…..news letter #857 – doggin’ it…..

Well we’re really in the thick of it, the dog days of summer. Not a lot in this week. Everyone is away. Even my whole family, so if you’ve been in this week, you got to see our dog! Anywno, hope you are having a smashing summer and enjoying the heat, if you need to cool down, our A/C is cranked. Come down for a dig.

…..picks of the week…..

beak2

Beak>: >> (Temporary Residence) LP
To celebrate the addition of Bristol’s preeminent out-rock trio, Beak>, to the Temporary Residence family, the label reissues their acclaimed second album >> on audiophile-quality double vinyl. Remastered for the format by Josh Bonati, and packaged in a heavyweight foil-stamped jacket, >> includes the original album in its entirety, as well as a vinyl-only bonus track not available on the CD or Digital formats. Following the release of his Quakers hip-hop project, and the Judge Dredd-inspired Drokk soundtrack collaboration, Geoff Barrow unveiled the 2012 second album by Beak>, the krautrock-influenced band formed with Billy Fuller and Matt Williams in 2009. There is an accepted music industry strategy, mainly from the mouths of experienced music managers and A&R men, that for a band to get ready to present themselves to the world they should go on tour. In most cases this advice works; the band hone their craft on the road so by the time they get on to late-night TV and summer festivals, they can amaze with their slick, tight rock performance. However, this doesn’t always work. Beak> recorded their eponymous debut in Bristol, created from 12 days of improv sessions and then edited into song form. Shorty after releasing it, the band went on a successful tour, playing various festival dates across Europe and the U.S. Buzzing from the tour, Beak> promptly returned to the studio to start work on album No. 2, only to find that the time on the road had taken its toll on the band’s delicately sensitive and creative nature – and, by consequence, had turned them into a truly awful-sounding pub prog-rock band. The magic had gone. It seemed that the band were thoroughly moribund. Until…one rainy afternoon in Bristol – after many tortured, truly terrible recording sessions – something changed. It may have been the diesel fumes from the band’s tour splitter bus had finally worn off; others say that the band simply turned their amplifiers down. We may never know the true events of that afternoon, but the band began to play and, once again as before, their bleak, wobbly, anti-blue note sound had returned – now with more synthesizers. And once again as before, it was all recorded live in one room (with very few overdubs).

File Under: Krautrock, Electronic, Portishead
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WRWTFWW026LP_CU

MKWAJU Ensemble: KI-Motion (WRWTFWW) LP
WRWTFWW Records present the official reissue of legendary album KI-Motion by Japanese percussionist Midori Takada’s MKWAJU Ensemble, originally released in 1981. A highly creative and transcendental fusion of marimba, vibraphone, bamboo percussion, and synthesizers, KI-Motion was recorded in 1981 and captures the birth of Midori Takada’s exploration of minimalism, African rhythmic tradition, and ambient music. The album takes its conceptual inspiration from the tamarind (“mkwaju” in Swahili), a drought resistant tree notably used to craft some of the first mallets and marimbas but also known for its culinary and medical uses, an essential symbol of life and identity for the Central African grasslands. Drawing from the region’s culture and music as well as the crucial notion that rhythms represent the very fabric of life, Midori Takada leads her ensemble into environmental heaven to create one of the highlights of her recording career and an absolute must-have from the golden age of Japanese ambient — the ideal companion to her majestic opus from 1983, Through The Looking Glass. Sourced from the original masters.

File Under: Japan, Percussion, Experimental, Ambient
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…..new arrivals…..

boc

Boards of Canada: Hi Scores (Skam) LP
Vinyl version with double-sided 12″ poster. Skam Records are very proud to announce the re-release of Boards Of Canada’s Hi Scores. Originally released in 1996, Hi Scores constitutes Boards Of Canada’s second official release after 1995’s Twoism. This follows the reissue of their other seminal records by Warp in 2013. The new edition has been re-recorded and re-mastered from the original DAT tapes and has been re-cut onto heavyweight collector’s edition vinyl. The original image on the back of the sleeve is now in color. Spot varnish finish on the images & text alongside the usual Skam Braille sticker.

File Under: Electronic, Downtempo
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death

Death: Leprosy (Relapse) LP
Death’s immensely influential second effort Leprosy, originally released in 1988, was a pioneering album which built upon the thrash sounds of trailblazers like Metallica and Slayer but added in a previously unheard level of raw extremity. These songs are the roots of an entire genre: death metal. While this was only Death’s second full-length record, it immediately cemented them as heavy metal icons. This 30th Anniversary colored 2LP reissue features expanded packaging and a bonus disc with 10 Leprosy 1987 rehearsal recordings!

File Under: Metal
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digable

Digable Planets: Reachin’ (A New Refutation of Time & Space)
(Modern Classics) LP
Back in stock!! At a time when hip-hop was determined to snap your neck, a young, hip trio from Brooklyn (by way of Seattle, Philly, and Brazil) conspired on an uncommonly smooth new sound and freaky way of speak, a titanically chill expression of Black bohemia loaded with jazz idiom and a subversive Marxist bent—and pushed it worldwide via an undeniable crossover hit. Digable Planets’ 1993 debut, Reachin’ (A New Refutation of Time and Space), unexpected to all involved, produced a massive radio hit in “Rebirth Of Slick (Cool Like Dat)”, which won the 1994 Grammy for Best Rap Performance by Duo or Group. Unduly lumped into an “alternative rap” subgenre they chafed at, the Dig Plans were dismissed by some as one-hit wonders, coming out of nowhere; but the Digable Planets concept, and what became Reachin’, had been in the works for close to five years, as group leader Ishmael “Butterfly” Butler wrote music and soaked up game in multiple cities, navigating the industry of hip-hop’s golden age. In the end, Butler, Mary Anne “Ladybug Mecca” Vieira, and Craig “Doodlebug” Irving came together to create a seamlessly articulated vision of urbane hiphop cool with an uncommonly literary bent that subtly pushed the hip-hop genre’s frames of reference and added breadth to rap music’s burgeoning political philosophy. Drawing on inspiration from Butler’s jazzbo father, the Black Panthers, Jose Luis-Borges, the Last Poets, and Jimi Hendrix, Reachin’ posited a theory of “universal beats”, narrated by three unearthly MC’s that had “split to Earth to resurrect the funk”, assuming curious, arthropodic aliases—a nod to the natual collective action of the insect world. In just four years the crew would record two beloved and ambitious LPs before disbanding. Out of print on wax domestically since 1993, Reachin’ captures one of the last gasps of rap music’s jazzy, upbeat adolescence in the early 90’s—those warm, blissed-out grooves every bit as slick as when they were laid way back when. Put this on, roll up with your crew and bug out again with the insect tribe.

File Under: Hip Hop
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index

Index: Originals Volume 1 (Lion) LP
All of the original compositions from the band’s two self-released holy grails of psychedelia (the Black Album and the Red Album, from 1967-68) combined into one collection—all newly transferred from the original tapes! Most of you have no doubt heard of records that have been touted as “mind blowing”, “fuzz monsters”, or “lost/undiscovered classics”. The raves rarely turn out to be justified. That’s certainly not the case with the music of Index—if anything, the raves underplay the essence of the band’s music, which is seething with cavernous reverb, snaky guitar lines, and downer lyrics. It is fantastically minimalist, starkly atmospheric, and sprinkled with ferocious guitar work. In the mid 1960’s, Detroit Michigan was a thriving industrial city. But the great ethnic diversity in the inner city was a brewing powder keg of civil unrest. This, coupled with a disillusioned population struggling to make some sense of a questionable war in the rice paddies of Viet Nam, set an uneasy and troubling tempo for the future. Still, there were pockets of communities in the Detroit area where things were good and economic life was vibrant. The Grosse Pointes were such communities. It was on the outskirts of this political and racially tense era, in those affluent suburbs just outside Detroit, that Index was formed. The music of Index has been lauded by (and bootlegged by) music heads for decades, and with good reason: it is unexpected, atmospheric, and “home-made” in the best of all possible ways. The band has a druggie sound, with songs full of feedback and fuzzy guitars, hazy guitar riffs and loud pushy rhythms. And in there amongst the echoing canyons of sound you’ll find some snotty post-punk attitude wrapped up in all that trippy velvet fuzz. It’s a wonderful bleak sound, droning and murky and introspective—the atonal side of late 1960’s rock that would leave the most lasting impression on those who would eventually become punk, post-punk and indie rock… you know, artists like Joy Division or the Fall or Felt to name three out of a thousand.

File Under: Psych, Garage
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orb

Orb: No Sounds Are Out of Bounds (Cooking Vinyl) LP
Alex Paterson’s longstanding electronic titans The Orb present the new album No Sounds Are Out Of Bounds, which as the title suggests finds them embracing an anything-goes new approach to creative freedom. Refreshing and reinventing the predominantly two-man set up with Thomas Fehlmann on the prior two albums (Moonbuilding 2703 AD and COW / Chill Out World!), No Sounds… is intentionally an ensemble piece, featuring a large cast of big names, cult heroes, rising talent and fresh newcomers. Paterson, Fehlmann, Youth, Roger Eno, Hollie Cook and Guy Pratt take star turns, as does heroic bassist Jah Wobble, who returns to the fold following the bassbin-bullying anthem “Blue Room.” Additional supporting roles come from Gaudi, Roney FM and Michael Rendall, plus vocalists Brother Culture, Mary Pearce, Emma Gillespie, Rianna, and Andy Cain – who’s best known for voicing Mark Ernestus and Moritz Von Oswald’s deep house gems “I’m Your Brother” and “A New Day.” Despite featuring a cheeky nod to their remix of Primal Scream’s “Higher Than The Sun,” vocal led opener “The End Of The Road” makes it clear this is virgin territory. But despite new paths being forged, Paterson’s omnipresent humor remains on “I Wish I Had A Pretty Dog’s” animalistic rhythm – joined by tablas, strings, half speed beats and bass, which collide like planets in the cosmos. Hollie Cook returns the favor following Alex’s production work on her Vessel Of Love album, lending her vocals to the Battersea-referencing, classic dub house throbber “Rush Hill Road,” alongside Brother Culture. The first of several tracks to feature Roney FM’s plummy, faux vintage BBC voice, “Pillow Fight At Shag Mountain” is airy and bright like stratus on a clear day, bubbling in pleasing fashion through various styles and samples tethered by Wobble’s bass and Eno’s piano, somehow coalescing, making illogical logic in a way only The Orb can. “Isle Of Horns” pares things down to a loping, dusty and organically-minimal piece that’s closer to the last two albums, yet works well as a subtler break from other more maximal moments herein. Driven by Youth’s double bass, “Wolfbane” is a lysergic romp through hip hop across the ages, from Run DMC to Dre to Dilla. It also withholds the anti-war stance expressed on COW, putting vintage nuclear threat back on the menu, thanks to Trump, Jong-un and Putin. Paying homage to another or Alex’s faves is the boom bap of “Doughnuts Forever,” which swings from chilling, pensive atmosphere into reassuringly lush, 50s Hollywood strings and back again. Featuring the singing and poetry of Rianna, the “small dittie” “Drift” offers another pleasant moment of calm reflection, before “Wobble’s phenomenal bassline and Roger’s supreme piano” on “Easy On The Onions” elevates the listener blissfully skywards above Bermondsey and “West Snorewood.” “Ununited States” takes a darker but breathtaking turn, with Eno’s playing taking center stage on what Alex claims is “how the new Blade Runner score should’ve sounded” – and it’s hard to disagree. Ending the album on majestic form is the 15 minute classic opus “Soul Planet,” which finds the vocal axis between divas of house music and Pink Floyd’s “Great Gig In The Sky.” Disembodied voices float in a black hole, before an undulating throb cuts through the darkness, with layers of detail gradually building to a gentle euphoria, before drifting back into the darkness of space, with a lonely piano refrain.

