, return with their first new studio material since 2013’s triumphant The Underground Resistance; the album becoming the band’s most successful release in recent years. Darkthrone’s new album Arctic Thunder is due for release in October 2016 through Peaceville. A new heavy metal odyssey now awaits fans as Fenriz and Nocturno Culto once more show their mastery of “the riff,” demonstrating why Darkthrone remain one of the most respected and enduring acts in the history of extreme metal. An eclectic mix of free-spirited 80’s fueled blackened heavy metal, all executed in Darkthrone’s trademark raw and organic style, Arctic Thunder was recorded and produced by the band themselves, with the sessions conducted at Darkthrone’s old rehearsal unit, The Bomb Shelter, which they had originally used during 1988-1990. With themes based around hate, contempt, and the inner mind and soul, and with the notable presence of Nocturno Culto on vocal duties across all songs for the first time in recent years, Arctic Thunder retains a grim atmosphere throughout the album’s 8 tracks, with mastering once again handled by Jack Control at Enormous Door.

File Under: Black Metal
Listen Here

detroit

Eddy Detroit: Black Crow Gazebo (Assophon) LP
Eddy Detroit returns with a brand-new LP! The legend refuses to diminish. Eddy Detroit crafts eight new songs full of his trademark twisted folk, satanic Americana, and trance voodoo magic. This album ventures into the deranged psychosis of the Phoenix AZ characters that inhibit Eddy’s world. Multiple-personality girlfriends, twisted and rouge hanger-goners, and life as a street musician in the infernal Arizona summer heat. Another cast of local musicians are on board for this record that features cello, ocean drum, piano, guitar, bongos, and violin. This is all capped off by the B-side, a deep, trance-inducing descent into Dante’s Inferno that features Alan Bishop (Sun City Girls) on vocals, Doug Clark (Victory Acres/Feederz) on synthesizer, and Eddy Detroit on bongos — overlaid with a recording of Eddy Detroit waxing on about his extraordinary life. “Toe Sucker Beach” is meant as an homage to The Velvet Underground’s “The Gift” — a track that can be listened to as a whole or as a hard pan, with the demented instrumental in one channel and Eddy’s reminiscences in the other channel. This record is another swan dive into the brilliant mind of one of the most original outsider musicians out there. Limited edition of 400. Released to coincide with Eddy’s Detroit’s first European tour in the fall of 2016.

File Under: Outsider, Exotica
Listen Here

stranger-things

Kyle Dixon & Michael Stein: Stranger Things OST (Lakeshore) LP
We’ve got a bunch en route, either they’ll all show up tomorrow, or a few tomorrow and the rest early next week… A love letter to the ’80s classics that captivated a generation, Stranger Things is set in 1983 Indiana, where a young boy vanishes into thin air. As friends, family and local police search for answers, they are drawn into an extraordinary mystery involving top-secret government experiments, terrifying supernatural forces and one very strange little girl. Lakeshore Records has partnered with UK’s Invada Records founded by Geoff Barrow to press and release Stranger Things Vol. 1 Soundtrack (composed by S U R V I V E’s Kyle Dixon and Michael Stein) on vinyl for a release date in October 2016 just in time for Halloween. The release will be a double disc gatefold package with a printed insert featuring album credits and additional art. Michael Stein explained to Noisey: “We discussed having a classic tone and feel to the music for the show but being reserved enough that it wasn’t ’80s cheese, while offering a refreshing quality so that felt modern as well – which is one of the qualities that drew them to our music in the first place. Having a familiarity with classic synths works but with an overall modern and forward thinking approach.”

File Under: OST, Electronic, Synth
Listen Here

harris

Betty Harris: Lost Queen of New Orleans Soul (Soul Jazz) LP
Betty Harris’ The Lost Queen of New Orleans Soul collects together the steady stream of amazing soul and funk singles she issued from 1964 to 1969, under the musical guidance of legendary composer, musician and producer extraordinaire Allen Toussaint, a collection which truly captures the heart and soul of the city of New Orleans during this era. Harris’ powerful, fiery soulful vocals found a perfect accompaniment with the New Orleans’ players that Toussaint put together to back her, which by the time of her funk classic “There’s A Break In The Road” were the legendary supertight, super-funk New Orleans group The Meters. With the extraordinary song-writing skills of Toussaint alongside the powerful, soaring, confident and emotive singer and the groove of The Meters, you have an unbeatable combination. That Harris never in fact lived in New Orleans (she flew in from Florida for all her sessions with Toussaint’s local in-house players) seems almost an irrelevance, a geographical aside to the defining New Orleans sound captured on the recordings featured here. All of the singles featured here were released on Toussaint and his business partner Marshal Sehorn’s local New Orleans label Sansu, widely distributed in the southern city but in only limited quantities elsewhere. As a consequence, Harris’ music failed to achieve the commercial success of other New Orleans artists such as Lee Dorsey (who she recorded with) and The Meters (who backed her). And so at the end of the decade she stopped recording, retired from the music business to raise her family in Florida. This is no reflection of the stunning musical quality of all these songs which encompass everything from southern soul, heavy funk, deep soul ballads and northern soul. Harris has been a cornerstone of Soul Jazz Records’ New Orleans Funk and New Orleans Soul compilations. Always soulful and always funky, Betty’s music contains the essence of New Orleans music. She is the Lost Soul Queen of New Orleans. This collection is released on heavyweight gatefold double LP vinyl (with download code).

 File Under: Soul
Listen Here

xharris

Xander Harris: California Chrome (Rock Action) LP
In his 5th album as Xander Harris, the bloke off Buffy The Vampire Slayer continues to pursue a horror disco sound for Mogwai’s Rock Action label, picking up precisely where he left us with the Cry Havoc 7” back in 2014 with a pensively slow suite of EBM and Italo grooves galvanised with cinematic synth mettle. Perhaps not your typical Rock Action fayre, but it’s not difficult to draw lines between Harris’ taste for layered melodic progressions and Mogwai’s post rock architectures and windswept atmospheres, especially in the motorik shift of Basilisk Stare, or the stacked reverbs of Predator State and the album’s panoramic closer, Dirts. But that’s only one half of his sound, and the other is well looked after here with dancefloor-strength EBM in the epic drive of Nervous Serpents and the gritted momentum of The Eye In The Triangle.

File Under: Electronic, Ambient
Listen Here

jung-an-tagen

Jung An Tagen: Das Fest Der Reichen (Editions Mego) LP
Jung An Tagen, aka Stefan Juster, presents Das Fest Der Reichen. Jung An Tagen is the primary music act operating inside the Virtual Institute Vienna. By using subtractive synthesis and sampling techniques, Jung An Tagen builds aleatoric arrays, repetitive figures and polyrhythmic moirés circulating around distinctive timbres and haptic fragments. This results in a vision of morphing movements between high energy and zero gravity states. Due to the synaesthesian nature of the VIV, Jung An Tagen is bound very closely to a specific visual grammar and is intertwined with video art, even though the performative settings are usually reduced to music only. Previously, Stefan Juster was mainly present with different bands and monikers on labels like Not Not Fun, Blackest Rainbow, 100% Silk or his own imprint SF Broadcasts. “Lässt Los, Jeder Immer” is the remix of the Jung An Tagen soundtrack for Embargo (2014), a video by Johann Lurf. Artwork and layout by Milica Balubdzic and J. Fröhnel. Mastering by Brian Pyle. Features: Raju Arara, Ensemble Economique, Superskin and Miaux.

File Under: Electronic, Synth
Listen Here

mahjun

Mahjun: s/t (1973) (Souffle Continu) LP
First time vinyl reissue of the eponymous classic debut album by Mahjun, one of the most innovative French prog underground bands, on the productive Saravah label in 1973. Their music, as you can hear on tracks such as “Les Enfants Sauvages” or “Chez Planos”, is a subtle mix of spiritual jazz, pop music, folk and avant-garde reminiscent of Full Moon Ensemble, Brigitte Fontaine or the Thêatre du Chêne Noir. Standard black vinyl LP version is in an edition of 500. Comes in 350 gram, gatefold sleeve with an obi strip and matte printing.

File Under: French, Prog, Avant-garde
Listen Here

mahjun-2Mahjun: s/t (1974) (Souffle Continu) LP
On Mahjun’s second eponymous album released by Saravah in 1974, percussionist Nana Vasconcellos joined the line up on the nearly 14 minute long track “La Ville Pue” and “Fin Janvier”. Their politico folk-prog sound moved to an ethnic flavored psychedelic fusion. First time reissue of this classic and influential album. Standard black vinyl LP version is in an edition of 500. Comes in 350 gram sleeve with an obi strip, insert and matte printing.

File Under: French, Prog, Avant-garde
Listen Here

op-doom

MF Doom: Operation: Doomsday (Metal Face) LP
“Back again on vinyl where it belongs, MF DOOM’s 1999 classic Operation: Doomsday is now presented on a premium grade LP, with audio re-mastered from the original Fondle’Em Records release, and a poster of the album cover art! Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After KMD (his first group)’s 1994 sophomore album Bl_ck B_st_rds was shelved by Elektra in 1994 and his blood brother Subroc (one half of the sibling rap duo) passed away, surviving front-man Zev Love X mutated into the MC Avenger known as MF DOOM and the rap world is better for it. This 19-cut deep album is ridiculously dope, in a bizarro Ol’ Dirty Bastard kind of way. Doom sounds either high or drunk on most of the tracks, his self-produced beats are gritty, and his rhyme styles are almost indecipherable. On arguably the best track, ‘Rhymes Like Dimes,’ Doom weaves some pointed lyrics through his abstract wordplay, spitting ‘only in America could you find a way to earn a healthy buck / And still keep your attitude on self-destruct.’ ‘Who You Think I Am?’ features DOOM’s crew M.onster I.sland C.zars, while on ‘?’ he trades hot verses with former Columbia artist Kurious Jorge. Doom’s avant-garde ghetto-rhyme philosophies take even more intentionally weird twists on ‘Tick, Tick…’ where he and guest MC MF Grimm’s flows warble over a rhythm track whose tempo speeds up and slows down continually. The comic-book themed skits, will help take you deep into the mind of an MC who is as otherworldly as they come. And in today’s bland commercial rap universe, Operation: Doomsday’s left-of-center beats and rhymes are the perfect remedy.”

File Under: Hip Hop
Listen Here

music

Roberto Musci: Tower of Silence (Music From Memory) LP
Music From Memory present Tower Of Silence from Roberto Musci. Traveling extensively across Asia and Africa between 1974 and 1985 to study music, Roberto made many field recordings and collected many instruments on his travels which he would then combine with synthesizers and electronics back in Italy.

File Under: Italian, Electronic, World, Field Recording
Listen Here

notwist

The Notwist: Superheroes, Ghostvillains & Stuff (Alien Transistor) LP
Cover with large spine. Includes three printed inner sleeves. Includes download code. The Notwist release their first ever official live recordings with Superheroes, Ghostvillains + Stuff. “Brothers Markus and Micha Acher have launched various musical vessels, bands and free-floating constellations over the past three decades – and yet: amid all these other speedboats and unlikely sonic barges, The Notwist has always remained the mother ship. This new album documents the latest live incarnation of this very band, which also features Andi Haberl, Max Punktezahl, Karl Ivar Refseth, and Cico Beck. Recorded on December 16, 2015 on the second of three consecutive, sold-out nights at UT Connewitz in Leipzig, Germany, Superheroes, Ghostvillains + Stuff indeed feels like a first-hand live experience. That’s why it’s the definitive album of The Notwist’s career. Although there is one song that points to the early, ‘louder years’ of The Notwist, ‘One Dark Love Poem’ off the album Nook (1992), the rest of the night’s set sees the band perform all the major hits off Neon Golden (2001), The Devil, You + Me (2008), and Close To The Glass (2014). However, these are different, organically enhanced versions, new interpretations and combinations that feel much more alive; thanks to Olaf Opal’s incredible mix, they sometimes even outshine the original studio recordings. Listening to Superheroes, Ghostvillains + Stuff feels like watching these songs evolve and change, moving from one frame to the next, much like a baroque triptych. What starts out like ‘wimmelbook’ imagery, the music soon folds and unfolds like a Moebius strip: Sans bottom or top, sans inside or outside, the inside becomes the outside and vice versa. It’s all about sonic interconnection, about music as entanglement, music as reconciliation. The rather majestic, cinematic (indie) pop and experimental, kraut-infused jazz, the spirit of the enlightenment and baroque playfulness, the traces of modernism and minimal music, dub leanings, hip-hop lessons, and even hints of house music: here is where they all come together, reconciled in a sound that’s both melancholy and romantic. The crew’s back at it, working the instruments, the rigging, with sails a-billow, launching the next voyage of discovery, assuming the east in the west and vice versa. And thus the adventure saga continues.” — Pico Be (Das Weiße Pferd).

File Under: Indie Rock, Electronic
Listen Here

novo-line

Novo Line: Movements (Ecstatic) LP
Following a limited tape release for Ecstatic, Berlin’s Nat Fowler renders his meticulous Novo Line alias for its second full-length release, a killer marriage of automated EBM and unexpected MIDI disruptions, continuing a life-long quest for esoteric knowledge and a love of archaic computer hardware. Modeled on re-appropriated software, run on two separate Atari ST’s, Movements is the compelling result of obtuse production technique and painstaking trial and error; basically experimentation at the service of discovering a sound that really sounds unlike anything else out there. As he explains: “I like the idea of using restrictions in order to find and push boundaries, from limiting which octaves I use to how many notes at a time. I use the only PC capable of MIDI that had no multitasking, so communication is immediate, a direct mechanical communication from my fingers to the sounds is created. I feel lucky because technology has accelerated so fast since the first digital synthesizers and PCs that nothing since the early 1980s has been really pushed to its limits.” In that sense, he can be placed in a small category of operators – including The Automatics Group, Dave Noyze, Lorenzo Senni and V/VM among them – who persistently gnaw at the boundary between dance-pop and avant-electronics, and with all of whom he shares a capacity for hearing the poetry of singular frequencies, unique pitch combinations and the strange electronic timbres just waiting to be born from overlooked, outmoded equipment. Whilst at times it may recall the saltiest digital tone and gait of early Chicago house and Belgian new-beat, there’s a futuristic funk and idiosyncratic ambiguity to Movements that entirely belongs to Novo Line; whether bubbling up the mutant dembow lacquer of opener, “The Movement 1”, radiating form the tightly-bound, curdled funk of “Hot Piece”, or jabbing like a bag of cyborg slow house cats in “The Movement 2”, it really does make for one of the year’s finest and most addictive dancefloor mutations, bar none. 2016’s most meticulous album of algorithmic body music. Inspired by F.M. Alexander, G.I. Gurdjieff and Pythagoras. Mastered and cut by Matt Colton at Alchemy.

File Under: Electronic, House, Leftfield
Listen Here

orb

The Orb: COW/Chill Out, World! (Kompakt) LP
The Orb, Alex Paterson and Thomas Fehlmann, have become known for their genre-bending curiosity and surprising sonic detours, exploring experimental soundscapes as well as club-friendly beats. COW / Chill Out, World! is a masterful ambient album that branches out in many directions, but unmistakably sounds like The Orb. In contrast to their much-acclaimed previous full-length Moonbuilding 2703 AD, which took years to prepare and fine-tune, COW / Chill Out, World! was produced over the course of only five sessions in six months, directly following the like-minded Alpine EP. Paterson on recording the album: “It got so spontaneous that a track like ‘9 Elms Over River Eno (Channel 9)’ consisted only of material collected at North Carolina’s Moogfest in May – second-hand records from local stores, field recordings, live samples from gigs that we liked, and of course an excursion to the Eno River, which actually exists. This geographic intimacy and the spontaneity are among the top reasons why we love this album so much.” Fehlmann sees the duo’s relentless gigging schedule as a formative influence on the new album: “the countless performances we’ve played in the last years have brought us closer as a musical unit. The spice of our concerts is improvisation – a fertile process that we’ve brought to the studio, where we operate with very simple rules of engagement and go wherever the flow takes us.” It’s an approach that one might expect from traditional acoustic instrumentation, not necessarily an electronic set-up. Once more, The Orb’s trademark playfulness is on full display on COW / Chill Out, World! and it doesn’t limit itself to the multi-layered sampling and psychedelic sound composites. It’s not so much an obscure trope coming full circle as a perfect example for The Orb’s multi-timbre approach to sound and meaning – a compelling, immersive journey to diverse places and impressions. Each track title is a conceptual work in its own right, playing with multiple references, some of which remain highly personal and mysterious. But the greatest feat of The Orb’s latest outing might just be how all this semantic doodling never gets in the way of the actual listening, at all times directly relating the artists’s sonic vitality and cheerful nosiness.

File Under: Electronic, Ambient
Listen Here

orcutt

Bill Orcutt & Chris Corsano: Live At Various (Palilalia) LP
“That guitarist Bill Orcutt & drummer Chris Corsano would play as a duo should come as a surprise to no one. As artists, both of them have bent sonic boundaries to the breaking point, especially as regards rock-based music, and they have long flowed through the same international sub-underground arteries. It was only a matter of time. The first fruit of their union was a brain melting LP called The Raw & The Cooked (2013), recorded on tour in 2012. Live at Various / Various Live is made up of the two Palilalia cassettes that followed it. The tracks were recorded between a couple of tours, one in 2013 and one the following year, in Northampton, Mexico City, Brooklyn, Montreal, Cleveland and Rochester. And they demonstrate the ferocity of Orcutt’s return to the electric guitar. Twinned-up with Corsano, Bill goes for the most distorted and bleeding tones available, whether pouring out frenzied clusters, or slow-bending blue-notes in the tradition of Loren Connors, the raunch of the proceedings is a physical presence. And Corsano goes deep into rolls and splashes with an almost perverted intensity. There ain’t much space here for sweetness or subtlety. The music is driven home with mallets, achieving a near-Beefheartian density in spots. Heard as a whole, this album provides a gush of relentless thug-beauty of a sort that has never been in long supply. Grasp it now or hold your sad peace for now and ever.” — Byron Coley. Double LP with gatefold cover. Recorded by Chris Corsano and Bill Orcutt on tour in 2013 and 2014. Reissue of two cassettes originally released on Palilalia as Live At Various and Various Live. Edition of 500.

File Under: Improv, Guitar, Free Rock
Listen Here

oval

Oval: Popp (UOVOOO) LP
Oval’s album Popp started as a concept album. It was neither meant as a pop record nor as “the Markus Popp signature album”. At first, Popp was all about playing around. And about changing the musical outlook from the earlier hyper-detailed, improvisational Oval style to straight-up sequencing, old-school glitch tricks and beat-making. Popp explains, “Working on these new ‘club tracks’ was like going from cucina povera (my 1990s student-budget glitch style) and hi-tech fusion cuisine (post-2010) to feeling like a vegan who just stumbled into a barbecue seminar.” Popp is a relentless, euphoric love letter to a musical utopia: kaleidoscopic and soulful, optimistic and grandiose. No matter if you choose to trace the many exhilarating, meandering melodies (“RE”, “ID”), or if you prefer to dance to the housy information overload of “AI” and “LO”, Popp is simply a joy to listen to. The newly introduced, intricate “fantasy vocals” are another new through line in Oval’s music: weaving a blissful, sensual, “post-R&B”-narrative beyond words (“KU”, “LO”, “VE”). Ghosts of vintage Oval glitch stylings (“FU”, “MY”, “MO”) are met with swooning strings, dreamy bells, 1990s rave stabs, angular bass lines and polyrhythmic beats. The atmosphere can even border on the solemn (“SA”), cinematic (“CA”) or even hymn-like (“VE”) before dissolving into these unstoppable, multi-layered loop-scapes. Popp explains further, “However complex and insanely technical my tracks may ever be getting, I will always make sure they sound organic, as if they’re running on nothing but sheer imagination.” Popp is released on Uovooo, a new label run by Markus Popp. Markus Popp’s early, now legendary album releases sent shockwaves through the “electronica” landscape in the late 1990’s – introducing a unique, innovative digital sound and production aesthetic. With an undeniable instinct for the pleasantly irritating, the drastic and the dreamy, Popp pioneered “glitch” and “clicks & cuts”, inspiring and provoking an entire generation of musicians to this day. After a long hiatus, Oval returned in 2010, changing the game all over again with a new, groundbreaking “hyperreal” style, blurring the lines between the electronic auteur and (virtual) “band music”. The distinctive, organic appeal of Oval tracks, remixes and albums have brought along several watershed moments for the entire genre.

File Under: Electronic
Listen Here

painkiller

Painkiller: Execution Ground (Karlrecords) LP
The seminal 1994 double album Execution Ground, by the original Painkiller with the line-up of Bill Laswell, John Zorn and Mick Harris on vinyl for the first time. When Painkiller started in 1991, their first two albums Guts Of A Virgin (1991) and Buried Secrets (1992) (both released on extreme metal label Earache) were heavy attacks blending grindcore and free jazz that brought together the musical backgrounds of the three protagonists: drummer Mick Harris had just left grindcore legend Napalm Death, John Zorn explored new extremities with his Naked City project while Bill Laswell had as a member of roaring free jazz quartet Last Exit (with Peter Brötzmann, Sonny Sharrock, Ronald Shannon Jackson) proven that he was not only a visionary producer but also an accomplished bassist. But it is their 1994 double album Execution Ground remains the opus magnum of the brilliant trio: Zorn’s unmistakable shrieking saxophone, Harris’s pounding drums and Laswell’s growling sub-bass lines were given heavy mixing desk treatment, resulting in extended tracks that are no less intense than their early works but display the full range of the musicians’s skills. Avant-jazz, grindcore, dub and ambient melt into eerie tracks of haunting atmospheres – even more so in the “ambient” versions of the second disc. Mastered and cut by Rashad Becker at D&M Berlin. Available here as a double 180 gram vinyl. Includes a download code and insert. Edition of 500.

File Under: Free Jazz, Grindcore, Ambient
Listen Here

prurient

Prurient: Pleasure Ground (Hospital) LP
One of Prurient’s most captivating raids on the borderlands of power noise and symphonic doom rears its furious head once again for this gatefold reissue on Hospital Productions, ten years on from its original release on double tape and then as a single vinyl pressing for the legendary Load Records in 2007. Pleasure Ground stands as a key part of Prurient’s golden quadrant alongside The History Of Aids (2002), Black Vase (2005) and Cocaine Death (2008), its immolating rage renders Ian Dominick Fernow at an early crest of his energies, consolidating the hi-pitch intensity and bile of his idols, Whitehouse, with the majestic, meditative inspirations of black metal and a more personalized bloodlust for unheimlich synth tones and pulsating electronic undercurrents. Its four long tracks are riven with the paradoxes that make Prurient’s music so compelling and practically a genre unto itself, meting out a sound in “Earthworks / Buried In Secret” that’s simultaneously nerve-gnawing yet bleakly tender, or weighing up caustic harshness with a melodic vulnerability in “Apple Tree Victim” that appeals far beyond the bombed-out no-man’s land of pure noise to intersect with the entrails of EBM in the raging but poised thunder of “Military Road” – one of his finest moments, bar none – and cold-wave pop and fetishistic synth themes in “Outdoorsman / Indestructible”. If you’re willing to bite down, you will find a depth of bittersweet flavor submerged beneath the tidal waves of white noise filled with nuance and vulnerability, slowly dragging you into the abyss. Ultimately though, there’s no mistaking that in the end Pleasure Ground is just unflinchingly fucking heavy. Housed in a deluxe, reverse-board gatefold sleeve. Mastered and cut by Barry Grint at Alechemy.

File Under: Noise, Industrial
Listen Here

scorch-tio

Scorch Trio: XXX (Rune Grammofon) LP
XXX is a four LP collection featuring Scorch Trio’s recordings. It includes Scorch Trio (2002), Luggumt (2004), Brolt (2008) and a radio session entitled Oval. In Norway, Scorch Trio was greeted with 6/6 reviews in the two biggest newspapers and The Wire said “the scope of their improvisational ideas is breathtaking”, in spirit comparing the album to The Mahavishnu Orchestra’s The Inner Mounting Flame (1971). Four years after Luggumt, Brolt was to become the final album with Paal Nilssen-Love behind the drums. Following in the tradition of the previous albums, this is a masterful example of passionate improvisation and breathtaking interplay. The joker in this collection is Oval, a radio session done for Yle, the Finnish broadcasting company, two years before their debut album was released. Why this recording has been left on a shelf for so long is anyone’s guess because this is quite a remarkable recording, showing off a new group brimming with energy and new ideas. Paal Nilssen-Love was only 25 at the time, but he and Ingebrigt Håker Flaten already had a reputation as one of the most energetic and creative rhythm sections in Scandinavia. Here the Finnish guitar phenomenon Raoul Björkenheim had found the perfect partners for his new group. Oval is previously unreleased in any form. Scorch Trio has only been available on CD until now, while both Luggumt and Brolt have long been out of print on vinyl.

File Under: Free Jazz, Improv
Listen Here

she-him

She & Him: Christmas Party (Columbia) LP
She & Him (the sublime duo of Zooey Deschanel and M. Ward) offer up their second holiday themed collection with Christmas Party, the sequel to their acclaimed 2011 release A Very She & Him Christmas. The uplifting 12-track set features guest appearances by Jenny Lewis, The Chapin Sisters, Sonic Youth’s Steve Shelley and Jim Keltner amidst stylized renditions of “Let It Snow,” “Winter Wonderland,” “Run Rudolph Run,” and “Mele Kalikimaka.” Mariah Carey’s “All I Want for Christmas Is You,” is also updated wonderfully here with Deschanel noting, “I’ve always loved this song, and I was like, ‘I’d love to hear it without the digital keyboards. I’d love to hear it recorded in a little more of an old school way.”

File Under: Indie Rock, Holiday
Listen Here

shifted

Shifted: Appropriation Stories (Hospital) LP
Guy Alexander Brewer, aka Shifted, is involved in several projects taking in techno, noise and experimental electronics overlaying a once-hidden past in drum’n’bass. Having shunned his previous work in Commix, more recently Brewer has learned to look back, even making sideways stabs into breakbeat territory with his Covered In Sand alias. The process grows more intricate and subtle on Appropriation Stories for the Hospital Productions imprint helmed by Dominick Fernow (aka Prurient, Vatican Shadow, et al.). On Appropriation Stories, rigorous processing and studio treatments transform classic breaks into deeply hidden components that add new layers of character to his highly-developed techno sound. At first presenting itself as a dense wall-of-sound underpinned by an incessant pulse, Appropriation Stories at length reveals itself to be a much more complex work. In place of the stark minimalism, razor-sharp digital textures and smeared analog surfaces of his previous output, Brewer offers layered tracks with intricate mixes that reveal themselves gradually over time. For long stretches – opener “This Passage”, “For Closure”, “In Respect of Tactics” – the rhythm steps back from insistent to implied, further exposing the careful arrangements of pure sound. As his origins in purist techno grow ever-more distant, Shifted’s sound has progressed from digital clarity to the murky-but-hard middle ground of his sophomore full length on Bed Of Nails, Under A Single Banner, and through a clear evolution on Brewer’s own Avian imprint. Integrating his more searching work as Alexander Lewis and his increasingly introspective work as Shifted while eloquently addressing his past, Appropriation Stories is a comprehensive statement of intent and Brewer’s finest, most mature work to-date. Mastered by Matt Colton at Alchemy.

File Under: Electronic, Techno, Ambient
Listen Here

cologne

Various: Cologne Curiosities (Mental Experience) LP
The Nuggets (1972) of krautrock, Cologne Curiosities collects for the first time on vinyl, all the otherwise unpublished/un-reissued material that originally appeared on the three Unknown Deutschland – The Krautrock Archive CDs released on Virgin in 1996. These CD only releases were originally compiled by Trevor Manwaring (Paratactile, Impetus, Virgin, Harmonia Mundi) from tapes supplied to him by Toby Robinson. Toby, aka The Mad Twiddler, aka Genius P. Orridge, is well-known to krautrock collectors as one of a number of engineers working at Stockhausen’s WDR and Dierks Studio in Cologne in the mid-1970s, where he assisted on recordings by many famous kraut bands such as Can, Birth Control, Mythos and Dzyan. The recordings included here were made between 1972 and 1976 using studios in and around Cologne, produced by Toby Robinson for his own amusement. Bands would come in for practice sessions, to record demos, and during slack periods, impromptu jams would happen. Most of these sessions were recorded by Toby, and they feature Toby himself plus a revolving cast of friends and musicians (some of them apparently big kraut names under pseudonym). Including lost-in-time bands/studio projects like Astral Army, Fuerrote, Spirulina and Baal among others, the music here ranges from killer proto-new wave kraut psych to wild space rock, proto-ambient electronic, dark psychedelia and raw kosmische sounds with lots of analog synths/Moog. It was during that time in Cologne, that Toby, along with Fluxus artist Robin Page, gave birth to the mysterious and controversial Pyramid label, for which these tracks were originally made for. 24-bit domain remaster from the original master tapes. Insert with detailed liner notes by Alan Freeman (Ultima Thule, The Crack In The Cosmic Egg (2007)). Also features: Chronos, Neil Andersen and Ten To Zen. RIYL: Pink Floyd, Gila, Cluster, Hawkwind, Ash Ra Tempel, Amon Düül II, Popol Vuh, Cosmic Jokers.

File Under: Krautrock, Kosmische

french-dbs

Various: French Disco Boogie Sounds Vol. 2 (Favorite) LP
After an internationally acclaimed first edition, Favorite Recordings and Charles Maurice follow-up their French Disco Boogie Sounds compilation with this second volume. Pursuing his fine work at digging rare music from around the world, DJ and collector Charles Maurice presents another brilliant selection of great music linked to France and French West-Indies: 12 hidden and forgotten titles, all produced between 1978 and 1985, in France, or by French artists abroad. Again, he perfectly browses and defines the great energy and quality of this specific disco/funk scene at that time, both in the underground market, or through bigger labels. On one hand, tracks by Crystal, Jackie Esam, Ideku Dynasty or Marc Ashy, were produced by small artists and labels from the French Caribbean and African community and are filled with a raw spirit and some tropical influences. On the other hand, tracks by Claude Morgan, Greg Smaha, Roots, or Black Bells Group, were released by major labels such as Phonogram, RCA, Derby, or Carrere, thanks to confirmed independent producers, acting not only in France, but also in Canada and the US. Favorite Recordings and Charles Maurice unearth these 12 gems, amongst them some very hard to find and almost unknown titles. Also features: Charms, Neilo Feel,Nel Oliver and Messan.

File Under: Disco, Boogie

…..Restocks…..

Beach Boys: Good Vibrations (Universal) LP
Beastie Boys: Licensed to Ill (Universal) LP
Broadcast: Noise Made By People (Warp) LP
Califone: Roomsound (Dead Oceans) LP
Alice Coltrane: Journey in Satchidananda (Impulse) LP
Converge: You Fail Me Redux (Deathwish) LP
Lana Del Rey: Born To Die (Universal) LP
Michael Farneti: Good Morning (Companion) LP
Guns n Roses: Use Your Illusion 1 (Geffen) LP
Guns n Roses: Use Your Illusion 2 (Geffen) LP
Intersystems: s/t (Alga Margen) Box
Norah Jones: Day Breaks (Blue Note) LP
Fela Kuti: Expensive Shit (Knitting Factory) LP
Medico Doktor Vibes: Liter Dorker (Companion) LP
Mitski: Puberty 2 (Dead Oceans) LP
Naked & Famous: Simple Forms (Sony) LP
New Creation: Troubled (Companion) LP
Angel Olsen: My Woman (Jagjaguwar) LP
OST: Beyond the Black Rainbow (Jagjaguwar) LP
Pearl Jam: Versus (Legacy) LP
Pearl Jam: Ten (Legacy) LP
Pearl Jam: Vitalogy (Legacy) LP
Pharcyde: Bizarre Ride II (Bicycle Music) LP
Pink Floyd: Meddle (Pink Floyd) LP
Daniel Romano: Mosey (New West) LP
Jack Rose: Kensington Blues (VHF) LP
Semi-Colon: Ndia Egbuo (Comb & Razor) LP
Small Faces: First Step (Rhino) LP
Stooges: s/t (Rhino) LP
S U R V I V E: RR7349 (Relapse) LP
Syrinx: Tumblers from the Vault (ReRVNG) LP/CD
T. Rex: s/t (Rhino) LP
Throbbing Gristle: 2nd Annual Report (Industrial) LP
Throbbing Gristle: DOA (Industrial) LP
Tomorrow The Rain Will Fall Upwards: Wreck (Blackest Ever Black) LP
Caetano Veloso: s/t (Lilith) LP
Weezer: Green Album (Universal) LP
Weezer: Red Album (Universal) LP
Various: Brixotica Goes East (Trunk) LP
Various: Psych Funk 101 (World Psych Funk Classics) LP

Tagged , , , , , ,

…..news letter #763 – boop…..

Another modest list this week, but I have it on good authority that next week is going to be a whopper. Also, our used bins are stuff with killer slabs these days, so get on down for a dig while the weather is warm.

…..pick of the week…..

dickens

Lt. Frank Dickens: Sunburned (Jaz) LP
Lt. Frank Dickens is the nom-de-musique of the former singer, guitarist, and songwriter of Vancouver’s shadowy pop band Peace, formerly signed to Suicide Squeeze records. Recorded in pieces over a number of years, his debut album Sunburned was originally released as a limited run cassette in the autumn of 2015. Now the album is being made available with a new cover and two extra songs through JAZ Records in a run of 300 copies. Sunburned is made up of songs that Dickens had been working on for as much as ten years’ time. It is a collection of haunted lullabies informed by the mysterious underbelly of life on the West Coast as much as musical touchstones such as Scott Walker, Syd Barrett and the Television Personalities. The instrumentation differs significantly between songs, but there is unity in the albums wistful tone and Dickens’ baritone sing-speak. Sunburned is a darkly lyrical and hermetic fairy-tale of a record that hints at the deeply personal while maintaining a veil of mystery.

File Under: Indie Rock
Listen Here

…..new arrivals…..

amfoot

American Football: s/t (Polyvinyl) LP
Not long after Polyvinyl Records released American Football’s self-titled debut album in 1999, the band called it quits, having only played a smattering of Champaign-Urbana college house parties and sets at small clubs like Chicago’s legendary Fireside Bowl. Such an inauspicious turn of events made what followed all the more incredible. Over time, the record went on to become one of Polyvinyl’s best selling releases to date, and ended up serving as “one of the single most influential rock records of its time” according to Noisey and many others. To most everyone that found them after the fact, the band was no more than an apparition. The record the only artifact left behind as a timeless snapshot of a group of individuals in transition, newly discovered each year by a fresh crop of music fans reaching a similar inflection point in their own lives. When American Football announced in 2014 that they would play live for the first time in 15 years, the built up appreciation for that eponymous LP physically manifested itself as they sold out three nights at Webster Hall in New York City in a matter of hours, and then went on to do the same at venues around the world. A quarter of a lifetime removed, and at times thousands of miles away from the house on the sleepy street in the middle of Illinois depicted on their debut album’s iconic cover, they found themselves playing to sold out crowds that numbered in the thousands in London, Tokyo, Barcelona and beyond. The again self-titled American Football finds the band with new material that takes them on a serendipitous detour down a familiar road. It is replete with the swelling emotions that might be spurred on by locked away memories unearthed by a familiar scent or crack in the concrete, or the rush of warm apprehension when coming face to face with a lover left before the fire was close to going out. “The past still present tense” sings Mike Kinsella on “Home Is Where The Haunt Is,” but while the house on the cover and the title of the album are the same, they are made strange by time and new found perspective. “We’ve been here before,” he declares on album opener “Where Are We Now?”, “but I don’t remember a lock on the door.” At a time when reunions have become rote, American Football is decidedly an anomaly. There is no past glory to relive or reignite, nor the burden to branch out and break from a well worn formula. Seventeen years later everything still feels brand new, because for them it is. They are a band that for one reason or another closed the lid on their creative output just as they were beginning an unforeseeable upswing, and are just now after a stasis returning to uncork it with the benefit of greater maturity and better musicianship. The sound is even more expansive, the lyrics less naive and more world weary, the songs have greater depths to explore and layers to peel back throughout. “You can’t just forget all the other lives you’ve lived,” Kinsella sings, and every single one of the nearly two decades worth of experiences since they last put pen to paper as American Football seem to bleed through on this record.