File Under: Electronic
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defenders

OST: The Defenders (Mondo) LP
Mondo is proud to present the premiere vinyl pressing of the soundtrack to the Netflix Original Series MARVEL’S THE DEFENDERS. This limited-series event, several years in the making, finds Marvel’s finest street-level heroes Daredevil, Jessica Jones, Luke Cage and Iron Fist (along with help from various other recurring characters from their respective series) joining forces to take on the sinister organization, The Hand, along with the mysterious yet familiar new recruit (known to them as The Black Sky). Composed by John Paesano (MARVEL’S DAREDEVIL – Season One), the score to THE DEFENDERS takes his work to another level. Incredibly dynamic, serious and still fun, and ominous but still optimistic. Paesano takes the musical world of the four separate comic book superheroes, all dealing with their own sonic demons, and produces a seamlessly shared musical universe for them to co-exist.

File Under: OST
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pokemon

OST: Johto Legends (Music From Pokemon Gold & Silver) (iam8bit) LP
In collaboration with our pals at Materia Collective & composer/arranger Braxton Burks, iam8bit is proud to present the Johto Legends! 2xLP vinyl – a one-hour orchestral arrangement album featuring the timeless music of Pokémon Gold and Silver! This pairing explores a young Pokémon Trainer’s epic journey across the scenic Johto region – meeting Pokémon friends, going head-to-head with the nefarious Team Rocket, and encountering the legendary guardians of Johto – all told through a stunning musical narrative. Seven incredibly talented musicians with performance pedigrees including Pokémon Symphonic Evolutions and The Legend of Zelda: Symphony of the Goddesses — as well as game scores such as Destiny, Dragon Age, Tomb Raider and Minecraft — will bring this score to life. Accentuating the journey is an epic package design by artist Ryan Brinkerhoff, chock-full of premium trappings like: Premium Foil-Stamped Jacket; Gold/Silver Foil Inner Sleeves; Half-and-Half Color Pokeball Vinyl Discs; and an Epic Gatefold Illustration to be revealed at a later date. The satisfaction of seeing these discs spin on a turntable is hard to pass up. Below is a preview of tracks that will be re-recorded for Johto Legends! Please note that these are synthesized temp tracks and they will be re-recorded with LIVE orchestral instruments in a studio environment for the final record set.

File Under: OST
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1922

Mike Patton: 1922 OST (Ipecac) LP
1922 is based on Stephen King’s 2010 novella of the same name, from his horror anthology Full Dark, No Stars, which tells the story of a man’s confession of his wife’s murder. The tale is told from from the perspective of Wilfred James, the story’s unreliable narrator who admits to killing his wife, Arlette, with his son in Nebraska. But after he buries her body, he finds himself terrorized by rats and, as his life begins to unravel, becomes convinced his wife is haunting him. Presented here on double vinyl courtesy of Ipecac Recordings, Mike Patton’s (Faith No More, Dead Cross, Tomahawk) heavily orchestral original score follows his acclaimed work on the 2012 film The Place Beyond The Pines and is equally haunting and dissonant.

File Under: OST
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winners

Pedro The Lion: Winners Never Quit (Jade Tree) LP
Following a critically acclaimed debut album for Made In Mexico, singer/songwriter David Bazan returned to his Seattle home studio to craft the bulk of 2000’s Winners Never Quit (remastered and reissued on vinyl for the first time in over half a decade) – a haunted collection of material that traces the fictional story of a man who vows to maintain his good name despite a slew of devious activity and malicious intent. Stripped down to a voice and a guitar, Bazan is a modern-day folk champion. Behind a band, he loses his timidity and commands attention with an impassioned voice and a compelling narrative. In either sphere, Bazan is an accomplished artist and unique talent as he displays here. In early 2006, Bazan retired the Pedro The Lion moniker to continue on with solo work under his own name. In December of 2017 Bazan announced that Pedro The Lion will reunite after eleven years for a new album and a worldwide tour.

File Under: Indie Rock
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zeenith

Zuider Zee: Zeenith (Light in the Attic) LP
An early/mid-1970s group that sound like a hybrid between T-Rex and Big Star, might sound like a band that should be universally adored but Memphis’ Zuider Zee have remained something of an untapped curiosity. Until now. With this first time release of the album Zeenith, recorded between 1972 and ’74 and featuring all previously unheard tracks, the band should no longer be a boxed-up mystery. Prior to Zeenith, Zuider Zee’s 1975 self-titled LP was the only record out there that existed. Released on Columbia, it was hailed as a true great power pop record of the time by groups such as Cheap Trick. “Rick Nielsen called me one night,” Zuider Zee’s Richard Orange recalls. “He was asking about why weren’t we bigger and doing as well as they were. He said: “Man, you’re so damn good, do you know where I have your phone number? I have your number right beneath John Lennon’s number. Fuggin’ John Lennon, Richard!’ Despite love from such bands and a later line-up of Zuider Zee even supporting the Sex Pistols at the Taliesyn Ballroom in Memphis in 1978 – “Sid Vicious stumbling around out of his gourd. It was very unremarkable, the whole event.” remembers Orange – and with Columbia never even releasing a single for radio, Zuider Zee never quite took off and dissolved into the ether of cult band land. However, an untold chapter of the group’s history has now been unearthed as Light In The Attic’s ability to pluck gold from seemingly nowhere continues on this release. Comprised entirely of previously unreleased tracks, Zeenith is an album in which sugar-coated glam stomp nestles up alongside Mersey beat and where rousing power pop, crunchy rock and a undercurrent of pop-peppered psychedelia all merge seamlessly. Childhood pals Richard Orange and Gary Simon Bertrand had matriculated in late ‘60s Lafayette pop-psych outfit, Thomas Edisun’s Electric Light Bulb Band, before joining forces with Kim Foreman and John Bonar. Zuider Zee’s tale wasn’t always destined to be that of a mysterious cult band but they did face some difficulties in from the off, as they found when they moved from Jackson, Mississippi to their new adopted home of Memphis. “When we first rolled into town, we were completely unknown,” says Orange. “We couldn’t get a gig at any of the clubs for what seemed like at least a year or even longer. We were very different from bands in the South. We never covered any Southern rock – apart from The Allman Brothers who we all thought the world of – and as we grew into ourselves we didn’t sound anything like southern rock.” It was Orange’s work ethic that kept the band driven and focused though through such tough times. “I can honestly say that there is one thing Zuider Zee shared with The Beatles experience,” he says. “We played for years in the crappiest most disgusting, dangerous and depressing places, and we played anywhere from 5 to 7 hours, 6 days a week – for years.” A group led by such a hard-working and determined individual is glisteningly apparent on this release. Zeenith feels like a band at that magical juncture between a group perfecting their craft whilst still driven by wide-eyed optimism, youthful energy and a sense of fun that radiates throughout every note played. Ultimately, this was at the core of Zuider Zee’s aims. “Most important is to have fun whilst you’re up there doing it [on stage] because people will feel that joy – it’s electric and contagious and they will react to it.” Something that still feels pertinent over 40 years since it was created.

File Under: Rock, Power Pop, Glam
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…..Restocks…..

Leon Bridges: Good Thing (Columbia) LP
Black Angels: Passover (Light in the Attic) LP
Built to Spill: Perfect From Now On (Unviersal) LP
Michael Chapman: Fully Qualified Survivor (Light in the Attic) LP
Circle: Terminal (Southern Lord) LP
Converge: The Dusk in Us (Deathwish) LP
Karen Dalton: In My Own Time (Light in the Attic) LP
DJ Shadow: Endtroducing (A&M) LP
Lee Hazlewood: Cowboy in Sweden (Light in the Attic) LP
Lee Hazlewood: Forty (Light in the Attic) LP
Lee Hazlewood: LHI Years (Light in the Attic) LP
Lee Hazlewood: Special World of (Light in the Attic) LP
Husker Du: Savage Young Du (Numero) Box
I Marc 4: Nelson Psychout (Vampisoul) LP
Ennio Morricone: Un Esercito di 5 Uomini (AMS) LP
OST: Heartworn Highways (Light in the Attic) LP
OST: Sympathy for Lady Vengeance (Beatball) LP
Popol Vuh: Nosferatu (Waxwork) LP
Queens of the Stone Age: Rated R (Interscope) LP
Shooting Guns: Another Wolfcop (One Way Static) LP
Paul Simon: Graceland (Legacy) LP
Sunn o)): Monoliths & Dimension (Southern Lord) LP
Taake: Noregs Faapen (Peaceville) LP
Toro y Moi: Boo Boo (Carpark) LP
White Zombie: It Came From NYC (Numero) Box
Wilco: Yankee Hotel Foxtrot (Nonesuch) LP
Link Wray: Be What You Want to (Tidal Wave Music) LP
Link Wray: s/t (Future Days) LP
Various: I Am The Center (Light in the Attic) Box
Various: Microcosm (Light in the Attic) Box
Various: Native North America (Light in the Attic) Box
Various: This Record Belongs to…….. (Light in the Attic) LP
Various: Uneven Path (Music From Memory) LP
Various: Voyager Golden Record (Ozma) Box

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…..news letter #856 – trail…..