File Under: Indie Rock
Listen Here

angel-witch

Angel Witch: s/t (Real Gone) LP
One of the first and greatest “black metal” albums, and one of the records that helped launch the New Wave of British Heavy Metal movement, the 1980 self-titled debut from Angel Witch still packs a wallop some 36 years later. Unlike, say, Black Sabbath or Led Zeppelin, songwriter Kevin Heybourne’s lyrical imagery just doesn’t dabble in the occult, it lives (dies?) there, with abundant sword and sorcery themes and tales (e.g. “Angel of Death”) of damnation. Yet, as on the title track, the band is not above crafting some catchy hooks, though the raw production ensures that those hooks have barbs. Real Gone Music is proud to present the first vinyl reissue of this classic metal album, in limited edition (of 600 copies) colored vinyl. Buy or be eternally condemned!

File Under: Metal
Listen Here

connors

Loren Connors: The Departing of a Dream Vol VI (Family Vineyard) 10″
Just months after reviving The Departing of a Dream series from a ten-year hiatus with the release of Volume V — Loren Connors issues another movement of saturated guitar tones, dissonance and impermanence. Volume Six begins with the percussive sound of struck, muted strings, it’s an unusually rhythmic effect for one of Connors solo recordings, writes Kurt Gottschalk in The Wire. But from there, Connors’ guitar notes morph into gentle wisps of guitar sounds — or as Connors himself describes: “just like the wind scattering the notes around.” The mini-album is presented as a 10-inch with artwork by Connors — a faint, nearly transparent drawing of a woman’s face. Audio mastering by Taylor Deupree at 12k and vinyl mastering by Jason Ward at Chicago Mastering. One-time edition of 550 copies, includes download coupon.

File Under: Ambient, Guitar
Listen Here

cyr

Cyrillic Typewriter: Your True Emblem (Jaz) LP
Your True Emblem is the latest offering from Vancouver’s Cyrillic Typewriter, the enigmatic mantle of Jason Zumpano, joined here with fellow Destroyer alumna Scott Morgan (Loscil) and Nic Bragg, and recent recruit Terri Upton of Frog Eyes. Maintaining the suite-like format of 2015’s Best Suit, it assumes a sci-fi cinema stance: delicate, capsule-like intervals of mellow post-rock spaciousness – a sonic depth of field that gives a vibey sense of flotation – which are then interrupted by abrasive and agitated interludes of redirection that signal a narrative of tense anticipation: we are waiting for a message from outer space, and this is either the soundtrack to the waiting, or the message itself. LPs with art from frequent Cyrillic Typewriter collaborator Jason McLean; each comes with one of three 5×5 matte cardstock photo inserts.

File Under: Ambient, CanCon
Listen Here

duchess

Duchess Says: Sciences Nouvelle (Bonsound) LP
Slovenly Recordings, in conjunction with Bonsound (CA), is proud to present the latest orb from Duchess Says, re-entering the Earthen atmosphere to soil your sweet dreams with their third astral opus Sciences Nouvelles. Faithfully endorsed by the Church of Budgerigars, this antagonistic workout features chanteuse maniaque Annie-Claude Deschenes and her band of desensitized robot cronies clawing their way through ten tracks of Moog saturated cold / new / dark wave blasters, besmirching your cherished optimism and grinding it into dust. Duchess Says drops science in a heady amalgam of tracks in English, French and also of the wordless persuasion, with fudgy bass and fuzz propelled by slinky punk beats and fat synth bleeps delaying for eons, projecting a Giorgio Moroder vs. Devo dance-off on space station Italo-Q: A:.

File Under: Electro Punk
Listen Here

dumbo

D.D Dumbo: Utopia Defeated (4AD) LP
D.D Dumbo’s long-awaited debut LP Utopia Defeated is set for worldwide release via 4AD. The album is a collision of blues licks, echoes of world music, strident ‘80’s pop, the kinetic energy of dance music, and splashes of outsider art akin to Captain Beefheart, one of D.D Dumbo’s touchstones. D.D Dumbo’s fantastical debut album conjures a vivid, wide-eyed musical landscape teeming with nervous energy and exotic evocations of the world at large. Backed by skittering sounds, Utopia Defeated hinges on Oliver Hugh Perry expressive voice, and the dissonance of an artist compelled to question his position in the natural world. Written and performed almost entirely by Perry, the album was recorded at 4AD’s London Studios, with recording, engineering and production by Perry and 4AD’s resident.engineer Fabian Prynn. The 10 track album hurdles effortlessly over the expectations set by his intriguing debut EP, Tropical Oceans.

File Under: Pop
Listen Here

hieroHieroglyphic Being: The Disco’s of Imhotep (Technicolour) LP
Jamal Moss aka Hieroglyphic Being issues his definitive solo album, The Disco’s Of Imhotep, via Ninja Tune’s Technicolour imprint. He has built a sterling reputation both as a producer and live performer of deep, mesmeric experimental electronics and free jazz rooted in his native Chicago and his relationship with the city’s fertile underground club scene. Inspired by the likes of Ron Trent, DJ Rush (residents at The Reactor where he danced week in week out) and Ron Hardy, Moss was mentored by visionary producers Steve Pointdexter and Adonis, who showed him the drum machines that were the backbone of the Movement and whom encouraged his early forays into music production. Releasing prolifically on his own Mathematics Recordings imprint and a clutch of other imprints including RVNG Intl. and Soul Jazz / SOTU; collaborating with Marshall Allen of Sun Ra’s Arkestra and Noleian Reusse (as Africans With Mainframes) – Moss has cemented his stature as a unique creative force. He balances his ancient heritage and musical DNA with a passion to experiment, create and channel music as a healing force, which has resulted in his art being tagged “Afrofuturist”. Moss, however, prefers to describe his output as Synth Expressionism / Rhythmic Cubism and would rather be viewed simply as a promoter of Nubian Rights.

File Under: Techno, Acid
Listen Here

nxworries

NxWorries (Anderson.Paak & Knxwledge): Yes Lawd! (Stones Throw) LP
Yes Lawd! As temping as it may be to just let that exclamation suffice as your sole introduction to NxWorries, we should go a little deeper. The men at the heart of this LP – soul styler Anderson .Paak and loop beast Knxwledge – make an exceedingly clean pair, even as they deal almost entirely in the gritty: vocals that sound lived in for a couple of lifetimes; beats that kick up dust as they bump; and an 19-track set that plays like a mixtape merging skits, songs, and snippets into a package of fluid groove and rough-cut rap ‘n’ soul gems. You may have heard these two out in the world, on their own or sprinkling some of their musical gold dust on someone else’s songs, but this is what happens when .Paak and Knx get home, lay back, light up, and let it go. If there’s a Blaxploitation vibe to Yes Lawd!, that’s just the depth of NxWorries’ funk and strut showing. If there’s gospel in the grits, that’s the history of the cooks. Each grew up with religion. It was Knxwledge’s job to tidy up the family church in Jersey as a kid, and when he was done, he got to play on the instruments. Better still, when those instruments went bad, he kept them. Similarly, he’d soon find sounds in his growing vinyl cache, and when he moved to Los Angeles in 2008 as a beat maker, his compositions ensured he’d be home at Stones Throw. His hypnotically dank 2015 LP Hud Dreems was the tip of an iceberg – 75 Bandcamp collections, and counting.  Paak was neck deep in those songs when Knxwledge reached out. The singer grew up in Oxnard drumming in his own family’s church. His folks got locked up when he was a teen, and while he’d eke by on odd jobs (grocer, trimmer, personal assistant), he was homeless for a spell with a newborn son. But .Paak pushed forward, building a career via imaginative albums (2016’s Malibu), and collaborations that always seem to make him the star, even when he’s just there to sing the hook. On Yes Lawd!, .Paak – who calls the album “my best work” – plays theatrically brash version of himself who sings like a ‘70s superstar and talks shit like a stone cold player. But the performance is seeded with details from his life, which has seen a fair share of struggle and hardwon triumph. Meanwhile, Knx weaves a tapestry of sampled bits and live fragments – bass, brass and violin – that smooths everything over, reminding us that despite whatever struggle it took to get here… well, you already know the name: NxWorries.

File Under: Hip Hop
Listen Here

powell

Powell: Sport (XL) LP
Powell announces his debut full length album Sport on XL Recordings. Touring to commence late summer / early fall and continue into the exciting and unforeseeable future. Sport is music for both the mind and the body. Sure, it’s physical and you can dance to it, but Powell wants to drag people’s brains along for the ride too. “Standing apart from many less singular producers is Powell, whose music has become clearly distinct and attributable only to him.” – Ad Hoc. “Oscar Powell belongs to a very small pool of dance artists whose music is a style in itself… His tracks combine the attitude of post-punk with the physicality of techno and the adventurous spirit of experimental music.” – Resident Advisor. “Powell…traverses the same spectrum from brilliant to dumb, from super to stoopid as The Beastie Boys circa Intergalactic, and proposes the same kind of grand unifying theory of funk as Basement Jaxx circa Red Alert.” – The Wire.

File Under: Electronic, Techno
Listen Here

prince

Prince: Sign ‘O’ The Times (Warner) LP
Prince’s Grammy Nominated 1987 Album Following the Dissolution of The Revolution Back in Print! Prince arrived on the scene in the late-70s, and it didn’t take long for him to upend the music world with his startling music and arresting demeanor. He rewrote the rulebook, forging a synthesis of black funk and white rock that served as a blueprint for cutting-edge music in the ’80s. He made dance music that rocked and rock music that had a bristling, funky backbone. From the beginning, Prince and his music were androgynous, sly, sexy and provocative. His colorful image and revolutionary music made him a figure comparable in paradigm-shifting impact to Little Richard, James Brown, Jimi Hendrix and George Clinton. Prince hit an artistic peak with Sign ‘O’ the Times (1987), his first album since 1999 not to be co-credited to the Revolution. A double album that was trimmed down from an intended triple, Sign ‘O’ the Times was Prince’s most musically expansive and lyrically incisive album. On the sobering “Sign ‘O’ the Times” (No. 6), Prince enumerated a catalog of social ills (AIDS, crack, gang violence) over a skeletal funk track. Other hits from the album included “U Got the Look” (No. 2), a duet with Sheena Easton, and “I Could Never Take the Place of Your Man” (No. 10).

File Under: Pop, Funk, Electronic
Listen Here

jks_winterwheat-jpg-540x540_q90_crop

John K. Samson: Winter Wheat (Anti) LP
Singer/songwriter John K. Samson enlists the rhythm section from his renowned band The Weakerthans for much of his second solo album, Winter Wheat. Inspired by the search for connection and community, his hometown of Winnipeg, and our individual and collective struggles with addictions to drugs, screens, and fossil fuels – Winter Wheat is a sprawling, masterful and timely work by a writer at the peak of his powers. Winter Wheat was produced in garages and homes through a Winnipeg winter by Samson’s partner and collaborator, Christine Fellows, and his Weakerthans co-founder and drummer/multi-instrumentalist Jason Tait, and mixed in the spring in Toronto by Robbie Lackritz (Bahamas, Feist). The spare and thoughtful arrangements also feature Greg Smith of The Weakerthans on electric bass, Ashley Au on double and electric bass, Leanne Zacharias on cello, and Shotgun Jimmie on electric guitar. Like the crop itself, which is planted in the fall, sprouts, goes dormant through months of snow and rises in the spring, Winter Wheat is a determined, beautiful, resilient response to difficult and extraordinary times. Double Vinyl includes three sides of music and an etching on Side D. For fans of the Weakerthans, Wilco, Death Cab for Cutie, Elliott Smith, and Built to Spill.

File Under: Indie Rock
Listen Here

sleafordSleaford Mods: T.C.R. (Rough Trade) LP
Equal parts classic-era punk, casio minimalism, slam poetry, growling protest chant, and poison ivy rash, Sleaford Mods are singular, and always powerful. And with their TCR 12″, particularly its title track, named for the 1970s auto toy “Total Control Racing,” the Mods are surprisingly…tuneful? The 12″ leads into the duo’s Rough Trade debut, planned for 2017, and don’t worry they still manage to raise as much hell and throw as many punches as ever here!

File Under: Hip Hop

nycghosts

Sonic Youth: NYC Ghosts & Flowers (Geffen) LP
For more than a quarter century, Sonic Youth – featuring Thurston Moore, Kim Gordon, Lee Ranaldo and Steve Shelley – ruled the New York underground as the reigning post-punk experimental noise band of its era, releasing 15 full-length albums, from 1983’s Confusion Is Sex to 2009’s The Eternal. Universal Music Enterprises (UMe) is re-releasing the entire nine-album DGC/Geffen catalog – which ranges from 1990’s Goo to 2006’s Rather Ripped – remastered from the original stereo analog master tapes on high-grade vinyl. All vinyl album releases will also include an accompanying digital download card. 2000’s NYC Ghosts & Flowers is Sonic Youth’s thirteenth album, and yet manages to sound fresh and familiar at the same time – probably largely due to the theft of an extensive amount of their gear directly prior to the album’s composition. It was also their shortest record in years, a fact that shouldn’t be interpreted as lack of new ideas – instead, Sonic Youth offer a fury of chaotic, melodic, and psychotic soundwaves that leave you wanting more. Greg Kot of the Chicago Tribune exclaimed: “Though Sonic Youth flirted with alternative-rock songcraft in the early ’90s, these noise-rock renegades are once again happily viewing their guitars as hunks of wood, wire and infinite possibility…No rock band makes the avant-garde sound quite this tactile and sensual.”

File Under: Indie Rock
Listen Here

yanneusa

Yann Tiersen: Eusa (Mute) LP
To North Americans who know him only as the mastermind behind the Amélie score, it might come as a surprise that French songwriter Yann Tiersen’s new album, EUSA, is the first minimal piano album of his storied career. That’s right: the man behind “Comptine d’un autre été : L’après-midi” — maybe the prettiest piano composition of all-time — has never made a piano album. That’s a shame, because EUSA is a consistently gorgeous work that extrapolates nicely on his past handful of piano-based compositions. It almost didn’t exist. EUSA, named after Tiersen’s Breton island homeland (Ushant in English), was originally conceived as ten pieces inspired by and named after places on the island, to be released only as sheet music. It was only after Tiersen played the work live at a series of French shows, augmenting it with improvised musical “pathways” between songs, that he realized he wanted to release it as an album. EUSA begins with the first of that series of loose piano interludes, “Hent I,” which builds tension perfectly around just two chords before resolving with “Pern.” The early highlight rises and falls beautifully, feeling somehow sprightly and melancholy at the same time, while “Porz Goret,” a more straightforward ballad, evokes “Comptine” in its sweet, sad elegance. Elsewhere, songs like “Penn ar Roc’h,” “Yuzin” and “Roc’h ar Vugale” provide a perfect soundtrack for bright mornings or rainy afternoons.

File Under: Classical
Listen Here

hip

Tragically Hip: s/t (Caroline) LP
Critically acclaimed for over two decades, 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. A five-piece group of friends including Robby Baker (guitar), Gord 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 with 14 Juno Awards via a dozen recordings. Originally issued in 1987, the band’s auspicious 8-track debut self-titled EP was produced by Ken Greer of Red Rider and includes the raw and impassioned early offerings “Small Town Bringdown” and “Last American Exit.”

File Under: Classic CanCon
Listen Here

up-to-here

Tragically Hip: Up to Here (Caroline) LP
Critically acclaimed for over two decades, 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. A five-piece group of friends including Robby Baker (guitar), Gord 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 with 14 Juno Awards via a dozen recordings. 1989’s Up To Here is the debut full-length recording from the Tragically Hip following the release of their 1987 self-titled EP. Recorded with Don Smith and Bruce Barris at Ardent Studios in Memphis, Tennessee the promising 11-song set is awash in driving rhythms, effective riffs, subtle soloing and the heartfelt vocals and poetics of singer Gordon Downie. Standout tracks on Up In Here include “Boots Or Hearts,” “38 Years Old” and “Blow At High Dough” which became the theme song to the CBC comedy-drama Made in Canada.

File Under: Classic CanCon
Listen Here

road-apples

Tragically Hip: Road Apples (Caroline) LP
Critically acclaimed for over two decades, 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. A five-piece group of friends including Robby Baker (guitar), Gord 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 with 14 Juno Awards via a dozen recordings. Originally issued in 1991, Road Apples is the second full-length effort from the Tragically Hip and the band’s first Number One album in their home country. Recorded in New Orleans, LA with Bruce Barris and Don Smith, the energetic, emotional and poetic 12-song journey stands as one of the group’s best and is highlighted by such fully realized catalog gems as “Little Bones,” “Twist My Arm” and “Long Time Running.”

File Under: Classic CanCon
Listen Here

videodrones

Videodrones: Mondo Ferox (El Paraiso) LP
Danish synth duo Videdrones are all about simultaneously channeling of the vibes of maestros, ranging from the epic choirs of Popol Vuh or Fabio Frizzi through the smooth gliding arpeggios of Tangerine Dream or Giorgio Moroder, even into Goblin or Morricone at their most abstract. But there’s more to it than mere tribute. Mondo Ferox is the kind of album where electronic instruments take on a life of their own – Constantly in flux, changing direction and pace like that of the lives at the bottom of the sea. It’s like a constant overture. These are sounds that the listener knows, but they’re turning themselves inside out, bleeding into each other and losing themselves in the flow – Favoring emotion and impulse over logic and structure. Rather than repeating what’s already been seen and heard, Videodrones re-melts the voices of cinema into something yet to be imagined.