Some major reissues out this week. As every summer, not a lot of new releases but you’re probably still catching up from the last month or so anyway.

Our pals from Collective Arts Brewing (you may recall them from RSD) are having a tap takeover at The Underground tomorrow (Friday) night. They’ll have the full available line on tap, and a bunch of folks, including myself will be spinning records all evening. Definitely a good way to kick off your weekend.

…..picks of the week…..

beak

Beak>: s/t (Temporary Residence) LP
To celebrate the addition of Bristol’s preeminent out-rock trio, Beak>, to the Temporary Residence family, the label reissues their eponymous debut album on audiophile-quality double vinyl. Remastered for the format by Josh Bonati, and packaged in a heavyweight old-styile tip-on gatefold jacket, Beak> includes the original album in its entirety, as well as a vinyl-only bonus track not available on the CD or Digital formats. Beak> was formed in January of 2009 by Bristol musicians Billy Fuller, Matt Williams, and Geoff Barrow. The band instituted very strict guidelines governing the recording and writing process of their work: The music was to be recorded live in one room with no overdubs or repair, only using edits to create arrangements. All tracks were written over a 12-day session in SOA Studios, Bristol. Often a band can be no more than the sum of its parts, but Beak> are an equation in which it’s impossible to define equivalents or totals. Instead the meeting of three unique talents form a foundation from which ideas assimilate and propagate. Fuller was reared an aural diet of anything and everything, facilitated later by his time working in the city’s top independent record shop Replay Records, and also playing with handfuls of bands – including Massive Attack, Robert Plant, and Malakai. Billy is Beak>’s thoughtful pulse; his bass a forceful origin for their superlative narrative arcs. Williams picked up a Yamaha keyboard at age 3 and never looked back, as Team Brick creates dissonance that immediately elucidates free-forming thought, and impacts heavily on Beak>’s rolling landscape.  Barrow is best known for forming and producing popular music group Portishead, as well as scoring acclaimed film and TV productions, including Black Mirror, Ex Machina, and Annihilation.

File Under: Krautrock, Electronic, Portishead
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perez

Luis Perez: Ipan In Xiktli Metzli (Mr. Bongo) LP
Official Mr Bongo reissue. Replica original artwork, including the insert with listening instructions, in Spanish and English. Luis Pérez was born in Mexico City on July 11, 1951. From 1971 onwards he dedicated much of his time to the research of the pre-Columbian instrumentation of Mesoamerica. This research allowed him to travel the Mexican territory and study musical traditions of the native peoples of Mexico. He learned directly from the living sources of the music and collected samples of musical instruments and the songs of different native speakers including Maya, Nahuatl, Mazateco, Yoemem, Comcaac, Raramuri, Wixarika and more. His personal collection of native Mexican instruments includes ethnographic instruments still in use by ethnic groups, along with archaeological artifacts some of which are more than 2,000 years old. He continuously utilises these instruments in performances, concerts, lectures, exhibitions, and recordings, keeping them alive.‘El Ombligo de la Luna’ delves deep into the past but also exists entirely outside of time, as Luis Pérez ‘Ixoneztli’’s offering to the world – the soul of Mexico channeled through the hands and heart of a master musician. Huge thanks to Carlos Niño for his assistance on this very special project. Copy adapted from original copy written and supplied by Jesse Peterson (2017), used with thanks. Licensed directly from Luis Pérez.

File Under: Mexico, Electronic, Experimental
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…..new arrivals…..

bodyhead

Body/Head: The Switch (Matador) LP
Body/Head is the duo of Kim Gordon and Bill Nace. Creative alchemy doesn’t just happen in the studio or in the practice space; so much of it is the product of solo time with one’s instrument, learning how body and wood and electronics fuse, and of subconscious processes as one lives one’s daily life – picking up the ambient noise of the world outside, listening to others’ work, talking through ideas with friends. For Kim and Bill, time together these days is limited to live performances and recording, so they’ve got to bring all their magic to every encounter. Lucky for us, these are two experimental sorcerers of significant renown. Their debut album together as Body/Head, Coming Apart, from 2013, was more of a rock record – heavy, emotional, cathartic, spellwork in shades of black and grey. The Switch is their second studio full-length, and it finds the duo working with a more subtle palette, refining their ideas and identity. Some of it was sketched out live (if you’ve not had the fortune of seeing them in that natural environment yet, see 2016’s improvisational document No Waves), but much of it happened purely in the moment. Working in the same studio and with the same producer as Coming Apart, here Body/Head stretch out, making spacious pieces that build shivering drones, dissonant interplay, Gordon’s manipulated vocals, and scraping, haunting textures into something that feels both delicate and dangerous. Less discrete songs than one composition broken up into thematic movements, a slow-moving narrative that requires as much attention and care from the listener as it did from everyone involved in its creation, it is a record that sticks around after it’s done playing. This is Nace’s favorite of Gordon’s guitar work; she’s truly come into her own as a guitarist, having built up her confidence through solo shows. The way the duo work together, you’d never know they spend so much time apart; on The Switch, their vision and focus feel truly unified. If Coming Apart was dark magic, The Switch works with light, though it never forgets that these approaches are two sides of the same coin, and that binaries – black/white, near/far, emotion/analysis, body/head – are made to be broken open, and that the truth of things is in the energy between.

File Under: Indie Rock, Experimental
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deafheaven

Deafheaven: Ordinary Corrupt Human Love (Anti) LP
Deafheaven was formed in 2010 by vocalist George Clarke and guitarist Kerry McCoy. They released their debut studio album Roads To Judah in 2011. They added drummer Daniel Tracy to the group and released their breakthrough album Sunbather in 2013. After rounding out their line up with guitarist Shiv Mehra and bassist Stephen Clark—each subsequent live set felt like a religious experience for the bigger (and bigger) shows that followed. Their third album, and first for ANTI-, 2015’s New Bermuda, was heavier, sturdier, and more grounded in the dirt than Sunbather. They toured extensively to support New Bermuda playing tours and festivals with Lamb Of God, Anthrax, Danzig, and Gojira. Deafheaven’s new album, Ordinary Corrupt Human Love, finds them working with old friends again. The Jack Shirley-produced and Nick Steinhardt-art directed (of Touché Amoré) collection gets its title from Graham Greene’s novel The End of the Affair, referencing a moment when someone is looking for love, in all of its imper¬fection and simple beauty. This sentiment is carried throughout the hazy, yearning romanticism of the record with song titles and words as sumptuous as the sounds around them. Clarke describes the composition of Ordinary Corrupt Human Love beginning with “small seeds of healing, repair, and rebirth,” and like each subsequent Deafheaven album, this record is, in fact, a revelation.

File Under: Metal
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dirty pros

Dirty Projectors: Lamp Lit Prose (Domino) LP
Dirty Projectors return with a new album that’s the yang to the yin of their eponymous 2017 effort. The songs signal a page turned for David Longstreth: hope instead of heartbreak, a restorative balance. Guitars have returned to the Dirty Projectors’ world, intricate and gorgeous vocal harmony too. It begins with “Right Now,” David singing, “there was silence in my heart, but now I’m striking up the band.” LA string group the Calder Quartet, and The Brass Players of Los Angeles both appear on several songs while further collaborations come from the likes of HAIM, Syd, Robin Pecknold, Rostam Batmanglij, Amber Mark, Empress Of and Dear Nora. Lamp Lit Prose is a recommitment to the sounds and ideals of Dirty Projectors, embracing the band’s trademarks while pushing forward the sonic envelope. Single vinyl LP housed in a gatefold jacket containing a 16 page 6″ x 11″ libretto and download card.

File Under: Indie Rock
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ericb

Eric B & Rakim: Don’t Sweat the Technique (Geffen) LP
In Tomorrow… Legendary hip-hop duo Eric B. & Rakim first formed in Long Island, NY, in 1985. The premier DJ/MC team, not only was their chemistry superb, but individually, each represented the absolute state of the art in their respective skills. Between 1987 and 1992, they released four acclaimed albums, the platinum-selling Paid In Full (1987), Follow The Leader (1988), Let The Rhythm Hit ‘Em (1990) and Don’t Sweat The Technique (1992). Paid In Full caused a stir in the hip-hop music world due to its novel sound, approach, and subject matter. Their songs were the first to really impart hip-hop music lyrics with a serious poetic device sensibility while their gritty, heavy, and dark beats, marked the beginning of heavy sampling in hip-hop records. As a disc jockey, Eric B. reinstated the art of live turntable mixing and his soul-filled sampling became influential in future hip hop production. The dynamic duo’s unprecedented five year run ended with their fourth and final album to date, Don’t Sweat the Technique which found them going out on top with hip-hop masterpieces like the title cut, “The Punisher,” “Casualties Of War,” and Juice theme song “Know The Ledge.” Eric B. & Rakim reunited in 2017 for a string of one-off shows commemorating the 30th anniversary of Paid in Full. In 2018 they will undertake their first major tour together since their initial break up in 1993.

File Under: Hip Hop
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ericb1

Eric B & Rakim: Follow the Leader (Geffen) LP
In tomorrow… Legendary hip-hop duo Eric B. & Rakim first formed in Long Island, NY, in 1985. The premier DJ/MC team, not only was their chemistry superb, but individually, each represented the absolute state of the art in their respective skills. Between 1987 and 1992, they released four acclaimed albums, the platinum-selling Paid In Full (1987), Follow The Leader (1988), Let The Rhythm Hit ‘Em (1990) and Don’t Sweat The Technique (1992). Paid In Full caused a stir in the hip-hop music world due to its novel sound, approach, and subject matter. Their songs were the first to really impart hip-hop music lyrics with a serious poetic device sensibility while their gritty, heavy, and dark beats, marked the beginning of heavy sampling in hip-hop records. As a disc jockey, Eric B. reinstated the art of live turntable mixing and his soul-filled sampling became influential in future hip hop production. Follow the Leader, Eric B. & Rakim’s second release, is also their second out and out classic record. Following the same formula as their debut it’s anchored by Eric B.’s innovative production style and Rakim’s blisteringly brilliant braggadocio. Home to high-water marks like “Microphone Feind” and “Follow the Leader,” the golden age of hip-hop certainly has a surplus of fantastic LPs but Follow the Leader is right near the top. The duo reunited in 2017 for a string of one-off shows commemorating the 30th anniversary of Paid in Full. In 2018 Eric B. & Rakim will undertake their first major tour together since their initial break up in 1993.