File Under: Electronic, OST
Listen Here

kenya

Various: Kenya Special Vol. 2 (Soundways) LP
To many outside of East Africa, the Kenya Special Soundway compilation released in 2013 was their introduction to the full spectrum of the musical landscape of 1970s and ‘80s Kenya. The promotion of Kenyan music on an international level from the mid-eighties onwards had often been within a narrative of ‘otherness’, where releases were marketed as world music, focusing on a few genres with clearly defined sounds, such as benga and Swahili rumba. Kenya Special did more or less the opposite by highlighting songs and bands that couldn’t easily be categorized. Many of the featured songs seemed to bend the rules, break away from existing genres and sometimes borrow from foreign music trends. Whereas the world music campaigns of the 1980s were moderately successful in drawing in young audiences, the more recent wave of reissues has caught on with a demographic that’s one or two generations younger than those listeners that were originally interested in the music that was recorded in Kenya from the 1960s to the 1980s. The approach to musical rediscovery that is behind Kenya Special has its origins in a youthful movement of vinyl collecting (and to some extent club culture), which has, in the past decade and a half, carved out its own niche alongside the established music industry. Despite the renewed interest in music from Kenya’s past, finding these tracks and their rights holders hasn’t become any easier. Only a handful of music archives around the world harbour collections of Kenyan music, and just a few private collectors in Kenya and abroad have been sharing catalogue info online or privately. One of the problems with East African music of this era is that much of it was originally released only on 45 rpm, seven-inch vinyl singles, many of which were only ever produced in tiny runs of a few hundred. 45s with their thin, paper sleeves do not age as well as LPs and are often far more susceptible to the elements. The compilers of Kenya Special 2 have gone to great lengths to disclose a small part of what is slowly being accepted as an essential element of East Africa’s cultural heritage: the history of recorded popular music. We hope you enjoy it. As always with Soundway releases Kenya 2 comes with extensive liner notes, photo’s and artwork from each 45. Vinyl is housed in a gatefold sleeve.

File Under: Africa, Afrobeat, Funk
Listen Here

studio-one

Various: Studio One Radio Show (Studio One) LP
Studio One Radio Show presents two rare performances recorded for Studio One by the Jamaica Broadcasting Corporation. Up until the 1970’s there were heated discussions about the amount of U.S. soul hits being played on the radio. It was in this climate that Studio One’s Clement Dodd as well as Duke Reid and Lee Perry, started purchasing time from the radio stations to play their material uninterrupted. The favored radio jock for Studio One was Wintston Williams nicknamed “The Whip With The Solid Kick.” Winston “The Whip” Williams first entered radio in the 1970’s at the now defunct Jamaica Broadcasting Corporation as a newscaster and disc jockey for the afternoon show ‘Whip with the Solid Kick’. He also helmed the Studio One radio show that was broadcast on JBC on Saturday Mornings. Williams specialty was his rapid-fire jive rhyming delivery alongside his alter-ego Marcus who “ate chicken on Sundays.” To date his career in radio spans four decades as newscaster and radio personality, ‘Winston in Kingston’ continues to excite listeners as the ‘radio rhyme king’ on Power 106FM. Broadcasted on Saturday these shows were intended to showcase recent releases and to advertise the various Studio One locations and their products. The first of the two Studio One Radio Shows was known as the Sound of Young Jamaica and featured Winston Francis, The Boss, Jerry Jones, The Heptones, Ernest Ranglin, Horace Andy and Burning Spear. The second show, known as Soul Power and Sound, features Sugar Minott, Ken Boothe, Alton Ellis, The Heptones and Carletone & The Shoes.

File Under: Reggae

…..Restocks…..

Alabama Shakes: Boys & Girls (ATO) LP
Alabama Shakes: Sound & Color (ATO) LP
Aphex Twin: Cheetah (Warp) LP
Aphex Twin: Syro (Warp) LP
William Basinski: 92982 (Temporary Residence) LP
William Basinski: The Deluge (Temporary Residence) LP
Beastie Boys: Hello Nasty (EMI) LP
Black Sabbath: Paranoid (Rhino) LP
Broadcast: Haha Sound (Warp) LP
Broadcast: Tender Buttons (Warp) LP
Broadcast: Work & Nonwork (Warp) LP
Nick Cave: Abattoir Blues (Mute) LP
Nick Cave: Boatman’s Call (Mute) LP
Nick Cave: Firstborn is Dead (Mute) LP
Nick Cave: Henry’s Dream (Mute) LP
Nick Cave: Kicking Against the Pricks (Mute) LP
Nick Cave: Let Love In (Mute) LP
Nick Cave: No More Shall We Part (Mute) LP
Nick Cave: Your Funeral… My Trial (Mute) LP
City & Colour: If I Should Go Before You Do (Dine Alone) LP
Cure: Pornography (Rhino) LP
J Dilla: Donuts (Stones Throw) LP
Dillinger Escape Plan: Calculating Infinity(Relapse) LP
Eric Dolphy: Outward Bound (Original Jazz Classics) LP
Earthless: Sonic Prayer (Gravity) LP
Earthless: Rhythms From A Cosmic Sky (Tee Pee) LP
Fleetwood Mac: Rumors (Rhino) LP
Flying Lotus: You’re Dead! (Warp) LP
Grizzly Bear: Shields (Warp) LP
Grizzly Bear: Veckatimest (Warp) LP
King Gizzard & The Lizard Wizard: Paper Mache Dream ballon (ATO) LP
Fela Kuti: Beasts of No Nation (Knitting Factory) LP
Fela Kuti: Confusion (Knitting Factory) LP
Fela Kuti: He Miss Road (Knitting Factory) LP
Fela Kuti: Sorrow, Tears & Blood (Knitting Factory) LP
Daniel Lanois: Goodbye to Language (Anti) LP
Led Zeppelin: III (Warner) LP
Metallica: Master of Puppets (Blackened) LP
Metallica: Ride the Lightning (Blackened) LP
Metallica: Kill Em All (Blackened) LP
Mumford & Sons: Babel (Glassnote) LP
Mumford & Sons: Sigh No More (Glassnote) LP
Parliament: Mothership Connection (Universal) LP
Joel Plaskett: La De Da (Maplemusic) LP
Iggy Pop: Post Pop Depression (Loma Vista) LP
Queens of the Stone Age: Rated R (Interscope) LP
Rolling Stones: Exile on Main Street (Universal) LP
Rolling Stones: Let It Bleed (Abkco) LP
Rolling Stones: Sticky Fingers (Universal) LP
Shadowy Men on a Shadowy Planet: Savvy Show Stoppers (Yep Rock) LP
Swans: The Seer (Young God) LP
Talking Heads: 77 (Rhino) LP
Talking Heads: Fear of Music (Rhino) LP
Thor & Friends: s/t (L.M. Duplication) LP
Velvet Underground: s/t (Verve) LP
Stevie Wonder: Innervisions (Tamala) LP
Stevie Wonder: Music of my Mind (Tamala) LP
Stevie Wonder: Talking Book (Motown) LP
Various: Don’t Stop Recording Tap (Numero) LP

Tagged , , , , , ,

…..news letter #762 – leftovers…..

Classic short week here, hardly anything new in…. however, if the Fed Ex man delivers tomorrow, the much anticipated, under appreciated Syrinx albums will be available for your ears to munch on.

…..pick of the week…..

syrinx

Syrinx: Tumblers From The Vault (ReRVNG Intl.) LP
In tomorrow???…..The two instrumental albums that Syrinx issued in the early 1970s sound little like the psychedelic music prevailing Toronto’s rock venues at the time, and are even further removed from the electronic tape experimentations spooled by a younger John Mills-Cockell. Instead, the path of Syrinx whimsically veers away from the dominant mode of ‘70s subculture, charting surprising commercial success. Tumblers From The Vault presents their entire recorded legacy, reviving the story of Syrinx and sharing their memorable, mind-bending melodies. The musicians behind Syrinx were composer and keyboardist John Mills-Cockell, saxophonist Doug Pringle, and percussionist Alan Wells. All three were young veterans of the Toronto creative scene by the beginning of 1970. LSD played a supporting role in their artistic pursuits, but equal guidance also came from Mills-Cockell’s studies at the University of Toronto and Royal Conservatory of Music, where he established an ad-hoc, DIY electronic music course in the school’s basement. Before long, Mills-Cockell was an accomplished young composer and an important conspirator in Intersystems, a rogue, multimedia ensemble that intersected heterogenous artists and musicians via the Toronto underground. In this freeform environment, Mills-Cockell’s compositions found alert ears, among them his primary collaborator Doug Pringle, a wily wind player, and producer Felix Pappalardi, whose credits include Cream’s Disraeli Gears and who helped John land an album deal with True North Columbia. After Intersystems dissolution, Mills-Cockell journeyed to Canada’s west coast to work on an album of original synth-based compositions using his multi-suitcase Moog as the primary instrument. Pringle was enlisted to color outside the music’s already adventurous lines, his sinuous, signal-processed saxophone adding another electrifying voice to Syrinx’s signature sound. A sound that hybridized chamber music dynamics with wild, yet tuneful electronic melodicism. With Alan Wells’ understated percussion rolled into the fold, what started as a solo venture for Mills-Cockell became a new kind of collective. From these coastal sessions were conjured exemplary pieces like “Journey Tree” and “Hollywood Dream Trip,” both plaintive and serene expressions of Mills-Cockell’s economical arrangements, and also Syrinx’s restrained and expert use of their electronic resources. “Hollywood Dream Trip” alone presents a theme so memorable and melancholic that it calls to mindErik Satie, John Cage’s early piano works, and the cinematic power of Golden Age soundtrack music. Syrinx’s self-titled debut arrived in 1970, followed in 1971 by Long Lost Relatives, which is highlighted as the first album on Tumblers From The Vault. Between the two albums, Syrinx became a vital part of the Toronto music scene, with Doug Pringle’s loft serving as the central node for impromptu performances and the group’s collaborative activities. Syrinx also started receiving high profile work, first for television, film, and dance, and then for orchestra. One commission culminated commercially in “Tillicum”, the unforgettable theme music for pioneering reality television show Here Come the Seventies. As a standalone single, “Tillicum” would climb to #38 on Canada’s RPM charts. The most eventful assignment came from the Toronto Repertory Ensemble’s conductor and composer Milton Barnes, whose solicitation inspired the powerful orchestral suite Stringspace. The studio version of Stringspace for Long Lost Relatives is a near faithful version to the live performance, the Toronto Repertory Ensemble offering the same sweeping, deeply engrossing symphonic support. (An original live version also appears on Tumblers from the Vault on the third LP, along with other rare and alternate Syrinx gems). “Tillicum” also appears on Long Lost Relatives, a nod to the group’s new visibility, and perhaps an assertion that Syrinx was part of the trailblazing new world that their television theme song signaled. Syrinx’s music is more than a faded strain in Canada’s consciousness, but has never expanded universally. One modest task of Tumblers from the Vault is to reinstate Syrinx to their place in the wider canon of groundbreaking music so their story can be appreciated beyond the limits of Canadian notoriety. Another task is to simply have this music heard again, which is an endeavor made less difficult by the fact that the most defining quality of Syrinx’s music is its timelessness and agency. Unlike so many turn of the ‘60s experiments fusing rock and pop music language with new technology, Syrinx was never excessive in expressing their vision of what electronic music could offer. Instead, they blended these sounds in a holistic way, allowing the acoustic and electronic textures to create one organic voice. They opted to foreground the lyrical and poetic content of their compositions rather than their innovative techniques. It’s a tribute to John Mills-Cockell’s compositions, and his comrades Doug Pringle and Alan Wells, that the tangential path of Syrinx remains as present, exploratory and inviting as ever. Syrinx’s Tumblers From The Vault will be released on October 14, 2016 as triple LP set, double CD, and digital formats. An accompanying documentary about Syrinx by artist and filmmaker Zoe Kirk-Gushowaty will screen selectively.

File Under: Electronic, Psych, CanCon
Listen Here

…..new arrivals…..

anciients

Anciients: Voice of the Void (Season of Mist) LP
Anciients return on Season of Mist with their long-awaited sophomore album Voice of the Void. A heavier and harder-hitting album than their debut, Voice of the Void raises their game with mind-melting, frenetic guitar work and a more explosive percussive attack. Tracks such as “Serpents,” “Pentacle,” “Incantations” and more are prismatic; bursting with heavy riffs in every shade and color without sacrificing the quartets heavy rock roots. Anciients are the archetype of a modern, progressive heavy band and Voice of the Void is a dynamic listen carrying the spirit of metal’s forerunnners.

File Under: Metal
Listen Here

black-marble

Black Marble: It’s Immaterial (Ghostly) LP
It’s Immaterial is the second full-length effort from Black Marble. Their first for Ghostly, It’s Immaterial follows up their EP Weight Against the Door and highly acclaimed debut full-length A Different Arrangement. Still featuring Chris Stewart at the helm along with select collaborators as supplementation, the project’s recent shift in locale from East Coast to West Coast lends a great deal to the overall feel of the new album: the light and dark elements of shadows, the salt and sting of evening’s high tide sea spray, a beautiful thing left on a shelf too high to maintain. The general mood is that of creating something new, but going back in time to do it. Like attempting to flesh out a song that you woke up humming but can’t find because it doesn’t exist yet. With the end of the East Coast chapter of Stewart’s life on the horizon, It’s Immaterial was recorded in a period of mental and physical transition, trapped between spaces and unable to move on until the snow globe flurry of ideas floating around him settled just right. It’s Immaterial is soaring and muted all at once. It’s a collection of songs pieced together from perfect seeming snippets heard while passing open doors. It’s a framework in which your imagination creates its own version of what you need to hear but didn’t have a way to describe – like a favorite song heard on an unlabeled mixtape by a band you can’t uncover. It’s Immaterial is a further evolution in Black Marble’s sound. Where the songs featured on their debut full-length seemed to hiss from a vent in the floor, the new tracks seem to be coming from the next room. Written, recorded, mixed, and performed entirely by Stewart, the new songs are a unified vision – one person’s attempt to patchwork together bits of vapor and the most subtle gleanings of preference to make something wholly new. It’s an endless drive in the passenger seat of a car while listening to everything you’ve ever loved, but lasting only 40 minutes.

File Under: Electronic, Indie Rock
Listen Here

califone

Califone: Roomsound (Dead Oceans) LP
Califone’s debut album Roomsound was originally self released in April of 2001. Roomsound covers the same rustic, slightly ramshackle back forty that Tim Rutili has been plowing through since his previous band Red Red Meat. Only this time the tilled bedrock unveils the most vividly colored, luring crop of songs Rutili has ever harvested. The sleepy, country-blues picking and autumnal backwoods melodies are accented with striking splashes of electronic tone color, obsolete keyboards and off-kilter percussion. Lyrically, Roomsound penetrates the breath of pirates, poison apples at a tango contest and the waiting room between death and canonization where missionaries have quit and 19th-century prostitutes have been rescued for all the wrong reasons. Masterfully produced by Brian Deck, the album is vaulted far beyond the sum of its parts. Roomsound is a hauntingly unique and distinctive record of crafted and sculpted beauty.

File Under: Indie Rock
Listen Here

cheap-high

Cheap High: Subterranean Suburbia (Dipstick) LP
From BC’s Fraser Valley comes the exciting sounds of Cheap High. They give a spirited performance on the eerie post-punk number “Time and Space, which features artsy sing/speak, goth/punk guitars and a percussion section that goes off like a carefully sequenced detonation.

File Under: Postpunk
Listen Here

dorji

Tashi Dorji & Tyler Damon: Both Will Escape (Family Vineyard) LP
Both Will Escape is the debut full-length between electric guitarist Tashi Dorji and percussionist Tyler Damon. In the long tradition of string/drum duets — from Bailey & Bennink to Haino & Yoshida — these two cleave out their own unmapped continent of sound. Across four pieces they connect lashes of ecstatic intensity and outer reaches of texture and timbre. At times Dorji’s brutal electric torrents meld into Damon’s metal and tonal abstractions. These two developed in parallel for years before forging an ongoing duo in 2015. Dorji has released a string of startling acoustic albums that’ve rescrambled six-string notions of jazz/improv/Flamenco. Damon’s rethink of overtone and rhythm is enraptured as it’s stupefying in solo exhibitions or with Mars Williams, Darin Gray and Thee Open Sex. Both Will Escape — their second release after a live cassette on Astral Spirits — was recorded by Patrick Kukucka at the Hi Z lo z Studio in Asheville, NC and mixed by John Dawson at Magnetic South in Southern Indiana. Edition of 500 LPs with download coupon.

File Under: Jazz, Free Improv
Listen Here

kings-of-leon

Kings of Leon: Walls (RCA) LP
Multi-platinum selling rock band Kings of Leon return with their hugely anticipated seventh studio album Walls, the follow-up to their Grammy Nominated 2013 effort Mechanical Bull. The group decided to revisit their recording roots in Los Angeles, CA, where they layed down their first two albums, working with famed producer Markus Dravs (Arcade Fire, Coldplay, Florence + the Machine) for the first time. Dravs pushed Kings of Leon in new directions on the organic 10-track set which finds the band experimenting with their signature sound and committing to the most personal material of their career. Bassist Jared Followel to Billboard, “He just said things that nobody had ever said to us. Like, ‘I don’t like that song, that’s not good, we can move on from that.'” Dravs also asked the band to change tempos and musical styles at the drop of a hat. “He’d be like, ‘OK, now play it like the Sex Pistols.’ And then you’ve turned a slow song into a fast one.”

File Under: Rock
Listen Here

merch

Merchandise: A Corpse Wired for Sound (4AD) LP
Formed nearly a decade ago, galvanized by Tampa hardcore and inspired by its miscreant noise, A Corpse Wired For Sound signals a new chapter for Merchandise. Following 2014’s After The End – a full-band effort recorded in a closet – the band stripped back to its core of Carson Cox (vocals, electronics), Dave Vassalotti (guitar, electronics) and Pat Brady (bass). The trio traveled to Rosà, Italy for their first ever sessions in a recording studio at La Distilleria, with local producer Maurizio Baggio. The nine-song nocturnal A Corpse Wired For Sound was recorded half in the studio and half at home, in Tampa as well as Cox’s newly adopted bases of New York and Berlin – the culmination of a long-distance collaboration between Cox and Vassalotti. The album’s metallic title is inspired by a science fiction short story by JG Ballard, but equally sums up the band’s current state of mind. “We were ‘reborn’ as a rock band for After The End,” says Vassalotti, “and then we straight-up died again. It couldn’t last. The result is this distended corpse responding to you from both sides of the Atlantic, forever singing in spite of everything.” Cox expands further, “it’s about the truth of growing up. You can’t take your friends or lovers with you. It’s about finding peace with that loneliness.”