File Under: Hip Hop
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ericb2

Eric B & Rakim: Let The Rhythm Hit ‘Em (Geffen) LP
In tomorrow… Legendary hip-hop duo Eric B. & Rakim first formed in Long Island, NY, in 1985. The premier DJ/MC team, not only was their chemistry superb, but individually, each represented the absolute state of the art in their respective skills. Between 1987 and 1992, they released four acclaimed albums, the platinum-selling Paid In Full (1987), Follow The Leader (1988), Let The Rhythm Hit ‘Em (1990) and Don’t Sweat The Technique (1992). Paid In Full caused a stir in the hip-hop music world due to its novel sound, approach, and subject matter. Their songs were the first to really impart hip-hop music lyrics with a serious poetic device sensibility while their gritty, heavy, and dark beats, marked the beginning of heavy sampling in hip-hop records. As a disc jockey, Eric B. reinstated the art of live turntable mixing and his soul-filled sampling became influential in future hip hop production. The dynamic duo’s relentless rhymes and impeccable production continued to reign supreme through to their third golden age of hip-hop release, Let the Rhythm Hit ‘Em which yielded the trio of singles “In the Ghetto,” “Let The Rhythm Hit ‘Em” and “Mahogany.” Eric B. & Rakim reunited in 2017 for a string of one-off shows commemorating the 30th anniversary of Paid in Full. In 2018 they will undertake their first major tour together since their initial break up in 1993.

 File Under: Hip Hop
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ericbb

Eric B & Rakim: Paid in Full (Geffen) LP
In tomorrow… Legendary hip-hop duo Eric B. & Rakim first formed in Long Island, NY, in 1985. The premier DJ/MC team, not only was their chemistry superb, but individually, each represented the absolute state of the art in their respective skills. Between 1987 and 1992, they released four acclaimed albums, the platinum-selling Paid In Full (1987), Follow The Leader (1988), Let The Rhythm Hit ‘Em (1990) and Don’t Sweat The Technique (1992). Paid In Full caused a stir in the hip-hop music world due to its novel sound, approach, and subject matter. Their songs were the first to really impart hip-hop music lyrics with a serious poetic device sensibility while their gritty, heavy, and dark beats, marked the beginning of heavy sampling in hip-hop records. As a disc jockey, Eric B. reinstated the art of live turntable mixing and his soul-filled sampling became influential in future hip hop production. The dynamic duo’s relentless rhymes and impeccable production continued to reign supreme through to their third golden age of hip-hop release, Let the Rhythm Hit ‘Em which yielded the trio of singles “In the Ghetto,” “Let The Rhythm Hit ‘Em” and “Mahogany.” Eric B. & Rakim reunited in 2017 for a string of one-off shows commemorating the 30th anniversary of Paid in Full. In 2018 they will undertake their first major tour together since their initial break up in 1993.

 File Under: Hip Hop
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gorillaz

Gorillaz: Demon Days (Parlophone) LP
Co-produced by Danger Mouse, Demon Days (2005) is the double platinum-certified second studio offering from the world’s most famous virtual hip-hop group. The brainchild of Blur’s Damon Albarn and Tank Girl co-creator Jamie Hewlett, the animated cast of characters from its innovative 2001 predecessor return – 2D (vocals), Murdoc (bass), Noodle (guitar/keyboards) and Russel Hobbs (drums) – alongside guests like De La Soul, Ike Turner, Dennis Hopper, MF Doom, Shaun Ryder, Neneh Cherry, Bootie Brown and the London Community Gospel Choir. Home to the catchy and cinematic singles “Feel Good Inc.,” “Dare” and “Dirty Harry,” New York’s Paper called the album a “work of conceptual art that’s as fulfilling to listen to as it is enjoyable to look at…more melodic, free-flowing and sharper-edged than on its predecessor.”

File Under: Hip Hop
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daed

Grateful Dead: Anthem of the Sun (Rhino) LP
The Grateful Dead continues its ambitious 50th anniversary reissue series with a picture disc pressing of Anthem Of The Sun featuring the 1971 mix of the album remastered by Grammy-winning engineer David Glasser from the original analog master tapes. The band’s most experimental album, Anthem Of The Sun was an unprecedented mix of studio and live recordings stitched together to create a hybrid. Fifty years later, it remains a pinnacle of psychedelic music. It also marked a departure for the band, as they began to channel their creativity into longer jams on songs like “Alligator” and “Caution (Do Not Stop On Tracks)” – two live staples of the Dead’s early days. “We weren’t making a record in the normal sense,” explained Jerry Garcia, who mixed the album with Phil Lesh and the Dead’s new soundman, Dan Healy. “We were making a collage. We were trying to do something completely different, which didn’t even have to do with a concept. It had to do with an approach that’s more like electronic music or concrete music, where you are actually assembling bits and pieces toward an enhanced non-realistic representation.” “This is one the most thrilling albums the Grateful Dead ever produced, mixing portions of live recordings from the first six months of Mickey’s tenure with the band, along with studio experimentations that would hint at where the Dead would go when they started recording to 16-track tape the following year,” says archivist/producer David Lemieux.

File Under: Rock
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greenwood

Jonny Greenwood: You Were Never Really Here (Lakeshore) LP
In tomorrow… In Lynne Ramsay’s 2018 thriller You Were Never Really Here, based on the book of the same name by Jonathan Ames, a traumatized veteran (Joaquin Phoenix), unafraid of violence, tracks down missing girls for a living. When a job spins out of control, Joe’s nightmares overtake him as a conspiracy is uncovered leading to what may be his death trip or his awakening. “Jonny Greenwood’s exceptional score is as surprising as Ramsay’s film,” hails Pitchfork. “It is as calmly brutal as Phoenix’s dead-eyed shuffle, and as tender as the way Joe clasps the hand of the dying man he has just dispatched with a bullet to the gut.”

File Under: OST, Radiohead
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hell

Richard Hell & The Voidoids: Blank Generation (Sire) LP
After establishing his reputation as founder of legendary bands the Heartbreakers and Television, Richard Hell went onto to lead the Voidoids which included Robert Quine (Lou Reed, Tom Waits, John Zorn), Ivan Julian (Matthew Sweet) and Marc Bell (aka Marky Ramone). Along with the Ramones, Television, Blondie and Talking Heads, Hell and his band helped to define the early New York “first wave” punk scene. The group’s landmark 1977 debut Blank Generation is an iconic album chock full of attitude and blistering performances that has influenced countless rock bands in its wake. It clearly followed its own template and still sounds as unique and abrasive today. The title cut became a slogan and an anthem and later was emulated by the Sex Pistols for their track, “Pretty Vacant” while additional standouts come in the form of “New Pleasure,” “Betrayal Takes Two” and “Another World.”

File Under: Punk
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marr

Johnny Marr: Call the Comet (Warner) LP
Recorded with his band in Manchester at Johnny Marr’s Crazy Face studios, Call The Comet is the third solo record from the Smiths guitarist and follows 2013’s critically acclaimed The Messenger and 2014’s Playland; both of which made the UK top 10. “Call The Comet is set in the not-too-distant future” says Marr, “and is mostly concerned with the idea of an alternative society. It’s my own magic realism.” Songs include “Actor Attractor,” “Walk Into The Sea,” “Bug” and recent live favorite “Spiral Cities.” “The characters in the songs are searching for a new idealism, although there are some personal songs in there too. It’s something that people like me can relate to,” he adds.

File Under: Rock
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pedro

Pedro the Lion: The Only Reason I Feel Secure (Jade Tree) LP
Originally released in 1999, the Only Reason I Feel Secure EP is the direct follow-up to Pedro The Lion’s breakout debut album, It’s Hard to Find a Friend, hailed by critics and fans alike as further proof of singer/songwriter David Bazan’s genius. It was re-issued by Jade Tree Records in 2001 with three bonus tracks which constituted the bands’s first single. The 8-track edition has been remastered and is presented here. In early 2006, Bazan retired the Pedro The Lion moniker to continue on with solo work under his own name. In December of 2017 Bazan announced that Pedro The Lion will reunite after eleven years for a new album and a worldwide tour.

File Under: Indie Rock
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hereditary

Colin Stetson: Hereditary OST (Milan) LP
Hereditary is a 2018 horror film directed by newcomer Ari Aster. It follows the Grahams, a family in mourning after the passing of grandma. Annie, the family’s mother, suspects that not all is as it seems after grandma’s death – something unnatural may have been left behind. Annie’s suspicions are confirmed as the family is thrown into a nightmarish scenario of ever-increasing terror at the hands of the inexplicable. As the family turns in on itself in the throes of paranoia and despair, Annie is forced to face the darkness of their inherited fate in order for them to survive. Scoring duties on Hereditary came to Colin Stetson. The saxophonist/reedist/composer has conjured an instant classic for Hereditary using an army of strings and drones. The end result is a uniquely uneasy, sinister suite of music capped with one of the most unexpected conclusions in recent years – listeners will find themselves totally possessed. The 2LP-set is housed in a gatefold jacket featuring liner notes from Aster.

File Under: OST
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…..Restocks…..

Boards of Canada: Geogaddi (Warp) LP
Boards of Canada: Music Has the Right to Children (Warp) LP
Bill Callahan: Apocalypse (Drag City) LP
Bill Callahan: Sometimes I Wish I Were an Eagle (Drag City) LP
Childish Gambino: Awaken My Love (Glassnote) LP
John Coltrane: Coltrane (Analogue Productions) LP
John Coltrane: Lush Life (Analogue Productions) LP
Sam Cooke: Singles Collection (Not Now) LP
Lana Del Rey: Born To Die (Universal) LP
Joy Division: Preston 28 February 1980 (Get Back) LP
King Crimson: Discipline (Pangyric) LP
Massive Attack: Heligoland (EMI) LP
Massive Attack: Mezzanine (EMI) LP
Neutral Milk Hotel: In The Aeroplane Over The Sea (Merge) LP
Rolling Stones: Exile on Main Street (Abkco) LP
Yasuaki Shimizu: Kakashi (Palto Flats) LP
Swans: The Seer (Young God) LP
Caetano Veloso: s/t (Philips) LP
Caetano Veloso: Transa (Philips) LP
War on Drugs: A Deeper Understanding (Warner) LP
Yamantaka//Sonic Titan: Dirt (Paper Bag) LP
Various: Ethiopian Modern Instrumental Hits (Heavenly Sweetness) LP
Various: Heavenly Ethiopiques (Heavenly Sweetness) LP

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…..news letter #855 – outdoor…..

Some weeks, there’s a million new arrivals. Others, there are Wire reissues. Both are great!

…..pick of the week…..

pink flag

Wire: Pink Flag (Pink Flag) LP
Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical track listings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted. Usually contextualized against a backdrop of two years of the growing cultural importance of punk rock—Wire’s debut Pink Flag, released in December 1977 on EMI’s progressive label Harvest was in fact was something “other.” To the keen cultural commentator, the timing and label of it’s release will register two essential facts about it. Firstly, too late (a year after the Pistol’s debut release) to be part of UK punk’s first flush and secondly that the band were signaling something beyond punk by their choice of label. Further investigation would reveal twenty-one tracks, some of them clocking in at well under a minute and covering a range of tempi well beyond the buzzsaw rockabilly that had become, even by the second half of 1977, punk’s staple.

File Under: Punk, Post-Punk
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…..new arrivals…..

crooked fingers

Crooked Fingers: Red Devil Dawn (Merge) LP
Love songs abound on 2003’s Red Devil Dawn, but most of the love is dead or dying or at least dirty. That makes sense: Just a few years after his split with indie stalwarts Archers of Loaf, Eric Bachmann had forcefully forged a new identity and sound with Crooked Fingers, and he quickly amassed a catalog of gorgeous, poetic songs about weary losers and broken lives. This is the album that gave their desperation its most pointed, perfectly detailed homes. Red Devil Dawn was the third Crooked Fingers album inside of four years, and in hindsight – at 15 years old, it’s a god damn teenager now – it feels like both the pinnacle and the end of Phase One.  Bachmann had perfected the art of darkness, of finding his characters and stories in solitude and then adding or subtracting sounds and players to make them come alive. Never had they seemed more personal or more vulnerable than on Red Devil Dawn, from the ornery argument on “You Threw a Spark” to the heartbreaking album closer “Carrion Doves,” which posits that “what can make us one can make us come undone.” But the album – being issued on vinyl for the first time ever – also nudges open the door to where Bachmann would take Crooked Fingers next. “Sweet Marie” adds jaunty horns to a withering-but-somehow-sweet story about infidelity, and also manages to include the line “I swear I’m gonna set that pussy bastard straight.” And elsewhere, there’s more hope in the darkness than ever, though it can be hard to recognize at first. But at the end of “Disappear,” he sums up both Crooked Fingers’ past and its future: “There’s beauty in an ugly thing, redemption in demise.” That’s Red Devil Dawn writ small and simple: It finds the specks of light in the darkest rooms, and spins the whole picture into a gorgeous whole.

File Under: Indie Rock
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florence

Florence & The Machine: High As Hope (Universal) LP
In tomorrow… High As Hope, Florence + the Machine’s hugely-anticipated fourth studio album, is the sound of an artist who appears more certain than ever of herself. “It’s always a work in progress, and I definitely don’t have everything figured out,” bandleader Florence Welch notes. “But this feels like quite a pure expression of who I am now, as an artist, and an honest one. I’m just more comfortable with who I am.” Florence writes about her teens and twenties with a renewed, more mature perspective: of growing up in South London, of family, relationships and art itself. “There’s a lot of love in this record, loneliness too, but a lot of love,” she adds. Florence wrote, co-produced (her first time co-producing a Florence + the Machine album) and recorded the majority of High As Hope in solitude, cycling to her studio in Peckham every day. She finished the songs in Los Angeles with her friend and co-producer Emile Haynie, bringing in Kamasi Washington, Sampha, Tobias Jesso Jr, Kelsey Lu and Jamie xx as further collaborators. Florence mixed the record in New York, where the daily view of the skyline – often in stark contrast to the chaos of the wider world – gave the album its title. Discussing lead single “Sky Full Of Song,” Florence says, “This was a song that just fell out of the sky fully formed. Sometimes when you are performing you get so high, it’s hard to know how to come down. There is this feeling of being cracked open, rushing endlessly outwards and upwards, and wanting somebody to hold you still, bring you back to yourself. It’s an incredible, celestial, but somehow lonely feeling.” Follow-up “Hunger” pairs Florence’s intimate, rawly honest lyricism with a broader sense of acceptance, community and joy. “Hunger” is effectively about acknowledging those holes in our psyche that we try to fill with love and hate, obsessions or addictions but you can ultimately only ever satisfy yourself. “This song is about the ways we look for love in things that are perhaps not love, and how attempts to feel less alone can sometimes isolate us more,” says Florence. “I guess I made myself more vulnerable in this song to encourage connection, because perhaps a lot more of us feel this way than we are able to admit. Sometimes when you can’t say it, you can sing it.”

File Under: Rock, Pop
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infinite

Infinite Music: A Tribute to La Monte Young (Fire) LP
Infinite Music – A Tribute to La Monte Young is a breathtaking live collaboration between Spacemen 3’s Sonic Boom, Zombie Zombie’s Etienne Jaumet and Celine Wadier, a master of Indian Dhrupad singing and tanpura. Recorded live at Teatro Maria Matos, Lisbon in September 2017, the performance is released here on colored vinyl. Young was an inspiration on John Cale and original Velvet Underground drummer Angus MacLise, Philip Glass, Steve Reich, George Harrison, Brian Eno, Jarvis Cocker, Stereolab and the classic Spacemen 3 album Dreamweapon. La Monte’s influence in the hands of this eclectic trio is timeless and beautifully evocative. “I’m not suited for these times but I am suited for the world I created,” La Monte Young once said.

File Under: Experimental, Drone
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jamc

The Jesus & Mary Chain: 21 Singles (Warner) LP
Exploring a vein mined by their heroes The Velvet Underground and The Stooges, Glasgow, Scotland-based alt-rock cult heroes The Jesus & Mary Chain were the link between pure pop and white noise in the ’80s and ’90s. An inspiration to the next generation of subversives from My Bloody Valentine to Dinosaur Jr. to The Chemical Brothers, the group was forged in 1984 and issued their seminal debut single “Upside Down” (Creation) later that year. In 1985, the band connected with Blanco Y Negro/Warner Bros. and released the smash single “You Trip Me Up” and superlative debut album, Psychocandy. More sonic pop experiments followed with Darklands (1987), Automatic (1989), Honey’s Dead (1992), Stoned & Dethroned (1994), and Munki (1998). Available on vinyl for the very first time, their classic 2002 compilation 21 Singles gathers some of the band’s most beloved sides including the aforementioned “Upside Down” and “You Trip Me Up,” plus “April Skies,” “Darklands” and “Just Like Honey.”

File Under: Rock
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pharaoh

Pharaoh Overlord: Zero (Hydra Head) LP
Pharaoh Overlord steer an exceedingly singular course on Zero. Augmented by Antti Boman (Demilich) and Hans Joachim Irmler (Faust), the psychedelic supergroup (consisting of members from Circle) have taken their ouvre to a whole new psychiatric plateau on their ninth studio album. Libido-driven arithmetics do not apply on these aberrant tracks. Zero provides an offbeat rock and roll implosion, with its sonic realm contorting inwards like a sapient voice muffled by the gentle void of cyberspace. What the album really has to offer more than anything is exposure to genuine ingenuity.

File Under: Metal, Psych, Krautrock
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prefuse

Prefuse 73: Sacrifices(Lex) LP
Following his detour into fractured, kaleidoscopic hip-hop with Fudge, electronic music pioneer Prefuse 73 has become progressively interested in injecting a sense of space into his characteristically complex productions. The resultant 17-track collection is akin to watching an old photograph deteriorate in one’s hands, as otherwise dense beats disintegrate into airy expanses of emotionally resonant electronics. Its effect is not unlike attempting to recall a murky memory of a dream of Guillermo Scott Herren’s earliest works, imbibed with an increased interest in the subtlety of contemporary minimalism.

 File Under: Hip Hop, Electronic
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bullitt

Lalo Shifrin: Bullitt OST (Warner) LP
A high-speed car chase between a Dodge Charger and a Ford Mustang, with super-cop Bullitt at the wheel, who forces the hitman off the road and into a petrol station, which explodes and incinerates him. Prior to that, harsh clashes of metal, hubcaps flying all over the place, and the chief character Steve McQueen, who grimly changes gears and hurtles through the streets of San Francisco, wheels screaming and rubber burning. That was how Hollywood staged one of the longest and most dramatic car chases, long before the days of the Anti-Blocking-System and Anti-Slide-Control. Very up-to-date and just as exciting as the screenplay to this all-time classic 1968 thriller is the music Lalo Schifrin wrote for the film, which embeds the characters, places and events in a musical context. For example, “Bullitt” – the metrically angular main theme portrays a mysterious, cool character who sums up a situation with keen alertness and then makes his attack with the speed of lightning. Initially the music travels through easy-going Latin terrain. But gradually the rhythmic texture changes and takes a rougher path, with clicks, knocks and hammering. Legendary flute lines create a compensatory placidness with airy clouds floating above the sharp mix. A really special track is “Shifting Gears” where you can listen to Schifrin tuning the car, how he manipulates a jammed springy bossa to take on the sound of clean, smooth-running rock.

File Under: OST
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chairs

Wire: Chairs Missing (Pink Flag) LP
Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical track listings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted. 1978’s Chairs Missing represented perhaps the biggest conceptual leap made during this period of Wire and was widely misunderstood at the time yet it remains, to the band and production crew Wire’s favorite ’70s album. If Pink Flag proposed an almost cut and paste approach to deconstructing rock history, Chairs Missing proposed something more radical, a definite futurism with much less influence from it’s antecedents. Chairs Missing was at once more stark and more lush than it’s predecessor and has exerted it’s own influence on the course of cultural history, having laid down one of the earliest (if not the earliest) blueprints for the genuinely post-punk aesthetic.

File Under: Punk, Post Punk
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wire

Wire: 154 (Pink Flag) LP
Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical track listings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted. 1979’s 154 represented the final tableau in Wire’s Harvest released ’70s triptych and was the first Wire album to be released to a universal set of five star reviews from the British rock weeklies, thus it represented the point when the British “pop culture establishment” publicly recognized Wire’s primacy. “154 makes 95 percent of the competition look feeble” wrote Nick Kent in the NME, “Wire are achieving a lot of things other—and more recognized—names have been striving for” wrote Chris Westwood in Record Mirror (a paper that had slagged off Pink Flag). “The album is a musical tour de force” wrote Jon Savage in Melody Maker. Many said it was the album that Bowie and Eno had failed to make with Lodger (as hinted in the RM review), it was on John Lennon’s playlist. Without a doubt, even if record sales did not bear it out, Wire had “arrived.”