File Under: Post-Punk
Listen Here

 

monoMono: Requiem for Hell (Temporary Residence) LP
MONO is a band driven by intangible conflicts. Their albums have found inspiration in the inescapable coexistence of love and loss, faith and hopelessness, light and darkness. Fittingly, their new album, Requiem For Hell, incorporates all of those conflicts into the one universal inevitability in life: Birth, and death. Requiem For Hell finds MONO returning to longtime friend and collaborator, Steve Albini. After MONO and Albini’s band, Shellac, toured Japan together last year, they realized how much they missed the (often wordless) creative dialogue they shared during the making of many of their most memorable albums – beginning with Walking Cloud and Deep Red Sky… (2004) and culminating with Hymn To Immortal Wind (2009). The rebirth of the Albini collaboration for Requiem For Hell also coincided with the birth of a close friend’s first child, whose actual in utero heartbeat serves as the foundation for the aptly named “Ely’s Heartbeat.” For MONO, it all felt so right, so inevitable. Requiem For Hell is undeniably heavier and scarier than most of MONO’s output to this point – hear the dizzying 18-minute title track for example – but it also carries some of their most sublime moments. This dichotomy is how one band’s obsession with conflict has manifested itself into one of underground music’s simultaneously quietest and loudest catalogs.

File Under: Post-Rock
Listen Here

naked

The Naked & Famous: Simple Forms (Somewhat Damaged) LP
Simple Forms is the third studio album by Los Angeles-based New Zealand indie electronic band The Naked and Famous. Simple Forms features the first single “Higher.” The band formed New Zealand in 2007 but relocated to Los Angeles five years later. The Naked And Famous consists of Alisa Xayalith (vocals, keyboards), Thom Powers (vocals, guitars), Aaron Short (keyboards), David Beadle (bass) and Jesse Wood (drums). The band has released two studio albums: Passive Me, Aggressive You (2010) and In Rolling Waves (2013). The Naked and Famous took their name from English musician Tricky’s song “Tricky Kid”, which is ambivalent about the notion of celebrity.

File Under: Indie Rock, Electronic
Listen Here

red-fang

Red Fang: Only Ghosts (Relapse) LP
After three years of vigorously touring the world, Red Fang re-emerge with their greatest and latest full-length album, Only Ghosts. Produced by the legendary Ross Robinson (At The Drive In, The Cure, Slipknot) and mixed by Joe Baressi (Queens of the Stone Age, Kyuss, Melvins), Only Ghosts consists of ten new tracks of the band’s signature, high-impact, hook-filled, hard rock. Red Fang prove once again they are top-notch songwriters who have mastered the heavy anthem without taking themselves too seriously. Only Ghosts is a rock album of incredible magnitude that demands to be played at maximum volume!

File Under: Metal, Stoner
Listen Here

soulmates

Soul Mates: Snake Oil (Deathstryke) LP
“An ill-mannered rock ‘n’ roll outfit with tweaked-out riffs for miles and swagger to burn. They have the elusive severity of classic hardcore, but with an evolved and bizarre approach to tapping into that sound.” – Skot Hamilton (KEN mode/Adolyne/Grey Light District)

File Under: Noise Rock
Listen Here

confSonic Youth: Confusion is Sex (Goofin) LP
“Originally slated to be a seven-inch single to follow up their self-titled debut, Sonic Youth’s Confusion Is Sex blossomed into the band’s first album: a brain-bludgeoning, completely fried endeavor of dissonance and disarray, a perfect soundtrack for running from a chain-wielding gang near the SIN Club. This was the sound of 1983 New York City: nothing like London where punks were starting to scrub their faces and sounds to get on Top of the Pops , and nothing like the jangly roots of college radio rock starting to formulate in Athens, GA. “It sounded like no one else on Earth, for that matter. The raw, Wharton Tiers 8-track production is dark, the Kim Gordon-scrawled cover figure art of Thurston Moore is dark, Lee Renaldo’s back cover photo-collage and Catherine Ceresole’s crumpled-xeroxed images that adorned the inside are dark. It’s an album that moves Sonic Youth forward from their first EP almost by devolving backwards into true ugly, lo-fi primitivity “…While its confrontationalism might have put off some critics, time has rewarded Confusion with a truly distinctive air and atmosphere in the Sonic discography, enough to have Moore declare it his fave along with the band’s swan-song The Eternal.” – Brian Turner, WFMU

File Under: Art Rock, Noise
Listen Here

warpaint

Warpaint: Heads Up (Rough Trade) LP
It’s easy to get the wrong impression about Warpaint. The band’s studio albums (including their most recent full-length, 2014’s Warpaint) have tended to emphasize moody atmospheres: gauzy keyboards, hypnotic harmonies and sinister grooves. In concert, however, the Los Angeles quartet – vocalist/guitarist Emily Kokal, vocalist/guitarist Theresa Wayman, bassist/vocalist Jenny Lee Lindberg and drummer/keyboardist/vocalist Stella Mozgawa – pair this moodiness with bumped-up tempos and sinewy beats. The music’s no less dark – but it has an additional rhythmic urgency and tension that can be surprising. Of course, confounding expectations has been part of Warpaint’s m.o. since the band formed in 2004. And so when the band convened to make their third studio album, Heads Up, they shared a common goal: to make a faster, dance-oriented record. “We’ve always had this really jammy, high-energy live show compared to some of our records,” Kokal says. “We all love to dance. We didn’t want to take away from the emotion or the core feeling of what our band is all about – which I don’t even think we could take out if we wanted, because it is who we are – but we wanted to bump the speed up and have a little bit more fun.” Mission accomplished.

File Under: Indie Rock
Listen Here

Tagged , , , , , ,

…..news letter #761 – gobble…..

We are heading into the home stretch for new releases for the year, but there’s still some great stuff left coming out before everyone starts making their year end lists. Lots of great stuff in this week to make your Thanksgiving weekend a bumpin’ time.

Note we will be open 12-5 on Monday.

…..pick of the week…..

goat

Goat: Requiem (Sub Pop) LP
Western exports may have dominated the consciousness of international rock fans for the entirety of the 20th century, but our increasing global awareness has unearthed a treasure trove of transcendental grooves and spellbinding riffage from exotic and remote corners of the planet. Goat’s previous albums World Music and Commune were perfect testaments to this heightened awareness, with Silk Road psychedelia, desert blues, and Third World pop all serving as governing forces within the band’s sound. But Goat’s strange amalgam isn’t some cheap game of cultural appropriation – it’s nearly impossible to pinpoint the exact origins of the elusive group’s sound. The fact that they pledge allegiance to a spot on the periphery of our maps bolsters the nomadic quality of their sonic explorations. With Requiem, Goat continue to rock and writhe to a beat beholden to no nation, no state. Goat’s only outright declaration for Requiem is that it is their “folk” album, and the album is focused more on their subdued bucolic ritualism than psilocybin freakouts. But Goat hasn’t completely foregone their fiery charms – tracks like “All-Seeing Eye” and “Goatfuzz” conjure the sultry heathen pulsations that ensnared us on their previous albums. Perhaps the most puzzling aspect of Requiem comes with the closing track “Ubuntu.” The song is little more than a melodic delay-driven electric piano line, until we hear the refrain from “Diarabi” – the first song on their first album – sneak into the mix. It creates a kind of musical ouroboros – an infinite cycle of reflection and rejuvenation, death and rebirth. Rather than offering explanations for their strange trajectories, Goat create a world where the line between truth and fiction is so obscured that all you can do is bask in their cryptic genius.

File Under: Psych, Folk
Listen Here

…..new arrivals…..

battisti

Lucio Battisti: Amore E Non Amore (Light in the Attic) LP
“If Lucio Battisti was Italy’s answer to France’s Serge Gainsbourg, then Amore E Non Amore is his own Histoire De Melody Nelson, a concept album that’s widely regarded as a formative artistic achievement (if far from the most hit packed album) of his respective career. Both albums were released in 1971. For Battisti, the concept came from that dichotomous title: there’s a rocky ‘non-love’ side of the album, which has songs about obsession and adultery, and a ‘love’ side of dreamy, prog-rock instrumentals. The album saw Battisti working with lyricist Giulio ‘Mogol’ Rapetti, with whom he’d collaborated closely since 1965, enjoying huge hits with the likes of ’29 Settembre’ and ‘Sognando La California,’ an Italian version of ‘California Dreamin”. It was Mogol who first convinced Battisti to perform his own songs, and who conceived the idea for this record. Mogol supplied the inspiration, the title and the titles of its songs, many of them evocative sentences that flesh out the visual picture where lyrics are absent. Take, for example, ‘Davanti Ad Un Distributore Automatico Di Fiori Dell’aereoporto Di Bruxelles Anch’io Chiuso In Una Bolla Di Vetro,’ which translates as ‘In Front Of A Flowers Vending Machine In Brussels Airport I Am Closed In A Glass Bowl Too’. In an incredibly rare English language interview accompanying this lavish reissue, Mogol speaks of the album’s conception. ‘I had an understanding that Lucio was a great musician, a great composer,’ he says, ‘And in my opinion, I felt bad that he was limited exclusively to a pop genre. I wanted him to become a musician; I was really hoping, I had said to him, that he would become an orchestra conductor, a star who would make his own songs, and so I tried to convince him to make songs without lyrics.’ Amore E Non Amore was to be a watershed moment for Battisti. His label considered it to be too experimental and advanced for the Italian audience, and refused to release it. They were wrong: it instead set Battisti on a liberating course of artistic freedom and widespread success, and gifted the world one of Italy’s greatest musical exports. Officially licensed reissue. Remastered from the original tapes. Liner notes interviewing lyricist Giulio ‘Mogol’ Rapetti. Deluxe gatefold ‘tip-on’ Stoughton jacket. 180-gram vinyl.”

File Under: Italian, Psych
Listen Here

bvs

Bear vs. Shark: Right Now You’re In The Best of Hands/Terrorhawk (Equal Vision) LP
Bear Vs Shark, the Detroit mainstays who disbanded in 2005 after two tremendous albums, have announced a remastered limited double vinyl re-issue of both of those LP’s – Right Now, You’re in the Best of Hands and Terrorhawk – via their original label home Equal Vision Records. With new cover art by BVS singer Marc Paffi the 2LP reissue will arrive in September 2016 on colored 180g vinyl with a gatefold jacket. Bear Vs Shark hit the primal sweet spot for a lot of listeners. Not too pissed. Not too anthemic. Not too nostalgic and not too instrumentally self-indulgent. The adrenaline-pumping, aerodynamic rock tunes of BVS feel like a secret formula of sorts because it was something heavy, something intense, something fast, that never wore you down. It was acrobatic and, at times, aerobic, but never tired you out. It was contemplative and blunt but never exhausted your emotional core.

File Under: Punk, Hardcore
Listen Here

blake

James Blake: Colour in Everything (Republic) LP
In tomorrow… Grammy Award-nominated artist James Blake returns with his anxiously awaited third full-length album, The Colour In Anything. Among its seventeen soulful tracks are the previously unveiled numbers “Modern Soul,” “Timeless,” “I Need a Forest Fire” feat. Bon Iver and “Radio Silence.” In addition to the Bon Iver feature, Frank Ocean and Rick Rubin also contributed to The Colour In Anything as co-writer and co-producer, respectively. James Blake’s impact can be felt throughout the modern music landscape. He lent his inimitable voice and production to “Forward” on Beyoncé’s chart-dominating #1 blockbuster Lemonade. In addition, he co-wrote the opener “Pray You Catch Me.” Following the release of 2013’s Overgrown, Blake garnered a “Best New Artist” nomination at the 2014 Grammy Awards, and he received a nod for “British Male Solo Artist” at the 2014 BRIT Awards.

File Under: Electronic, Soul
Listen Here

body-of-light

Body of Light: Let Me Go (Dais) LP
Formed roughly 5 years ago in the wasted sands of Tempe, Arizona, electronic dance faction Body of Light have proven to be a teeming creative force within the present-day electronic landscape. From the archaic drones and abstract measurements of their earliest collections, to their prodigious cinematic pop ballads and darkwave compositions, the two brothers, Alex and Andrew Jarson, are no strangers when it comes to blurring the compositional lines that confine underground music. Having worked together and separately over the years within the folds of the co-founded Ascetic House collective, both Alex and Andrew have given life to a variety of projects such as Otro Mundo, Blue Krishna, Somali Extract and Memorymann, whilst unveiling over a dozen visual, audio, and written works under a variety of monikers in a shortened period of time. Body of Light is simply another extension of that exercised method of immediate and natural experimentation. Let Me Go frames the band as a project that has run the circle of practiced ideas to a fully-realized vision of synth pop sensibility and erotic aesthetics. Previous releases on Chondritic Sound and Ascetic House show both members grappling with sound and art as both a tool of mechanical reproduction and lawless spiritual hedonism. But after half a decade has marched on under the Body of Light banner, the project has solidified itself in its current mature state as one of the most transcendent dance music mediums today. Hesitant to define themselves strictly as a “synth-pop” collaboration, the brothers incorporate a wide variety of commodities as they attempt to formulate a direction, unique with decaying, warped tape loops, aging VHS home-movie sound samples from their childhood, primitive waveforms, and processed vocals tinged with harmonic means.

File Under: Synthpop
Listen Here

cherry

Don Cherry Complete Communion: Live at the Liederhalle in Stuttgart, May 12 1966 (Modern Silence) LP
The legendary Don Cherry with his great 1966 quintet featuring Gato Barbieri on tenor sax, Karl Berger on piano, Bo Stief on bass and Aldo Romano on drums. This quintet can also be heard on three releases on ESP-Disk, three volumes titled Live at Café Monmartre 1966 and with the New York Total Music Company in 1968. This recording is taken from an excellent radio broadcast, presented here for the first time in a glorious vinyl release.

File Under: Jazz

clutch

Clutch: La Curandera (Weathermaker) LP
Standard vinyl reissue of Clutch’s compilation album La Curandera which collects eight deep tracks culled from the Maryland rocker’s vast catalog themed around characters that can only be described as formidable female protagonists (“Cyborg Bette,” “Night Hag,” “Isabella,” “The Dragonfly”). Originally released on pink vinyl for Breast Cancer Awareness Month in 2015, the cover artwork is by world-renowned illustrator Becky Cloonan, who has worked for DC, Marvel, and Image.

File Under: Metal

eluvium

Eluvium: False Readings On (Temporary Residence) LP
False Readings On is the new album from renowned experimental composer, Eluvium. Its creation was originally inspired by themes of cognitive dissonance in modern society. By its conclusion it had become a mirror rather than a magnifying glass, evolving into an hour-long meditation on self-doubt, anxiety, and separation from one’s self. There is an emotional lucidity and melodic ingenuity to Eluvium’s music that has made him increasingly stand out from the sea of ambient artists that his earlier albums no doubt helped inspire. Sounding like an orchestra ceaselessly performing even as it sinks beneath an ocean of distortions and tape noise – with the occasional operatic voice piercing the surface – False Readings On is assuredly the most daring, dynamic, and distinct album of his luminous career.

File Under: Ambient, Classical
Listen Here

excult

Ex-Cult: Negative Growth (In The Red) LP
“In the year of the snitch, there are forces beyond your control that keep you up at night. Ghost notions that swirl around your room while you sleep. Your own pillow laughing right in your face while you fight for an hour of rest. Voices whisper from the corner, telling you everything you never wanted to hear. Negative Growth, our third album, is dedicated to fear and deception. “This collection of songs was conceived in Memphis and finalized in Los Angeles, with the help of our family doctor Ty Segall. It was created in February 2016, when we traded Memphis misery for a week of California sunshine. Negative Growth is a nine-track nightmare, a death trip in the crystal ship. The institution known as In The Red Records will do the honors. The Hollywood Heat Seeker takes ten years off your life.”
—Chris Shaw of Ex-Cult

 File Under: Rock
Listen Here

forma

Forma: Physicalist (Kranky) LP
Physicalist is the third album from New York City synthesis trio Forma. Since their acclaimed sel-ftitled debut in 2011, Forma have been perfecting a distinctive style of improvised kosmische and minimalism that blends swirling arpeggios, ambient soundscapes, and driving motorik beats. Physicalist is a sprawling, double LP journey featuring new member and multi-instrumentalist John Also Bennett, who replaced Sophie Lam in 2014. The first Forma album to include acoustic instrumentation, Physicalist owes more to American composers like Harold Budd or Terry Riley than Klaus Schulze and other Krautrock visionaries. The album was recorded during marathon sessions at Brooklyn’s Gary’s Electric studio, and is packaged in a gatefold jacket with original artwork by Robert Beatty and a liner notes essay by writer and critic Michael Barron. Physicalist was mastered by Bob Weston.

File Under: Electronic, Kosmische
Listen Here

gengras
Geddes Gengras: Interior Architecture (Intercoastal Artists) LP
“The work of prolific Los Angeles producer M. Geddes Gengras is often discussed in terms of ‘vibes.’ This is fair enough, given the wandering modular synth experiments for which he’s known (not to mention his warmer forays into dub alongside Sun Araw and his stated late-blooming appreciation for the Dead). Lest such language imply a relaxed sort of grooviness, however, his latest full-length—a double LP comprising four barely-discrete compositions, each around 18 minutes—extends into more anxious territory. Composed and recorded over the last six years, Interior Architecture is so expansive that it can be hard for the listener to find her footing. What’s rewarding, in addition to the lush and liquid sound of Gengras’ indulgent approach, is that very experience of instability. It’s more pronounced than in his previous releases, and here takes on a psychological dimension.”—Pitchfork

File Under: Electronic, Synth
Listen Here

hval

Jenny Hval: Blood Bitch (Sacred Bones) LP
Norwegian artist and writer Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013’s Innocence Is Kinky and 2015’s Apocalypse, Girl, Hval’s debut for Sacred Bones, she has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements which incorporate elements of poetry, prose writing, performance art, and film. The New York Times defines her writing as “taking a scalpel to the subjects of gender politics and sexuality.” Hval has eloquently brought to light issues of both male and female gaze, which for years had been swept under the rug and/or denied all together. Apocalypse, Girl landed on numerous year-end lists with leading compelling writers everywhere to grapple with the age-old, yet previously unspoken, question: What is Soft Dick Rock? After touring for a year and earning her second Nordic Prize nomination, as any perfectionist would, Hval immediately went back into the studio to continue her work with acumen noise producer Lasse Marhaug, with whom she co-produces here on Blood Bitch. Her new effort is in many respects a complete 180° from her last in subject matter, execution and production. It is her most focused, but the lens is filtered through a gaze which the viewer least expects.