File Under: Punk, Post Punk
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zappa

Frank Zappa: Burnt Weeny Sandwich (Zappa) LP
In tomorrow… Frank Zappa’s classic 1970 album Burnt Weeny Sandwich receives a 180g audiophile vinyl repressing, the latest in an ongoing initiative involving the Zappa Family Trust and UMe to lovingly restore Zappa’s iconic catalog. Supervised by the ZFT, the new repressing was specially mastered for this release by Bernie Grundman with all analog production and cut directly from the 1970 1/4″ stereo safety master tape in 2018. Unavailable on vinyl for more than three decades, Zappa last released this on vinyl in 1986 in the rare Old Masters Box Two. The LP, pressed at Pallas in Germany, features the album’s distinctive original cover art by frequent Zappa collaborator Cal Schenkel and includes the original album’s black and white poster, which has never been reproduced in any of the album’s CD editions. Named for one of Zappa’s favorite quick snacks, essentially a hot dog roasted over a flame and stuck between two pieces of bread, Burnt Weeny Sandwich was released in 1970 following Hot Rats. The album was recorded by Zappa and one of the original incarnations of his legendary combo the Mothers of Invention, whose line-up Zappa disbanded just prior to this album’s release. Perhaps suggestive of its gastronomic title, the record is structured like a sandwich: it is book-ended by a pair of doo wop covers of the Four Deuces’ “WPLJ” and Jackie & the Starlites’ “Valarie,” which harks back to Zappa’s earliest musical influences, and filled with an array of stylistically diverse songs that focus on structured and tightly arranged compositions featuring virtuosic performances by Zappa and his expert ensemble. Combining studio material and live recordings, the largely instrumental album includes “Theme from Burnt Weeny Sandwich,” “Holiday In Berlin Full-Blown,” the two-part “Igor’s Boogie” and the complex, multi-part near 20-minute centerpiece “Little House I Used to Live In.” With portions recorded at London’s Royal Albert Hall in June 1969, “the song’s extended improvisations,” Ultimate Classic Rock remarked in their retrospective review, “provided an epic send-off to the beloved Mothers, in all of their eclectic audaciousness under the leadership and in the service of Zappa’s singular vision. The recording even contains a snippet of heated repartee between Zappa and an audience member that spawned his famous critique of all the flower children present: “Everybody in this room is wearing a uniform.”

File Under: Rock
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…..Restocks…..

Aphex Twin: Selected Ambient Works (R&S) LP
David Axelrod: Song of Innocence (Now Again) LP
Blonde Redhead: Fake Can Be Just As Good (Touch & Go) LP
Blonde Redhead: Masculine Feminin (Numero) Box
Charles Bradley: Changes (Daptone) LP
Charles Bradley: No Time for Dreaming (Daptone) LP
Bill Callahan: Dream River (Drag City) LP
Nick Cave: Abattoir Blues (Mute) LP
Godspeed You Black Emperor: Lift Your Skinny Fists (Constellation) LP
Billie Holiday: Lady in Satin (Legacy) LP
Jon Hopkins: Singularity (Domino) LP
Jesus & Mary Chain: Psychocandy (Rhino) LP
Kacy & Clayton: Sirens Song (New West) LP
Minor Threat: Out of Step (Dischord) LP
Minor Threat: s/t (Dischord) LP
Morrissey: Viva Hate (Parlophone) LP
Portishead: Dummy (Universal) LP
Portishead: Third (Universal) LP
Serpentwithfeet: soil (Secretly Canadian) LP
Smog: Red Apple Falls (Drag City) LP
Smog: Knock Knock (Drag City) LP
Gillian Welch: Harrow & The Harvest (Acony) LP

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…..news letter #854 – megaweek…..

Yikes, sooooo much stuff in this week. Loads of new stuff, reissues, restocks. Bonkers. BONKERS!

Hopefully you’ve had a chance to check out our new webstore… if not CHECK IT OUT!  The inventory is live with the shop, so if it’s in stock there, it’s in stock in the store. We have an instore pick up option, so if you are local, but going out of town, or just don’t want to miss out on something, by all means, buy it through the site and it’ll be here waiting for you when you have time to get in.

…..picks of the week…..

jcoltrane

John Coltrane: Both Directions at Once (Impulse) LP/2LP
In tomorrow… Sonny Rollins nails the significance and thrill of Both Sides at Once: The Lost Album, a previously unheard John Coltrane recording captured at Van Gelder Studios at the end of a two-week stint at Birdland in 1963: “[It’s] like find a new room in the Great Pyramid,” he says in the liner notes. Once you experience Coltrane, McCoy Tyner, Jimmy Garrison, and Elvin Jones in peak form, you’re certain to agree. Unknown until 2004 and unheard until now, the music on this album represents one of the most influential groups in music history both performing in a musical style it had perfected. Coltrane personally decided to stash away the material, which was ultimately lost to time until it was discovered by the family of his first wife and brought to the attention of Impulse! It is impossible to overstate the breadth, spirit, musicianship, and sound of these recordings, two of which are originals that were captured on tape here and here alone. The Deluxe Edition of the album also includes seven alternate takes of the tracks from the same session, including four renditions of “Impressions.” The first week of March in 1963 was busy for John Coltrane. He was in the midst of a two-week run at Birdland and was gearing up to record the famed John Coltrane and Johnny Hartman album, which he did on March 7. But there was a session the day before that was the stuff of legend, until now. On Wednesday, March 6, Coltrane and the quartet went to Van Gelder Studios in Englewood, NJ and cut a complete album’s worth of material, including several original compositions that were never recorded elsewhere. They spent the day committing these to tape, taking time with some, rehearsing them two, three times, playing them in different ways and in different configurations. At the end of the day, Coltrane left Van Gelder Studios with a reference tape and brought it to the home in Queens that he shared with his wife, Naima. These tapes remained untouched for the next 54 years until Impulse! approached the family about finally releasing this lost album. Though the master tape was never found – Rudy Van Gelder wasn’t one for clutter – the reference tape was discovered to be in excellent condition. On this album, there are two completely unknown and never-before-heard originals. “Untitled Original 11383” and “Untitled Original 11386,” both played on soprano sax. “11383” features an arco bass solo by Jimmy Garrison, a relative rarity, and “11386” marks a significant structural change for the quartet, in that they keep returning to the theme between solos, not typical in the quartet’s repertoire. In addition to the two unheard originals, “One Up, One Down” – released previously only on a bootleg recording from Birdland – is heard here as a studio recording for the first and only time. It contains a fascinating exchange between Elvin Jones and Coltrane. “Impressions,” one of Coltrane’s most famous and oft-recorded compositions, is played here in a piano-less trio. In fact, McCoy Tyner lays out a number of times during this recording session. It’s one of the more interesting aspects of this session and reflects the harmonic possibilities that Coltrane was known to be discussing regularly with Ornette Coleman around this time. This studio session also yielded Coltrane’s first recording of “Nature Boy,” which he would record again in 1965, and the two versions differ greatly. The one we know is exploratory, meandering. This version is tight, solo-less and clocking in at just over three minutes. The other non-original composition on the album is “Vilia,” from Franz Lehár’s operetta “The Merry Widow”. The soprano version on the Deluxe Edition is the only track from this session to have been previously released. This incredible, once-in-a-lifetime discovery reveals a number of creative balances at work, like developing original melodies while rethinking familiar standards. Trying out some tunes first on tenor saxophone, then on soprano. Using older techniques like the arpeggio runs of his “sheets of sound” while experimenting with false fingerings and other newer sounds. This session was pivotal, though to call it such overlooks the fact Coltrane was ever on pivot, always pushing the pedal down while still calling on older, tested ideas and devices.

File Under: Jazz
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hassellJon Hassell: Listening to Pictures: Pentimento Volume One (Ndeya) LP
In tomorrow…Listening To Pictures: Pentimento Volume One is the first new album in nine years by a musical visionary and hugely influential figure in new music. Forty years since its creation, Jon Hassell’s Fourth World aesthetic remains a powerful influence on modern electronic music. Continuing his lifelong exploration of the possibilities of recombination and musical gene-splicing, fragments of performance are sampled, looped, overdubbed and re-arranged into beguiling unexpected shapes. Hassell applies the painterly technique of ‘pentimento’ to the arrangements, teasing out texture by the overlaying of sound upon sound, or a carefully timed reveal of the delicate bones pinning the frame of a track together. The release of this new album also sees the launch of Jon’s own label, Ndeya (pronounced “in-day-ya”), which will be a home for new work as well as well as selected archival releases, including re-presses of classic sides and some astonishing unreleased music.

File Under: Jazz, Electronic, Fourth World
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coilElph vs Coil: Worship the Glitch (Dais) LP 
“Unexplainable” may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career…uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship. During the studio sessions that developed into what would become “Worship the Glitch”, Coil became aware of random compositions emitting from their gear, and were at odds with constant “accidents” that were perpetually plaguing the recordings. The band called these unintentional emissions “ELpH”: a conceptual being that is one part physical equipment, one part celestial being… constantly playing the role of trickster, throwing a wrench into Coil’s methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional “errors” was adopted as a musical technique. The acceptance of the “mistake”, and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title “Worship the Glitch.” Originally released in 1995 on Coil’s in-house imprint Eskaton, Worship the Glitch was Coil’s first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener. Both releases have been remastered by engineer Josh Bonati and supervised by Coil’s Drew McDowall, the double LP vinyl releases are packaged in a beautiful matte 24pt stock gatefold jackets.

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

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Maurizio Abate/Riccardo Sinigaglia: Dialoghi Nel Vuoto (Soave) LP
In tomorrow… When No Pussyfooting was released in 1973 by two great pioneers like Eno and Fripp, that first whisper of their artistic association surprised many critics and fans. Yet, that kind of minimalist ambient sonority carried out by the two appeared in the ear like something absolutely new and innovative. Although nowadays we might be more accustomed to creative operations of this type, we are still fascinated, while listening, by the still possible achievement of relevant moments of musical epiphany, however distant we might be from that first eminent combination between keyboards and guitar which concerned electronic experimentation. Something similar occurred in this new collaboration between Riccardo Sinigaglia and Maurizio Abate; two generations in comparison, whose research developments unfold in the handful of different conceptions and experiences. Their music does not own a pre-defined structure; it receives its ultimate reason from the progressive and continuous metamorphosis of sound. It’s all the result of spontaneous sessions, during which a predisposition towards an active trance procedure, sustained by complementary flashes of lucidity, prevails. The dominant atmosphere is entirely oneiric, perpetually doubtful, still not linked to the passive remote unconscious: it’s rather reminiscent of lucid dreams, of phosphenes, of eidetic visualizations that belong to Tibetan tradition.

File Under: Ambient, Psych, Minimalism
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badtimes

Bad Times: Streets of Iron (Goner) LP
In 1998, things were going south for friends Jay Reatard, Eric Oblivian, and King Louie Bankston. In between broken relationships, shattered homes, dissolving bands, and feeling low down, a collaboration was proposed. Jay and Eric trekked down from Memphis with some songs and ideas for songs, listening to Funkadelic and bad Killed By Death-styled punk songs for the six hours to see Louie in New Orleans. One day was spent learning songs, one day recording songs. Eventually they played one show in Normal, IL, opening up for Guitar Wolf. The result of this recording was a blast of punk, garage punk, and psychedelic mayhem. Indeed, the hours listening to Funkadelic did pay off. Jay stole some lyrics and some heavy fuzz solo style from George Clinton and the gang. Eric stole a couple songs from Japanese punk legends Friction and Texaco Leather Man, and tried to mention his favorite sumo wrestler Konishiki whenever possible. Fittingly, when Jay and Eric returned to Memphis, Jay found all his belongings—clothes, guitars, amplifiers—out on his front lawn, as his mom had returned to their house and kicked him out while he was away. Bad Times, indeed! A release on Sympathy For The Record Industry combined tracks from this session and from their one live show, and has become a cherished collector’s item going for top dollar on the second hand market. This edition restores the original tracks from the recording session—Eric’s “Wrong Way To Love” and Jay’s “Lick On My Leather,” eliminating two live tracks. A new track order provides a punchy new way to experience the music as well, and the music has been carelessly remastered from a dub of the original cassette. Behold the final product—this is how the Bad Times was meant to be heard!

File Under: Punk
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Bebo Baldan: Vapor Frames 86/91 (Soave) LP
In tomorrow… Soave present a reissue of Bebo Baldan’s Vapor Frames 86/91, originally released in 1991. The alchemist Bebo Baldan, accompanied by Steve James on violin and sarod (as well as on instruments of various geographical extractions) mixes, in a personal way, sounds from a bevy of different cultures — from Mediterranean and Indian, to South American — with synths, samples, and loops. The result is a boundless music that carries you, riding soft waves and bobbing between Balearic ambient, jazz, and electronic, on islands that have been quietly, yet carefully cultivated; peaceful, fascinating, and reflective — places where time appears to dissolve. Vapor Frames 86/91 was originally released for Venetian Divergo — a non-profit label, which after the Baldan album, also released The Wind Collector by Gigi Masin and Alessandro Monti a few months later (1991). This reissue includes two added bonus tracks from the same sessions, both at the end of each side. The result is a stunning auditory atmosphere that relaxes the spirit in the same vein as a reiki treatment.

File Under: Ambient, Jazz, Electronic
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superior-viaduct-battiato-franco-clic-lp

Franco Battiato: Clic (Superior Viaduct) LP
On his fourth album, Clic, Franco Battiato moves further out—into realms of pure and elemental approaches to sound—to create a seminal work that flows naturally from one musical form to the next. Every second ripples with orbital chords, kosmische textures and schizophrenic string quartets, yet somehow manages the same dramatic pacing and variety as his avant-rock albums Fetus and Pollution. Originally released in 1974 on Bla Bla, Clic features Battiato on VCS3 synthesizer and piano, along with trusted collaborators Gianni Mocchetti on guitar and Gianfranco D’Adda on percussion. While only “No U Turn” bears the maestro’s voice, these seven tracks contain some of his boldest melodies, an underlying thread that runs through the choral arrangements and meditative compositions. Clic’s dedication to Karlheinz Stockhausen comes into focus on the final piece, “Ethika Fon Ethica”—a rapidfire journey into Italian shortwave radio, interrupted by fleeting fragments of folk music from around the world (sampled from Henry Cowell’s celebrated Folkways compilations from the 1950’s). It’s the perfect ending to Battiato’s beautiful and expansive tour of the cosmos, signaling the uncompromising experimentalism that would dominate much of the composer’s mid-1970s oeuvre. Superior Viaduct presents the first-time domestic release of Clic. Reproducing the original gatefold jacket and booklet, this reissue is part of an archival series that chronicles Franco Battiato’s masterful body of work from 1971 to 1978.

File Under: Electronic, Prog
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batto

Ogon Batto: Hedoro (Aguirre) LP
Many years in the works, Ōgon Batto finally unleashes his album Hedoro. A journey into Japanese soundtracks and ’90s adventure-gaming. Ōgon Batto is Bent Von Bent from Antwerp, Belgium. Besides working as a visual artist around archiving systems and collections, he is also the co-runner of the Hare Akedod label, together with David Edren, aka DSR Lines. Following his debut release (2014), Ōgon Batto secretly started working on a second album Hedoro, meaning “slime” or “chemical ooze”. Bent is immensely fascinated by Japanese traditional and contemporary culture ever since he first visited the country. Mixing his European background with these Japanese influences, he shifts easily between abstract electronic tracks and pieces with a more classical Japanese tool kit. Think Oneohtrix Point Never or Mica Levi composing a soundtrack to a fantasy game. With an amazing sense for detail Hedoro’s musical story — entirely composed with synthesizers — is reduced to a collection of situations and drama, with space for suggestion and imagination. Every track, how short it may be, is essential to the whole, maximizing the general dramatic effect. The album was mixed in Sapporo, Japan with the typical sounds of cicadas on the background (not on the album though) and some glasses of sake. The ceramic sculpture on the front cover is a reinterpretation of Rolls Royce’s “Spirit of Ecstasy” and is created by Benny Van den Meulengracht-Vrancx. Remastered by Kris Delacourt. High-glossy sleeve; Edition of 300.

File Under: Electronic, Experimental
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bixby

Dave Bixby: Ode To Quetzalcoatl (Guerssen) LP
Repress in vintage-styled tip-on hard cardboard sleeve. Guerssen Records present a reissue of Dave Bixby’s Ode To Quetzalcoatl, originally released in 1969. Since its discovery in the late ’90s, Dave Bixby’s legendary $2000 private press album from 1969 is considered by all serious record collectors as the king in the loner/downer folk genre. After being involved in ’60s Michigan folk and garage-rock bands such as The Shillelaghs and Peter & The Prophets, Bixby started playing acoustic guitar and experimenting with LSD. After a year of drug abuse, he felt broken. Starting a soul-searching, spiritual journey, he wrote Ode To Quetzalcoatl and most of the material for his second album, Harbinger’s Second Coming (1970) in just one month and a half. Assisted by fellow musician Brian MacInness, who played some guitar parts on the album, Dave recorded Quetzalcoatl using an echo-laden four-track machine in a flat’s living room. The sound is lo-fi and sparse: just acoustic guitars and some occasional harmonica and flute, added to Bixby’s haunting, emotional vocals, spiritual lyrics, and solid songwriting. The opening cut, the eerie and painful “Drug Song” sets the mood perfectly for the rest of the album which contains more tormented titles like “666”, “Lonely Faces”, “Open Doors”, “Secret Forest” — never has an acoustic folk album sounded so intense. Carefully remastered sound from vinyl (no master tapes exists) done at Shadoks Music Studios. Includes insert with detailed liner notes by Matvei Procak, who found Bixby in 2006, plus some rare pictures.

 File Under: Folk, Private Press
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ferrari

Luc Ferrari: Atelier De Liberation De La Musique (Alga Marghen) LP
Alga Marghen present recordings from Luc Ferrari’s Atelier De Libération De La Musique, a collective he created together with Martin Davorin Jagodic, Philippe Besombes, and Alain Petit in 1975 for a series of performances at the Galliera Museum in Paris. It was in those years that Luc Ferrari investigated open forms and created some of the most experimental and elusive works of his entire catalog. “Exercices D’improvisation”, first recorded by Brunhild Ferrari with GOL, issued on PLANAM in 2010; but specially “Ou Donc Est-T-On?”, a very complex piece forthcoming on Alga Marghen including both “Dance”, issued on Alga Marghen on the occasion of the presentations at Centre Pompidou in 2009 and “Ephemere”, issued on CD by Alga Marghen in 2010, as well as the “Labyrinthe De La Violence”, an audio-visual permanent labyrinth for which Ferrari created four fantastic electronic music pieces forthcoming on Alga Marghen. After these experiences the composer decided to discontinue these open practices for a more controlled work in the studio. And within the “Labyrinthe De La Violence” installation Luc Ferrari conceived a series of electro-visual concerts to be performed by the newly created Atelier De Libération De La Musique. The collective included some of the most creative artists of the time: together with Luc Ferrari playing the electric organ you find on electric piano Martin Davoric Jagodic (whose masterpiece of electronic music titled Tempo Furioso was issued on Cramps in Italy that same year), on synthesizer Philippe Besombes (of Pole fame) and on sax, flute, and clarinet, Alain Petit (who was at the time collaborating with Besombes at the wonderful Besombes / Rizet double LP). These four artists met in February and March of 1975, rehearsing for a series of concerts to take place within the audio-visual labyrinth. It is the previously unheard recordings from these wild rehearsals which make up this incredible LP. The sound of Atelier De Libération De La Musique is a thrilling and overwhelming ride. Rattling, difficult polyrhythms play against droning, pulsing and simmering sonorities. These recordings are human and open, wild and incredibly ahead of their time. Obi strip; Edition of 500 (numbered).

File Under: Avant Garde
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frahm

Nils Frahm: Encores 1 (Erased Tapes) LP
For the past two years, Nils Frahm has been building a brand new studio and making music at Funkhaus in Berlin. Out of that time came not only his 7th album, the universally acclaimed All Melody, but a huge amount of additional material, of which Encores 1 is the first offering. With only twelve out of sixty initial sketches forming All Melody, there was so much more music that needed to be heard. “The idea behind Encores is one we had from before All Melody; to do three releases each with their own distinct musical style and theme, perhaps even as a triple album. But All Melody became larger than itself and took over any initial concepts.” — Nils Frahm Meant as a companion to All Melody and with The Dane even becoming a live favourite on the current world tour, Encores 1 focuses on an entirely acoustic pallet of sounds with solo piano and harmonium. Perhaps suggesting the story of All Melody is far from over.