File Under: Indie Rock
Listen Here

jansch

Bert Jansch: s/t (Superior Viaduct) LP
Scottish singer-songwriter Bert Jansch recorded his first album in producer Bill Leader’s London flat with a borrowed guitar, sitting on the edge of the bed and singing into a portable tape recorder.   As author Richie Unterberger writes in the liner notes, “When Bert Jansch’s self-titled debut LP was issued in April 1965, he was already a major figure on the British folk scene. His synthesis of traditional British folk with blues and a bit of jazz was at the vanguard of a new generation of UK folk performers, well-versed in past forms but unafraid to venture into new territory. His virtuosic guitar was complemented by a plaintive rough-hewn voice that didn’t just document the on-the-road experience, but lived it.”  Bert Jansch contains all original material, except a shattered cover of Davy Graham’s “Angie” that Jansch makes all his own. “Needle of Death,” one of the first folk songs to address the consequences of heroin use, yields to a restraint uncommon for Jansch, yet beautifully encapsulates the album’s tone of heartfelt conviction.  Superior Viaduct is honored to present the first-time domestic release of Bert Jansch’s debut, remastered from the original master tapes. For those interested in a unique strand of music that would become a major influence on everyone from Jimmy Page, Nick Drake, Donovan, Neil Young and more – there is no better place to start than here.

File Under: Folk, SSW
Listen Here

mcbain

Kandodo/McBain: Lost Chants/Last Chance (Rooster) LP
A meeting of like minds surfing the sonic highways to tonal oblivion. These four castaways on Sonic Island (this may be too much) have delivered an album that evokes the long lost and revered genre “Drug-Rock” a true mind melt of acid abandonment! Tab-era Monster Magnet, Sessions Era-The Heads—purely visceral and pummelling workouts of a krautrock and pschedelische (surely the most overused term of now—but finally in its right place) from these masters of the art.  Lets not beat about the burning bush here, this is an original Monster Magnet member and three of the Heads—this is pedigree not to be overlooked. Tune in, Turn on, droned out! Mutually appreciated riffs, drones and tones floated across the oceans (via the internet). Conceived by Simon Price, Wayne Maskell, and Hugo Morgan and their US conspirator John McBain. They’ve created a modern masterpiece, straight from the off, the album feels like it has been hurled from riff valley, laden with trips aplenty.. catch a sonic wave here fellow psychonauts!!! (Liquid aural lava, it will encase your brain with a sike glazed crust.)   Mastered by John Mcbain for full sonic immersion, and cut at 45rpm to enable a further immersion into the molassess when sped down to 33rpm—this works so well, that the CD comes as a double with CD one a 45rpm (normal) master and CD 2 the treacle trap murk of it slowed to 33rpm. The come down stretched further—a psychedelic morass, all encased in a sike glazed crust of quality packaging.  Wig out and get your oblivion set, strap this on and soar into space.

File Under: Psych, Stoner
Listen Here

LaneganCovers

Mark Lanegan: The Winding Sheet (Sub Pop) LP
The Winding Sheet is Lanegan’s first solo work and showcases his adept skills as a lyricist and his deep, soulful voice. Highlights include “Mockingbirds,” “Ugly Sunday” and the haunting “Wild Flowers.” The late Kurt Cobain lends vocals to  “Down in the Dark,” and for the folk classic “Where Did You Sleep Last Night” Cobain contributes guitar and vocals and Krist Novoselic plays bass. Nirvana would later also cover “Where Did You Sleep Last Night” on their Unplugged album. The album was produced by Jack Endino, Lanegan, and Johnson. With extra tracks “I Love You Little Girl.”

File Under: Indie Rock
Listen Here

whiskey

Mark Lanegan: Whiskey for the Holy Ghost (Sub Pop) LP
Pacific Northwest icon Mark Lanegan is well known for his work with Screaming Trees, Gutter Twins, Mad Season, Queens of the Stone Age, Isobel Campbell, and more. As a solo artist, he’s also built a devoted following, slowly releasing records that highlight his love for singer/songwriters, and American folk and blues. Constructed with producer/instrumentalist Mike Johnson, 1994’s Whiskey for the Holy Ghost is Langegan’s second solo effort and finds his distinct bourbon baritone and dark tales of the human experience bathed in compelling country blues arrangements making undated standouts like “Borracho,” “House a Home” and “Pendulum” some of the most unique exponents of the grunge explosion of the early-90s.

File Under: Indie Rock
Listen Here

laraaji

Laraaji: Om Namah Shivaya (Leaving) LP
This original 1984 cassette home recording from Laraaji was inspired by request for a personal long play soundtrack to accompany a delivery room child birth in Florida. It was intended to welcome a newborn child with love, ecstatic joy and high positivism. Inspirational vocal art music, Casiotone M70 electric keyboards and chant singing coalesce while in prepared vision trance, C Major.

File Under: Ambient, Synthpop, New Age
Listen Here

meshuggah

Meshuggah: The Violent Sleep of Reason (Nuclear Blast) LP
The Violent Sleep of Reason, the band’s eighth full-length studio album, finds Meshuggah building upon their legacy for fearless metal sculpting within the context of extreme metal, but also recapturing some of the magic and excitement specifically within the aspect of performance, finding flow and groove that would be a challenge for any lesser band to locate, given such technical geometric madness at mischievous hand. At the lyrical end, highlights include the title track, which, set to a massively heavy arch-djent rhythm, speaks of “the violent outcome of not dealing with what is going on, the violent implications of being asleep.” A second highlight is strident opener and longest song on the album, “Clockworks,” which is strafed by a typically super-human drum performance from Tomas Haake. Listen to tracks like the vertigo-inducing “Nostrum” and the slower if equally circular and note-dense “By the Ton,” and it’s easy to understand why it’s been four years since a Meshuggah album.

File Under: Metal
Listen Here

doom

MF Doom: Unexpected Guests (Metal Face) LP
From his early days as Zev Love X to his reinvention as a masked supervillain leading the indie hip-hop revolution, lyrical savant MF Doom has remained one of the most interesting figures in the rap universe. While most fans already worship classic albums like Operation Doomsday, Mm…Food, and Madvillainy, Doom’s output also includes a number of guest appearances, non-album singles, promo tracks, and other rarities that never made it onto an official release. Now, those tracks are finally available on Unexpected Guests, a limited-edition vinyl collection showcasing rare MF Doom material. Included are collaborations with the likes of Talib Kweli, J Dilla, Ghostface Killah, Sean Price, Count Bass D, Vast Aire, Masta Killa, and more. Many of these tracks have never been available on vinyl before, making Unexpected Guests an essential addition to Doom’s already illustrious catalog.

File Under: Hip Hop
Listen Here

monarch

Monarch: Two Isles (El Paraiso) LP
Transparent splatter vinyl. No other band channels the color, warmth and energy of the coastal SoCal scenery as well as San Diego’s Monarch. Their debut album Two Isles was recorded and produced by local glitterati Brian Ellis. It’s full of breezy Allman Brothers guitar leads gliding effortlessly on top of gentle, and sometimes not so gentle, prog-rock structures. With supreme musicianship, they somehow connect the dots between classic California rock, prog, pastoral pop and the vivid, expansiveness of early 1990s British shoegaze. Indeed these guys have created something that transcends sounding like a time capsule. While psychedelia might be the prism that everything is projected through, Two Isles reveals the fact that this is a group of people who grew up on a wide range of sounds available in the diverse San Diego scene: ambient, indie, math, jazz and whatever else was available to experience.

File Under: Psych, Prog
Listen Here

child

Natural Child: Okey Dokey (Natural Child) LP
Okey Dokey is the latest full-length from Natural Child. The band’s first new music in over two years is also the debut release on their new label, Natural Child Records and Tapes. Natural Child started recording the album in Memphis, TN and completed it in Chicago, IL where they worked alongside Cooper Crain (Cave, Bitchin Bajas). With Okey Dokey, Natural Child says come on in – give us your tired, your weak, your poor; give us your rockers and rollers and grimy punks and suburban cowboys. Get down how you wanna get down. “Natural Child play rock ‘n’ roll music, have for a while now, and are good at it. ‘Now and Then’ drops you right into their stellar LP, Okey Dokey, a record that’ll make you wanna sway, scream, serenade and stumble.” – Aquarium Drunkard

File Under: Rock
Listen Here

neurosis

Neurosis: Fires Within Fires (Neurot) LP
Of all that humankind has inherited through our ancestry, no single language has transcended every age as powerfully as music. For those few who channel that inheritance of sound today, none wield its command and authority like Neurosis. Showing their discontent with convention from the very beginning, Neurosis revealed what would become an instinct for transformation in sound and scope. With each release, the sound became interchangeable with vision. A vision of the conscious and unconscious coexisting in an audial spectrum that challenged not only the constraints of what listeners expected but of the listeners themselves as beings. Over the collective’s past ten albums, Neurosis have invited listeners to join them on the path their music carved. Going beyond the remarkable, they became unforgettable. Throughout the last 30 years, the band has relished the unpredictable and embraced the unknown possibility of where the music was capable of taking them. Neurosis takes their most dominant step yet with their eleventh full-length, Fires Within Fires. Three decades in the making, striking their signature balance between light and dark, beauty and repulsion, this latest album gives due to its predecessors while progressing forward into the unfamiliar and formidable. Featuring exquisite album artwork from the renowned Thomas Hooper and the stellar recording work of the group’s longstanding engineer Steve Albini, Fires Within Fires is at once a beautiful and forbidding work of mastery. For members Scott Kelly, Steve Von Till, Jason Roeder, Noah Landis, and Dave Edwardson, the album is a welcome companion to what’s now been a 30-year-long trek into the infiniteness of sound and sight coalescing into consciousness. An all-encompassing reminder that transfiguration in sound remains their most commanding and inimitable strength, this is the next powerful step toward a destination that has long been and continues to be the very heart of “becoming” for the mighty Neurosis.

File Under: Metal
Listen Here

renderers

Renderers: A Dream of the Sea (Tinsel Ears) LP
Amidst their stellar discography, The Renderers are best known for their album A Dream Of The Sea, released in the mid-nineties by Siltbreeze, and now issued for the first time ever on vinyl in a gatefold jacket on the band’s own label. Various forces were at work – a revered label, increased attention towards New Zealand artists – but the greatest achievements were within the band itself. Maryrose and Brian Crook reached a new level of insight and honesty with their lyrics, forming a wave of insight and metaphor that is as forceful today as when first written. Songs draw from ghostly sea tales and personal demons, where the specters as much rise from the waters as emerge from within oneself. The forceful songs are propelled by tornados of guitar play, always rumbling and screeching underneath the singing. There’s a connection to be heard between The Renderers and Dead Moon, both bands dedicated wholly to the music they create, a fact clear in every note they play. When Buzzfeed gets around to making a list for it, A Dream Of The Sea will inevitably be listed amongst the greatest New Zealand rock albums of all time.

File Under: Psych, Noise Rock, New Zealand
Listen Here

opium

Jack Rose:
Opium Musick
Red Horse, White Mule
Raag Manifesto
(VHF) LP
Part of a collaboration with Jack Rose’s estate and Three Lobed Records to restore all of his LPs to print, VHF presents new vinyl editions of the celebrated guitarist’s first three solo albums, newly cut by John Golden Mastering from the original source material. Originally issued on LP by Eclipse Records between 2002-04, these releases chart an eclectic, more experimental approach left behind as his technique and compositions became more refined and deliberate on later works like Kensington Blues. Recorded and originally released in 2003, Opium Musick is an eclectic collection with pieces for 12-string (the percussive and dark “Black Pearls”), 6-string, and lap guitar. The lovely raga-ish “Yaman Blues” features Mike Gangloff (Pelt, Black Twig Pickers) on tanpura, and echoes the extended modal work on Pelt’s contemporaneous Pearls From The River. The near-ragtime of “Linden Ave Stomp” showcases Glenn Jones on his vintage Gibson in a jumping duet with Rose’s lap steel. “Linden Ave” charted a path that Rose would determinedly pursue—short ragtime and old-time influenced pieces (originals and classics), with all phrasing worked out to a perfectionist standard. The lovely “Mountaintop Lamento” was memorably used in Catherine Pancake’s film about coal mining in Appalachia, Black Diamonds: Mountaintop Removal and the Fight for Coalfield Justice.  “In the year and half between Red Horse, White Mule and Opium Musick Mr. Rose spent the majority of his time honing his Ragtime and Jass skills. He met Dr. Chattanooga Red soon after recording his first LP and he revealed the secrets of Ragtime and Jass to Jack in ancient ceremony. Red came down with the jake in Philadelphia and died shortly after their tour. On his deathbed he told Jack not to let the ragtime die and to bring it into the 21st century. And now we have Opium Musick as a result of Jack’s studies and travels, a lovely tribute to Jack’s beloved teacher.” —Joe R. Sack, blues scholar, on Red Horse, White Mule

File Under: Blues, American, Guitar Soli
Listen Here

survive

S U R V I V E: RR7349 (Relapse) LP
Austin, TX experimental synth quartet Survive’s sophomore full-length and Relapse debut, RR7349, is a dark, sweeping exercise in analog synth mastery. The pulsating, 9-song instrumental release showcases immense diversity between tracks – RR7349’s compositions range from grim tom-tom thunder to space-age epics, pairing tense plodding grooves with meditative ambience and driving, rhythmic beats. Inspired by IDM and horror scores alike, RR7349 is simultaneously ominous and hopeful; tense and relaxed; percussive and melodic. A unique addition to the Relapse discography, and unquestionably Survive’s best work to date.

File Under: Electronic, Synth
Listen Here

tamam-shud

Tamam Shud: Evolution (Anthology) LP
The first ever reissue of Evolution, the debut album by Australian progressive heavy rock fiends Tamam Shud. Evolution presents a blazing backdrop of charged-up fuzz and guitar expression exquisitely matching the wild, inspirational, and groundbreaking visuals of Witzig’s incredible 1969 surf film of the same name. Includes a booklet with liner notes by Aussie surf historian Stephan McParland and other-wordly ephemera.

File Under: Prog, Fuzz
Listen Here

thor

Thor & Friends: s/t (L.M.) LP
Thor & Friends is the eponymous full length debut from the avant-chamber ensemble formed by polymath percussionist Thor Harris. It was recorded in Albuquerque, New Mexico, and produced by Jeremy Barnes and Heather Trost from A Hawk & A Hacksaw and Deerhoof’s John Dieterich. The three core members of the band are Peggy Ghorbani on marimba, Sarah “Goat” Gautier on marimba, vibraphone, xylophone, organ, voice, mellotron and piano, and Harris on sundry percussion and wind instruments including some of his own devising. They are joined Jeremy Barnes on accordion, drum, and mellotron; Heather Trost on violin, voice & marimba; John Dieterich on guitar, bass, castanets and special effects; and Raven on bone flute, and electronic sounds. The band was inaugurated after Harris toured for five years as the percussionist of iconic avant-rock ensemble Swans. As a vehicle for experimentation with American Minimalism with a rotating cast of Austin-based musicians, Harris draws on composers including Terry Riley and Steve Reich, but also such diverse influences as Brian Eno, Aphex Twin, Moondog and The Necks; the album centers around a polyrhythmic core of mallet-struck instruments—primarily marimba, xylophone and vibraphone. Circling these core motifs are shifting streams of everything from processed pedal steel and analog synthesizer to violin, viola, stand-up bass, clarinet, duduk and oboe. By rooting their art in both improvisation and the involvement of neighbors and friends in their process, Thor & Friends embody utopian optimism, making use of what and whom is around at any given moment to make music with.

File Under: Rock, Experimental

zron

John Zorn: Naked City (1972) LP
Regularly hailed as one the most important composers of the late 20th century, John Zorn is comfortable at the helm of an ensemble, as improviser on an array of instruments, and as a bold theorist of collaboration. Throughout the 1970s and 1980s, the New York artist and operator of the esteemed Tzadik label became known for assembling hardcore-inflected jazz ensembles and for devising “game systems,” or intricate musical conditions intended to force players into new territory. Partnering with Nonesuch in mid-1980s, he released The Big Gundown, which radically reimagines Ennio Morricone scores; and Spillane, which fuses improv and Zorn’s “file-card” system. Such titles brought Zorn critical accolades and the reputation of a provocateur, but none of them prepared audiences for the cataclysm of Naked City. Released in 1990 on Nonesuch, Naked City bears a stark cover photograph by Weegee—noted for his unsparing images of New York crime scenes—and features one of the more staggering “rock” lineups ever assembled: Zorn on alto saxophone, guitarist Bill Frisell, bassist Fred Frith, drummer Joey Baron, keyboardist Wayne Horvitz, and vocalist Yamatsuka Eye.  Naked City is a maelstrom of styles, veering recklessly between country, noise, New Orleans R&B, polka, and grindcore, with overtures from detective shows and film noir. In other words, it’s a daring maelstrom of American musical vernacular. It also explodes the rock format’s supposed limitation and retains a wildly intersectional listenership: devotees of punk, free jazz, and harsh noise celebrate Naked City. In short, as one writer put it, Naked City remains a “pinnacle of avant coolness.”

File Under: Free Jazz, Thrash, Noise
Listen Here

concrete

Various: Musique Concrete (Modern Silence) LP
Le Groupe de Recherches Musicales (The Group of Musical Research) of the O.R.T.F. (Office of the French Radio-Television) is known in the world principally as the promoter of an original technique of realization as well as reflection: Musique concrète. For more than fifty years, Le Groupe de Recherches Musicales has founded its experience, its methods of research and particular techniques, upon a confrontation between the musical act, reflection upon its elements, experimentation on sound sources, and the electro-acoustical means. Grouped around Pierre Schaeffer and François Bayle, composers and researchers try to give new direction to musical activity through the conjugated action of a program of “Fundamental Research” on the languages of music (concrete, electronic, but also instrumental and oriental) and a program of “Expression”, resulting in original compositions as well as essays for the ballet, theater, cinema, or television. In this LP, there are some great examples of the incredible production of many of the most celebrated composers of the movement: Pierre Boulez, Karlheinz Stockhausen, Bernard Parmegiani, Ernst Krenek, Luc Ferrari and Ivo Malec along with Pierre Schaeffer and François Bayle.

File Under: Avant Garde

…..Restocks…..

AC/DC: Powerage (Sony) LP
Blues Pills: Lady in Gold (Nuclear Blast) LP
Can: Ege Bamyasi (Mute) LP
Alice Coltrane: A Monastic Trio (Superior Viaduct) LP
Ian Willam Craig: Centers (Fat Cat) LP
Dead C: Twelfth Spectacle (Grapefruit) 4LP
Deux Filles: Silence & Wisdom (Dark Entries) LP
Exploding Heart: Guitar Romantic (Dirtnap) LP
The Fall: Dragnet (Superior Viaduct) LP
Fleetwood Mac: s/t (Rhino) LP
Flying Lotus: Cosmogramma (Warp) LP
Funkadelic: Maggot Brain (Westbound) LP
Henryk Gorecki: Symphony 3 (Nonesuch) LP
Jawbox: For Your Own Special (Dischord) LP
Jawbox: Grippe (Dischord) LP
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) LP
Michael Kiwanuka: Love & Hate (Interscope) LP
Madrugada: Industrial Silence (Music on Vinyl) LP
Curtis Mayfield: Superfly (Curtom) LP
Angel Olsen: Halfway Home (Bathetic) LP
Angel Olsen: Strange Cacti (Bathetic) LP
Parliament: Clones of Dr. Funkenstein (Universal) LP
Parliament: Motorbooty Affair (Casablanca) LP
Parliament: Trombipulation (Casablanca) LP
Pink Floyd: The Division Bell (Sony) LP
Otis Redding: Blue (Sundazed) LP
Shannon & The Clams: Sleep Talk (1-2-3-4 Go!) LP
Silkworm: Lifestyle (Touch & Go) LP
Slint: Spiderland (Touch & Go) LP
Kaitlyn Aurelia Smith/Suzanne Ciana: Sunergy (RVNG) LP
Sun Ra: Space Is The Place (Sutro Park) LP
Timber Timbre: s/t (Arts & Crafts) LP
Uncle Acid & The Deadbeats: Mind Control (Rise Above) LP

Tagged , , , , , ,

…..news letter #760 – fence…..

Another jam packed week of killer new releases and essential reissues! So many records, and it’s gonna be a crumby, rainy weekend, so come down for a dig and grab some fresh wax!

…..picks of the week…..

ape-of-naples

Coil: The Ape of Naples (Important) LP
In tomorrow… Gah! I can’t get over how many of my favorite records ever are available again! This record is a staggering masterpiece that you owe it to yourself to listen to. Pressed using the original Ape Of Naples plates approved by Peter Christopherson. The Ape Of Naples is Coil’s highly celebrated final album completed by Peter Christopherson following the tragic death of Jhonn Balance in 2004. Often noted for being a fan favorite, The Ape Of Naples uses Balance’s final recordings and material recorded at Trent Reznor’s studio in New Orleans to create a deep, heavy masterpiece.The Ape Of Naples uses Balance’s final recordings and material recorded at Trent Reznor’s studio in New Orleans to create a deep, heavy masterpiece. Packaged in a heavy tip-on gatefold sleeve with Ian Johnstone’s original artwork coated in a custom spot gloss. Each LP is house in a printed inner sleeve and side D is printed with all three original etchings. Lyrics are printed across the gatefold. HIGHEST RECOMMENDATION!

File Under: Electronic, Industrial, Essential Grooves
Listen Here

gottschingManuel Gottsching: Inventions for Electric Guitar (MG.Art) LP
In tomorrow… Another essential slab from the genius mind behind Ash Ra Tempel, I mean, just look at that cover! Originally released in 1975. Remastered by Manuel Göttsching. Recorded July-August 1974, Inventions for Electric Guitar is Manuel Göttsching’s first solo album. Written and performed entirely by Göttsching on electric guitar, with a four-track TEAC A3340, Revox A77 for echoes, wah-wah pedal, volume pedal, Schaller Rotosound, and Hawaiian steel bar. HIGHLY RECOMMENDED!

File Under: Electronic, Krautrock
Listen Here

…..new arrivals…..

alessandroni

Alessandro Alessandroni: Butterfly #3 (Cometa) LP
Wonderfully mad grooves from the great Alessandro Alessandroni – and a set that seems to draw on all of his mighty talents at once! Some numbers have a soul jazz groove, with great lead piano from the maestro – others have cool wordless vocals, or maybe even a bit of whistling – all those hip touches that Alessandroni brought not just to his own soundtrack work, but to the help he gave so many other composers on their best 60s recordings – yet served up here in a batch of ultra-rare tracks recorded by the man himself, and only issued on the small Cometa sound library label! Album features 15 titles in all – all nice and groovy – with titles that include “Girovago”, “Louisiana Gospel”, “Apice”, “Prismatico”, “Baia D’Argento”, “Meridione”, “Colori D’Oro”, “White Club”, and “Trotterellando”.

File Under: Italian, Library, Rare Groove
Listen Here

avalanches

Avalanches: Since I Left You (XL) LP
Australian electronic act The Avalanches’s genre-defying, critically acclaimed 2000 debut Since I Left You – originally released in Australia in 2000 and in the U.S. and the U.K. in 2001 – perfectly captured the hazy millennial zeitgeist. Band’s members, Darren Seltmann and Robbie Chater, spent hours sampling music from vinyl records to create the songs on the album. Chater estimates that there are over 3,500 samples. After sampling and arranging, the pair would swap their tapes, listen to each other’s ideas and expand on whatever they had heard. 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.

File Under: Electronic
Listen Here

blonde-redhead

Blonde Redhead: Masculine Feminin (Numero) 4LP
Teeming with the energy and grit of pre-Giuliani Manhattan, Blonde Redhead’s long out-of-print early recordings have finally crawled their way out of the ‘90s basement. Weighing in at 37 tracks, Masculin Féminin compiles the band’s first two albums for Steve Shelley’s Smells Like Records, their period singles, extant demos, and radio performances onto four albums. Dozens of previously unpublished photographs illustrate two lengthy essays on this essential New York band’s formative years. This is the latest installment in Numero Group’s 200 Line series which has also included releases from Unwound, Bedhead, Codeine, White Zombie and The Scientists. “These songs combine a raw need, a ready access to neediness, with seemingly incongruous cinematic changes reminiscent of ’60s Italian pop music and movie scores. They switch between emotional grandeur and eye scratching immediacy.” – Arto Lindsay

File Under: Indie Rock
Listen Here

boniver

Bon Iver: 22, A Million (Jagjagwar) LP/LP+12″
Bon Iver, the musical project led by Justin Vernon, will release its third studio album entitled 22, A Million, in September 2016 on Jagjaguwar. 22 stands for Justin. The number’s recurrence in his life has become a meaningful pattern through encounter and recognition. A mile marker, a jersey number, a bill total. The reflection of ‘2′ is his identity bound up in duality: the relationship he has with himself and the relationship he has with the rest of the world. A Million is the rest of that world: the millions of people who we will never know, the infinite and endless, everything outside one’s self that makes you who you are. This other side of Justin’s duality is the thing that completes him and what he searches for. 22, A Million is part love letter, part final resting place of two decades of searching for self-understanding like a religion. And the inner-resolution of maybe never finding that understanding. When Justin sings, “I’m still standing in the need of prayer” he begs the question of what’s worth worshipping, or rather, what is possible to worship. If music is a sacred form of discovering, knowing and being, then Bon Iver’s albums are totems to that faith. The album’s 10 poly-fi recordings are a collection of sacred moments, love’s torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard as coincidence. If Bon Iver, Bon Iver built a habitat rooted in physical spaces, then 22, A Million is the letting go of that attachment to a place. The bulk of the album was recorded and produced at April Base Studios in Fall Creek, WI with pieces recorded in London, England and just outside Lisbon, Portugal by Vernon and a pack of trusted friends and collaborators both new and old. The album’s symbol-rich artwork was created by NYC-based artist Eric Timothy Carlson.

File Under: Indie Rock
Listen Here

camberwell1

Camberwell Now: The Ghost Trade (Modern Classics) LP
Camberwell, in South London, pops up infrequently in pop culture. Perhaps you know it from the Camberwell Carrot, the heroically sized joint smoked in cult movie Withnail & I, or perhaps – if you’re attuned to experimental music – you know of Camberwell Now. The group formed from the ashes of This Heat, the art-noise group whose catalog was reissued on Modern Classics Recordings in early 2016. Not so much a supersession as a continuation of that group, Camberwell Now featured This Heat’s vocalist / drummer Charles Hayward, who assembled an unusual line-up comprising Stephen Rickard, a former BBC sound engineer, on field recordings and tape manipulation and Trefor Goronwy on bass, vocals and ukulele. “We had a very specific set of skills,” says Hayward, in new liner notes compiled for this long overdue reissue, “and it wasn’t immediately clear to us how best to bring them together so that we could play live.” Arriving in 1986, The Ghost Trade, the group’s sole full-length LP, was what existed at the confluence of live performance and studio experimentation. Similar to This Heat’s process, the group spent two years in Cold Storage experimenting with the studio and assembling finished songs from vast quantities of tapes. Their two EPs, re-issued as The EP Collection, were borne of a similar process but each with unique yields. The tracks that eventually formed The Ghost Trade were songs forged in the bleak beauty of Thatcher’s London. “To me, the sounds invoked humanity trapped behind and inside a world constructed of glass, steel, and concrete, frozen inside the textures like prisoners of the twilight zone, humanity haunting a landscape it had made for itself,” says Hayward.

File Under: Electronic, Art Rock, This Heat
Listen Here

camberwell2

Camberwell Now: Greenfingers/Meridian (Modern Classics) LP
Camberwell, in South London, pops up infrequently in pop culture. Perhaps you know it from the Camberwell Carrot, the heroically sized joint smoked in cult movie Withnail & I, or perhaps – if you’re attuned to experimental music – you know of Camberwell Now. The group formed from the ashes of This Heat, the art-noise group whose catalog was reissued on Modern Classics Recordings in early 2016. Not so much a supersession as a continuation of that group, Camberwell Now featured This Heat’s vocalist / drummer Charles Hayward, who assembled an unusual line-up comprising Stephen Rickard, a former BBC sound engineer, on field recordings and tape manipulation and Trefor Goronwy on bass, vocals and ukulele. “We had a very specific set of skills,” says Hayward, in new liner notes compiled for this long overdue reissue, “and it wasn’t immediately clear to us how best to bring them together so that we could play live.” Taking inspiration from seafaring and imperialism, and the fact that the music was created within close proximity to the meridian line in Greenwich, the Meridian EP was originally intended to be a project for This Heat. The group’s departing member Charles Bullen plays on the opening track, “Cutty Sark”, named for the famed British clipper ship. The second EP, 1987’s Greenfingers, was their final recorded work and, according to Hayward, “it’s possible to hear the group atomising and preparing to go its separate ways” within its grooves. The only This Heat or Camberwell Now recording not to have been produced at Brixton’s Cold Storage studios, it was recorded as a DIY exercise and – unusually for either of the groups – was not pored over laboriously for a great deal of time. The EP also saw the addition of a new member, Maria Lamburn, primarily on sax, whose “Element Unknown” was inspired by her experiences in the nuclear protest camp at Greenham Common. Comprising tracks that overlapped between This Heat and Camberwell Now, the EPs concerned themselves with information technology, surveillance, propaganda and what Hayward describes as “day-to-day, hand-to-mouth survival” – all pertinent concerns in a fractured Britain under the rule of right-wing ‘Iron Lady’ Margaret Thatcher, and perhaps still as pertinent today in fractured, recession-hit, isolationist Britain. The group dispersed after a final European tour, amicably, quietly, and differently, the latter their MO throughout a unique career. Goronwy, Hayward and Rickard all share their experiences and thoughts on The Camberwell Now in liner notes accompanying this landmark release: young and old, birth and death captured on two sides of vinyl.

File Under: Electronic, Art Rock, This Heat
Listen Here

new-backward

Coil: The New Backwards (Important) LP
In tomorrow… Pressed using the original New Backwards metal plates approved by Peter Christopherson. The New Backwards, created in 2007, was originally included in the Ape Of Naples box set released on Important in 2008 and was constructed by Peter Christopherson using material from the Backwards sessions, recorded in the early ’90s for a planned release on Trent Reznor’s Nothing Records label. The New Backwards, like The Ape Of Naples, is an intense fan favorite and an essential part of the Coil catalog.

File Under: Electronic, Industrial
Listen Here

derbyshire

Delia Derbyshire & Elsa Stansfield: Circle of Light (Trunk) LP
In tomorrow… A highly important previously unreleased soundtrack for Circle Of Life, created in 1972 by musician Delia Derbyshire and artist Elsa Stansfield. The soundtrack is a mix of concrete ideas, sound design, tape manipulation, natural environmental sounds and birdsong. The recording was originally commissioned by director, producer and art collector Anthony Roland for his 1972 film about the slides of radical stills photographer Pamela Bone. The film has been rarely seen and the soundtrack has never been released until now. This is the longest known work by Delia Derbyshire – either alone or in association with anyone else – and has been licensed by Trunk Records exclusively worldwide from the Anthony Roland archive/collection. Mastered by Jon Brooks, AKA The Advisory Circle. Full color single LP sleeve. Single LP on standard black wax.

 File Under: Electronic, Experimental, OST
Listen Here

femme

La Femme: Mystere (Born Bad) LP
In tomorrow… French pop connoisseurs La Femme present Mystère. La Femme have made a huge mark on modern Paris’s cultural landscape, with the two sides of the city – the glamour and the grit – ingrained in their music. Since the release of their debut album, Psycho Tropical Berlin, their rise has only gained momentum with fans including directors Jacques Audiard and Romain Gavras to legends Jean Michel Jarre and Hedi Slimane. Returning with a more psychedelic sound and guest vocalists that slice through the starkest of electro beats, Mystère sees La Femme celebrating their wonderful city. From the chattering tête-à-tête heard on “Conversations Nocturnes” to the throbbing disco beat of “SSD”, a direct reference to the pulsing nightlife hotspot and multi-cultural district Strasbourg Saint Denis where the band is based. Mystère’s true intrigue however, lies in La Femme’s enigmatic questioning of falling in and out of love. A compendium of short stories describing loves and losses, each song breaks down language barriers through an inventive and astute knack for melody. The elation of a passionate encounter is captured on the ricocheting electronics of “Tatiana”, the melancholic acoustic guitar echoes in “Le Vide Est Ton Nouveau Prenom” and the sorrow of a war-torn couple in “Psyzook”. Whether delicate or drenched in dirty disco, the impact of Clémence, Marlon and Sacha’s gothic mantras mixed with the guest vocal talent of Clara Luciani, Jane Peynot, Naomi Greene, Mathilde Marlière, Angela Hureau, Battista Acquaviva and Sarah Ben Abdallah is perhaps where La Femme’s true meaning can be found. Sacha on his band’s all-inclusive philosophy: “We don’t like the idea of having a leader or a chief: everyone brings to the band what they can and want.” Recorded between a castle in Brittany and a Paris basement before being finished up with Sonny Diperri (Animal Collective) in LA, Mystère once again sees backgrounds blurred and worlds collide. The band’s chic retro-futurist surf-pop sound possesses the same dose of glamorous punk stomp as before, but this time around it’s layered with an elegant fusion of influences from Ennio Morricone, Marie Et Les Garcons’s disco-rock touch and the lysergic romanticism of The Velvet Underground. Through increased use of strings and further exploration of sound, Mystère also incorporates the band’s new love of oriental sounds, Turkish disco, Tuareg blues, medieval psychedelia to mainstays Brian Eno and Pink Floyd.

File Under: French, Psych, Pop
Listen Here

gh

G.H.: Housebound Demigod (Modern Love) LP
In tomorrow… From the disputed border somewhere between Lancashire and Yorkshire, G.H. (Gary Howell) claims a no man’s land where he is free to decimate distinctions between black metal and concrète techno by drawing upon an elusive, metaphysical force that’s exclusively common to music rooted in that region; from Muslimgauze and Autechre thru Shackleton and Demdike Stare. The inarguably mongrel Housebound Demigod is G.H.’s debut solo album, following the Ground EP (2011) and his involvement with the hexed Pendle Coven project and HATE, alongside Miles Whittaker and Andy Stott, respectively, between 2003-2009. It sounds like nothing out there; the result of countless hours at the grindstone, using sound as tonal therapy and a purely expressive sculptural material to best render the feel of his bleak but extraordinarily beautiful surroundings, with all the rugged texture and captivating aesthetic of some ancient cave graffiti. The album unfolds as a treacherous topography of boggy drones, entrenched sub-bass and deforested, windswept feedback, strewn with the charred remains of black metal in opener “Screaming Demon Pickups” and the hollow-eyed stare down of “Angels And Doormen”, or prone to bury the senses with unpredictable slow techno mudslides in “Mickey Cosmos” or the subsidence of “Packhorse”. He often underlines that physicality with a drily ambiguous wit; check the bitterly clipped narrative on “Yorkshire Fog”, or, equally, when he puts all his weight behind the stylus-troubling, bestial shudder of “Devils Bit Scabious”, and you can’t shake the feeling that he’s gurning like an evil loon behind the rotten torque of the album’s titular parting shot. While ostensibly monotone and overcast, the devil is found in the album’s subtleties of timing and mixing detail; riddled with phantasms that lurk and lash out from the crevices of its granite slabs and pitch black ravines, all placed at oblique angles in his surreally folded, labyrinthine and unheimlich sound-field. Recorded with a DR550, a battered Charvel guitar and assorted guitar pedals. Mastered and cut by Matt Colton at Alchemy, pressed at Pallas. RIYL: Nurse With Wound, Stephen O’Malley, Autechre, David Lynch, Shackleton.

File Under: Electronic, Industrial
Listen Here

Bruce Haack - Electric Lucifer (1970)

Bruce Haack: Electric Lucifer (Telephone Explosion) LP
Available again! Bruce Haack’s The Electric Lucifer is rightly considered one of the masterworks of 20th century electronic music. Originally recorded in 1968-69 (released in 1970) it’s an eminently listenable work where pop-psychedelia and Moog/musique-concrete sounds coalesce around Haack’s central metaphysical concept of “Powerlove,” a force so powerful that it could end war and unify humankind. Acclaimed upon its original release (one of Rolling Stone’s favorite albums of 1970) yet unavailable on vinyl for over four decades. Remastered and restored from the “lost” original master tapes discovered in the Columbia vault.

File Under: Electronic, Psych
Listen Here

hiss-goldenHiss Golden Messenger: Heart Like a Levee (Merge) LP
The writing of the songs that became Heart Like a Levee started in a hotel room in Washington, DC, in January of 2015 during a powerful storm that darkened the East Coast. At that time I was feeling—more acutely than I had ever felt before—wrenched apart by my responsibilities to my family and to my music. Forgetting, momentarily, that for me, each exists only with the other. How could I forget? Though maybe my lapse was reasonable: I had just quit my job, the most recent and last, in a series of dead-end gigs stretching back 20 years, with the vow that my children would understand their father as a man in love with his world and the inventor of his own days. They would be rare in that regard. And then—driven by monthly bills and pure fear—I left for another tour, carrying a load of guilt that I could just barely lift. But in that snowy hotel room I found the refrain that became my compass: I was a dreamer, babe, when I set out on the road; but did I say I could find my way home? Deluxe LPs include a second album, Vestapol, with full art and a 12” x 24” poster. Limited to 2,000 copies worldwide. Composed during the same period of time as Heart Like a Levee, Vestapol is an intimate collection of eight previously unreleased songs—performed and recorded almost entirely by M.C. Taylor in various motels on the road and at his home in Durham, NC—dealing with exile, guilt, forgiveness, and trust.

File Under: Indie Rock, Folk
Listen Here

i-gres

I Gres: I Gres Volume 2 (Cometa) LP
Never before commercially released library breaks monster recorded in 1975! Consisting of Romano Rizzati (Walter Rizzati), Silvano Chimenti, and a loose assemblage of primo Italian library session-players, I Gres recorded three blistering albums of funky library music. A sublime selection of work from this legendary sound library ensemble – an Italian group who were so cool, so groovy, they were virtually a genre unto themselves – able to step easily between funky numbers, jazzy groovers, and these odd, offbeat styles that are especially nice! These record wonderfully wraps together a legacy of Italian sounds from the whole late 60s/early 70s soundtrack era – served up here without any sense of ego or need for identity at all – just a commitment to cool, compelling music – filled with plenty of grooves in the process. Titles include “Restless”, “Jeanette”, “Les Abimes”, “Wild Saxon”, “Ronde Bosse”, “Plancton”, “Hot Dogs”, “Mirelle”, “Mini Bataille”, and “Les Abimes”.

File Under: Italian, Library, Funk
Listen Here

orphee

Johann Johannsson: Orphee (Deutsche Grammophone) LP
In tomorrow… Golden Globe-winning and Oscar-, BAFTA- and Grammy-nominated composer Jóhann Jóhannsson’s first album for Deutsche Grammophon is a meditation on beauty and the process of creation. Orphée traces a path from darkness into light, inspired by the various re-tellings of the ancient tale of the poet Orpheus, from Ovid’s to Jean Cocteau’s. A many-layered story about death, rebirth, change and the ephemeral nature of memory, the myth can also be read as a metaphor for artistic creation, dealing with the elusive nature of beauty and its relationship to the artist, as well as the idea that art is created through transgression – by the poet defying the gods who have forbidden him to turn back towards his beloved as he leaves the Underworld. Orphée’s sonic palette is varied, combining acoustic instruments both solo and in ensemble with electronics and the mesmeric sounds of shortwave radio “numbers stations”. It draws on many facets of his previous albums, incorporating music for solo cello, organ, string quartet, string orchestra and unaccompanied voices. Orphée shows the full range of the Icelandic composer’s remarkable invention and uncanny feeling for atmosphere. The music of the entire album is tied together structurally by recurring harmonic and melodic elements, yet each track sounds fresh, evocative and unique. Orphée reconciles ambitious orchestral and vocal writing with influences ranging from the Baroque to minimalism and electronic music. Also influenced by film composers Bernard Herrmann, Ennio Morricone and Michael Nyman (all prolific writers, like Jóhann himself, of concert music as well as film scores), Jóhannsson is a contemporary exponent of a tradition that was shaped by composers such as Shostakovich, Prokofiev, Walton or Korngold. “Orphée is for me about changes: about moving to a new city, leaving behind an old life in Copenhagen and building a new one in Berlin – about the death of old relationships and the birth of new ones,” explains Jóhann. “Perhaps this is one of the reasons I was drawn to the Orpheus myth, which is fundamentally about change, mutability, death, rebirth, the elusive nature of beauty and its sometimes thorny relation to the artist. This album, my first solo record for six years, is an oblique reflection on personal change.” Orphée is a haunting and atmospheric musical journey, crowned by the sublime Orphic Hymn – a setting of Ovid’s text performed by Paul Hillier’s Theatre of Voices. The album is a reflection on change, memory, beauty and art, and ultimately celebrates the latter’s power of renewal, while acknowledging the dark paths along which it can lead the artist. “Making Orphée has been a true labour of love, one that has been a part of my life for six years, and yet the music always remained fresh – it was constantly in a state of flux and renewal,” its composer concludes.

File Under: Electronic, Neo-Classical
Listen Here

low

Low: The Exit Papers (Temporary Residence) LP
At the turn of the 21st Century, sandwiched between two of their most iconic albums – Secret Name and Things We Lost In The Fire – Low released The Exit Papers as part of Temporary Residence Ltd.’s long-running CD subscription series, Travels In Constants. A sparse suite of six mostly instrumental pieces composed for a film that never existed, The Exit Papers still stands as Low’s most haunting and experimental work. Originally released exclusively on CD in a scarce edition of only 1,000 copies, Low helps celebrate the 20th anniversary of Temporary Residence by finally releasing The Exit Papers on vinyl for the first time ever. Limited edition of 2,000 copies worldwide.

File Under: Indie Rock, OSTish
Listen Here

morricone

Ennio Morricone & Gruppo Di Improvvisazione Nuova Consonanza: ContemporaneaMente (Cometa) LP
Unreleased before experimental music composed by Ennio Morricone and mostly performed by the legendary Gruppo di Improvvisazione Nuova Consonanza, with some surprising use of percussions, vocals and electronics too! The maestro has used electric instrumentation on other scores, but this one has a pretty different feel – a handful of tracks that have more of a future-sounding quality, with a spacious mix of light strings and more sparely focused instrumentation. Other numbers get a bit more dark and jagged – slightly atonal, with shimmering, shifting styles that create a tremendous amount of tension. ‘’What they have in common the screams of an elephant, the cries of exotic birds in a forest, a chorus of voices without accompaniment, an experimental music, the themes of superimposed flutes and Straddle mounted on each other in a phantasmagoria of sound and a chorus of children ’’ContemporaneaMente’’? Only a name: Ennio Morricone. The great Maestro Ennio Morricone during his long professional career, he has created a wide range of musical genres earning the nickname largest versatile composer of all time. While listening to this LP, you will understand the infinite capacity and versatility to the invention of the great Morricone in compositional construction, always different, and the particular color that gives every note of his compositions. ContemporaneaMente is the Maestro Ennio Morricone.

File Under: Italian, Avant Garde, Library

tp0004c_Double_Gate_Cover_only

OST: Leon (Waxwork) LP
Waxwork Records is thrilled to announce the vinyl soundtrack debut of Léon: The Professional. The 1994 action-crime- thriller film directed by Luc Besson (The Fifth Element, Lucy) stars Jean Reno, Gary Oldman, and features the motion picture debut of Natalie Portman. In the film, Léon (Reno), a professional hitman, reluctantly takes in 12-year- old Mathilda (Portman), after her family is murdered by corrupt Drug Enforcement Administration agent, Norman Stansfield (Oldman). Léon and Mathilda form an unusual relationship, as she becomes his protégée and learns the hitman’s trade. Waxwork Records’ new double-LP release marks the very first time the film score by composer Éric Serra has been released on vinyl. Combining both electronic and orchestral cues, Serra creates a score that is tense, yet beautiful, which compliments the film’s action sequences and the childhood innocence of Mathilda. In keeping with Waxwork Records’ tireless efforts to create the highest quality soundtrack and film score releases on vinyl, the audio for Léon: The Professional was sourced from the original master tapes and then re-mastered for vinyl by producer and former White Zombie guitarist, J. Yuenger. The packaging includes 180 gram colored vinyl, heavyweight old-style tip on jackets with double pass soft-touch coating, and new artwork by Oliver Barrett.

File Under: OST
Listen Here

pas

Planetary Assault Systems: Arc Angel (Ostgut Ton) LP
In tomorrow… Luke Slater returns to Ostgut Ton with a Planetary Assault Systems album titled Arc Angel. Staying true to the project’s initial mission statement, Slater comments on the new yet familiar musical direction: “For me, music has to go forward. I’d feel I was cheating by sticking to tried-and-tested formulas.” With Arc Angel, Planetary Assault Systems departs to new musical frontiers by focusing on melody, but staying rooted in the purist values of techno. While the album title may sound like a reference to spiritual matters, it hints to rather secular affairs. Arc Angel is a postmodernist, non-comfortist techno album first and foremost. In the tradition of Slater’s previous albums with Ostgut Ton – The Messenger  and Temporary Suspension – its musical motifs radiate around polymorphic and extraterrestrial sounds, using contemporary instrumental language, but with an emphasis on compatible musical phrases. “With this album it was very much a case of limitation and focus around the idea of alternative melody,” Slater says, “I love music that takes you somewhere new. All music for this album had to pass that test. At the same time I wanted to re-root the foundations of what I see as techno into that and focus on melody, rather than a track just being a beat.” While there are nods to the past, Arc Angel aims for the future. There’s shimmering sounds reminiscent of light beams being fired (“Tri Fn Trp”), pulsing signals in deep space (“Angel Of The East”, “Sonar Falls”, “Groucho”) and rather harsh aesthetics (“The Last Scene”). Its melodic range includes hypnotic arrangements (“Merry Go Round”, “Blue Monk”), distorted bells (“Revolution One”), rainbow noise and spatial effects – for the most part meshing with heavy kick drums (“Message From The Drone Sector”, “The Rider”), sometimes using reduced beat patterns (“Max”), at times turning to repetitious loops, analog synth pads and alienated vocal bits (“Interlude 1 to 6”). Despite its musical richness, all gear had to fit onto a small table. “I love software, hardware, technology; but because we have almost endless choice of sound creating devices, it drove me to using very limited and focused equipment. Actually taking influences from the way an original blues guy… He has the guitar, the box and voice – I have the 909 and 808.” Includes digital download of the single tracks and the continuous album mix.

File Under: Electronic, Techno
Listen Here

drumming

Steve Reich: Drumming (Deutsche Grammophone) 3LP
In tomorrow… Originally recorded for Deutsche Grammophon in 1974, Steve Reich is joined here by a host of stellar musicians for a distinguished symphonic-length percussion piece for drums, mallet instruments, organ and piano partly inspired by African rhythms and Indonesian gamelan. The Village Voice hailed Drumming as “the most important work of the whole minimalist music movement.”

File Under: Classical
Listen Here

rizan

Rizan Said: King of Keyboard (Discrepant) LP
In tomorrow… LP edition of Rizan Said’s King of Keyboard, originally released as a CD by Beirut-based Annihaya Records in 2015. Reissued by Discrepant in collaboration with Annihaya. ”There is no other Syrian dabke musician that has enjoyed the local, regional, national, and international recognition that Rizan Said has, and for that, the world is lucky. Rizan is a musical ambassador from a disappeared Syria, and this is not to be taken lightly. Once upon a time, not too long ago, Syria was a culturally diverse country possessing a certain unity. A place not synonymous with barbarism and savagery. Far from the capital of Damascus, the northeast of the country, known as the Jazeera, was rich with history and culture. Rizan was a musical prodigy from a young age — a gifted player of percussion and reed instruments before a wealth of synthesizers began flooding Syria in the late 1980s and early 1990s. Steadfast on the Syrian cassette album circuit at the time, Rizan the boy wonder was already sending his signals out from the Jazeera frontier, thanks to a partnership with local producerZuhir Maksi. It can be said, that without Rizan Said, a good number of Syrian singers from the 1990s onward might never have been heard — most notably Omar Souleyman, a collaborator with Rizan for two decades. Where synthesizers can bring a certain artifice and death to the sound of music, Rizan’s torrential speed and flair on the keys bring new life to Syrian and Kurdish sounds — lightning fast as required — respectfully forcing the component sounds of folkloric dabke into the next level. This is the updated sound of the ages, where hand drums and reed flutes are now emulated and pounded out on Korg keyboards” –Mark Gergis, April, 2015. RIYL Omar Souleyman, EEK.

File Under: Dabke, Syrian
Listen Here

vu

Velvet Underground: Legendary Guitar Amp Tapes 2 (Tummy Tapes) LP
In tomorrow… Tummy Tapes present the long-awaited second installment of The Velvet Underground’s The Legendary Guitar Amp Tapes. Recorded through a microphone jammed in the back of Lou Reed’s amp right around the release of their third album, The Legendary Guitar Amp Tapes are formidable in their unadulterated rock and roll fire and fury. They are a revelation for anyone who hasn’t paid close attention to Reed’s dynamic guitar playing which in this set is a monolithic roar, a pulverizing electronic “kaiju” (strange beast) grinding the whole universe into pebble and sand. Paste-on covers. All tracks recorded at The Boston Tea Party on March 15, 1969.

File Under: Psych, Rock

zomby

Zomby: Ultra (Hyperdub) LP
Zomby’s new album, Ultra, is his most focused to date. His ultra-modern music has a unique character, and Ultra really displays his ability to create varied and detailed mutations. He warps discordant Eski grime (“Burst,” “Freeze,” “Yeti”), creates dreamlike blooms on “Her” and “Thaw,” and builds crystalline music box takes on house and 2step on “Glass” and “I.” The artist also collaborates on the album with the likes of Darkstar, Rezzett, Banshee, Burial and HKE. These all throw up unpredictable fusions and immaculate fissions. Ultra is housed in a metallic red sleeve, designed by Ben Drury, wonderfully reflecting the glow of the music inside.

File Under: Electronic, Grime
Listen Here

…..Restocks…..

Bahamas: Pink Strat (Interscope) LP
Beatles: Revolver (Apple) LP
Beatles: Sgt. Pepper’s (Apple) LP
Beatles: White Album (Apple) LP
Big Boys: Lullabies Help The Brain Grow (Modern Classics) LP
Broadcast: Future Crayon (Warp) LP
Nick Cave: Skeleton Tree (Bad Seed) LP
Alice Coltrane: Journey in Satchidananda (Impulse) LP
John Coltrane: A Love Supreme (Impusle) LP
John Coltrane: Blue Train (Blue Note) LP
DAF: Produkt (Bureau B) LP
Betty Davis: They Say I’m Different (Light in the Attic) LP
Miles Davis: Cookin’ (Waxtime) LP
J Dilla: Donuts (Stones Throw) LP
J Dilla: Jay Stay Paid (Nature Sounds) LP
J Dilla: Ruff Draft (Stones Throw) LP
Faith No More: Album of the Year (Warner) LP
Faith No More: King for a Day (Warner) LP
Marvin Gaye: Let’s Get it On (Universal) LP
Ghostface Killah: Fishscale (Def Jam) LP
Al Green: I’m Still in Love With You (Fat Possum) LP
Al Green: Greatest Hits (Fat Possum) LP
Al Green: Let’s Stay Together (Fat Possum) LP
Green Day: Dookie (Reprise) LP
Guru Guru: UFO (Play Loud) LP
Hawkwind: Warrior on the Edge of Time (Let Them Eat Vinyl) LP
Head & The Heart: Signs of Light (Warner) LP
Jesus Lizard: Goat (Touch & Go) LP
King Gizzard & The Lizard Wizard: Paper Mache Dream Ballon (ATO) LP
Kendrick Lamar: Good Kid… (Aftermath) LP
Kendrick Lamar: To Pimp A Butterfly (Aftermath) LP
Led Zeppelin: II (Warner) LP
Madvillain: Madvillainy (Stones Throw) LP
Menahan Street Band: Make The Road By Walking (Daptone) LP
MF Doom: Mm… Food (Rhymesayers) LP
N.W.A.: Straight Outta Compton (Universal) LP
New Order: Singles (Rhino) LP
Not Waving: Redacted (Ecstatic) LP
Jim O’Rourke: Eureka (Drag City) LP
Parliament: Mothership Connection (Universal) LP
Public Image LTD.: First Issue (Light in the Attic) LP
Rodriguez: Cold Fact (Light in the Attic) LP
Rodriguez: Coming From Reality (Light in the Attic) LP
Silkworm: It’ll Be Cool (Touch & Go) LP
Slasher Film Festival Strategy: Psychic Shield (Death Waltz) LP
Sunn o))): Black One (Southern Lord) LP
Swans: The Seer (Young God) LP
Talking Heads: Remain in Light (Rhino) LP
Tame Impala: Currents (Modular) LP
Timber Timbre: Creep On Creepin’ On (Arts & Crafts) LP
Timber Timbre: Hot Dreams (Arts & Crafts) LP
Touche Amore: Stage Four (Epitaph) LP
Tragically Hip: Fully Completely (Universal) LP
Tragically Hip: Man Machine Poem (Universal) LP
Tragically Hip: We Are The Same (Universal) LP
Townes Van Zandt: s/t (Fat Possum) LP
Townes Van Zandt: Delta Momma Blues (Fat Possum) LP
Townes Van Zandt: Flying Shoes (Fat Possum) LP
Zomby: Where Were u In 92? (Cvlt) LP

 

Tagged , , , , , ,