File Under: Ambient, Neoclassical
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gorillaz

Gorillaz: The Now Now (Parlophone) LP
The Now Now, Gorillaz’s sixth studio effort, features 11 all-new songs from the World’s Most Successful Virtual Act, co-produced with James Ford and Remi Kabaka, and recorded entirely at Studio 13, London in February of 2018. In contrast to the cast of characters that joined the apocalyptic party thrown by Damon Albarn and his cartoon crew on 2017’s multiple-Grammy-nominated Humanz, The Now Now sees the band largely eschewing guest stars (save George Benson, Snoop Dogg and Jamie Principle), taking it back to the core Gorillaz crew: blue-haired, sweet-natured dreamer 2D on vocals; whip-smart Japanese badass Noodle on guitar; Brooklyn-born philosopher and the meat – behind-the-beat Russel Hobbs on drums. And with Murdoc Niccals temporarily indisposed, bass duties on the new album have been taken up by erstwhile Gangreen Gang member Ace. Vibrant lead single “Humility” features legendary jazz guitarist George Benson. Heavyweight black vinyl 12″ LP in spined sleeve with printed inner bag and download card.

File Under: Rock, Pop
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heads

The Heads: RKT! (Rooster) LP
“A timely reissue of the first three releases The Heads put out on the Rocket label. From their first split 7-inch release (with Lilydamwhite) in 1998 to their much-lauded Sessions 2 freakout 12-inch from 2002 — all compiled here in their remastered glory, The Heads we quite prolific back in the late 90s / early 00’s, and in between the Everybody Knows We Got Nowhere album and Undersided album they released their jams and raw rehearsals via the burgeoning Rocket Label. Compiled here with extensive sleeve notes from Rocket founder Simon Healey, this limited 3xLP and 2xCD set captures the band at their most laconic and free. A psychedelic sprawling morass of sound and aural distortion grooves that draw both from the band’s wide influences and from simply plugging in and letting go.”

File Under: Psych
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hecker1

Tim Hecker: Haunt Me, Haunt Me Do It Again (Kranky) LP
This is the first reissue of Tim Hecker’s classic 2001 debut full length release. The original recordings were remixed by Tim Hecker and mastered by Matt Colton at Alchemy Mastering. “Haunt Me is alien, amorphous and occasionally noisy, but always welcoming.” —Pitchfork // “Haunt Me Haunt Me, Do It Again is a brilliant album of subtle, evocative mood music.” —AllMusic// “Hecker was already on a different wavelength with Haunt Me, clearly seeking something that would trigger ASMR-induced enlightenment, and he ran with it.” —Stereogum

File Under: Ambient, Electronic
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hecker

Tim Hecker: Radio Amor (Kranky) LP
This is the first reissue for Tim Hecker’s classic 2003 album. The original recordings were remixed by Tim Hecker and mastered by Matt Colton at Alchemy Mastering. “Hecker at his most painterly and evocative.” —Pitchfork // “Radio Amor has a simultaneous tangible / intangible quality that is both miraculous and enigmatic.” —Tiny Mix Tapes // “Tim Hecker may be the finest sonic photographer around, the re-release of Radio Amor being further evidence for this claim.” // — Brainwashed // “Hecker’s 2003 standout is a stirringly emotional narrative, without the slightest aid of a single voice.” —Treble // “A slow-shifting mix of steely headrush and protracted morse code dispatches from the bottom of the ocean.” —Dusted

File Under: Ambient, Electronic
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heldon

Heldon: Third (It’s Always Rock ‘N’ Roll) (Bureau B) LP
In tomorrow… Bureau B present a reissue of Heldon’s third album Third (It’s Always Rock ‘N’ Roll), originally released on Disjuncta in 1975. Third album from the French space-rock electro combo masterminded by Richard Pinhas. Heldon’s darkest work lays another stone in their sonic mosaic: synths, drones, fuzz, and trippy improvisations. There’s something wicked happening on Heldon’s third album It’s Always Rock And Roll. Richard Pinhas’s essential attack of searing guitar and space-bound synthesizer didn’t change radically after the first two Heldon albums, 1974’s Electronique Guerilla and 1975’s Allez-Teia. But there’s dark energy coursing through this double album, a chilly aura that makes even the quietest pieces shiver with tension. “At this time, I tried to turn Heldon into a darker band,” Pinhas admits. “But dark is not negative to me.” The darkness of It’s Always Rock And Roll is more about exploring what’s hidden and overturning convention — about diving beneath bright surfaces to find something more mysterious. If It’s Always Rock And Roll stands up in Heldon’s catalog, perhaps it’s due to expansion — both in the sense of big ideas and lengthy durations. Most tracks last over seven minutes, and two are side-covering epics. “I think the length of a track is part of the creation of the track,” says Pinhas. “There are imperatives. You can do something very complex with a lot of events in four minutes, and then some other things need to be done very slowly. You have to do the length that it demands.” “We recorded this after having met with Philip K. Dick in California for two days,” recalls Pinhas. “It was such an event for a 23-year old; he was to me one of the last real prophets. We talked about Jung, we talked about a lot of things. Maybe this encounter gave birth to all of Heldon Third.” So the sci-fi master spawned a dark audio creation to rival his own work. Like the Heldon albums that precede it, It’s Always Rock And Roll is undoubtedly Pinhas’ baby. But its depth-probing sounds earned it a godfather, too. 2018 remaster by Willem Makkee.

File Under: Electronic, Prog
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heldon4Heldon: Agneta Nilsson (Heldon IV) (Bureau B) LP
In tomorrow… Bureau B present a reissue of Heldon’s fourth album Agneta Nilsson, originally released on Urus Records in 1976. Agneta Nilsson opens with a mind-paralyzing track that proves stillness can have a pulse. “Perspective I” spends ten minutes poring through tectonic layers of heavy sound, piling everything so thick that the song becomes like quicksand for your brain. It’s one of the most daunting works in the Heldon catalog, made all the more impressive by how simple it is. It’s just sounds put together and turned up. It’s the vital alchemy of Richard Pinhas’s wizardry, deployed with maximum force. As on other early Heldon albums, the rest of Agneta Nilsson is diverse in a nearly contrarian way. Each track refuses to mimic its predecessor in a way that feels rebellious, like a child running away from home. This is true despite the fact that three of the four pieces are actually chapters of “Perspective”, partners in a thematic whole. “Each one is a different point of view on the same field,” explains Pinhas. “Different parts, different arrangements, but with a full concept in place.” It’s not easy to divine that concept in these pieces, but their sibling nature has a subconscious effect. The album-closing “Perspective IV” is one of Pinhas’s most unabashedly proto-prog guitar-hero epics, boosted by a technical upgrade. “This was the first album where I had enough money to rent one or two days in a real studio to do the drumming,” says Pinhas. “After that we had real budgets for studio time. That all changed with and after Agneta Nilsson — that was a good turn.” Pinhas parlayed Heldon’s change of direction into three more adventurous albums in the ’70s, and simultaneously spurred himself toward a solo career that continues to prod and probe the sonic universe today, over 40 years since he began. It would be wrong to say this album was the big bang of this singular career; the seeds of were planted years before, and every work Pinhas has been involved with sprouts more sounds and ideas that can grow into their own branches. But Agneta Nilsson is one of the most convincing pieces of evidence that Pinhas is incapable of sitting still. 2018 remaster by Willem Makkee.

File Under: Electronic, Prog
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hereliesHere Lies Man: You Will Know Nothing (Riding Easy) LP
Here Lies Man took the music world by storm in 2017 with their self-titled debut positing the intriguing hypothesis: What if Black Sabbath played Afrobeat? Rough Trade named that album in their prestigious Top 10 Albums of 2017. BBC 6 and Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises. This June, the L.A. band comprised of Antibalas members quickly follow their auspicious debut with the even more thoroughly realized album You Will Know Nothing. Its eleven tracks expand upon the band’s exploration of heavy riff-based rock and psych within the ancient rhythmic formula of the clave. Sonically, the dynamic range is thicker, crisper and more powerful on this album. It glistens as much as it blasts. The songs are even catchier, more anthemic, and the production reflects that of a band truly come into its own. While it also certainly maintains its gritty grooves, there’s an interesting conceptual mathematics to the entire proceedings. “There are interludes between each song that are 2/3 to 3/4 of the tempo of the previous song,” vocalist / guitarist / multi-instrumentalist Marcos Garcia says. “The reason it breaks down to 2 over 3 or 3 over 4 is that everything in the music rhythmically corresponds to a set of mathematical algorithms known as the clave. The clave is an ancient organizing rhythmic principle developed in Africa.” Lyrically, the album is also an equally more conceptualized effort that reflects upon states of being and consciousness—a driving force that carries throughout the words and moods of all of the band’s releases, interconnected to their trancelike music. This band have truly honed their sound and their focus, and soon, you will truly know nothing.

File Under: Metal
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katenvKate NV: для FOR (RVNG Intl.) LP
Moscow is mythologized for its grandeur and gravity but its parable pleasures offer splendor and even absurdity. Over the ten, symmetrical pieces of для FOR, Kate NV scores her native urban environment with just enough whimsy to gurgle through the city cracks and grow psychotropic foliage. Each sound assumes its own personality, moving through the album metropolis like miniature, mutating molecules viewed from NV’s apartment window. Alternately a guitar-wielding, post-punker and one within the multitude of Moscow Scratch Orchestra’s avant-garde, NV is a versatile artist that maneuvers instinctively in whatever musical environs she finds herself. NV’s second solo album is an even more abstract endeavor than the hybrid pop of 2016’s Binasu. Inspired by casual moments of ephemeral sound from within and beyond her apartment walls, the record has a clarity arrived altogether and from right under her nose. Recorded at home, NV says it was as if the music was not written by herself, but her chair. для FOR inhabits a stage that Piero Milesi & Daniel Bacalov, Ann Southam, or Hiroshi Yoshimura may have written music for and dresses it with Viktor Pivovarov’s psychedelic depictions of Moscow – contorting bodies, flying pencils, and multi-dimensional faces dance with subtle arpeggiations, conversational voice synthesis, and anthropomorphic MIDI. Animating objects is essential to the album. Like a surreal still life, each piece is an alien arrangement of common elements that extend the everyday ritual into an eternal landscape of unconscious activity. Somewhere along that landscape, Kate awaits and greets with apples for hands and fish for feet. Like the album title, each composition contained within is represented as a three letter word, in Russian and English. The first half of для FOR was written in the spring. Starting with “yxo EAR,” previously released on the Peaceful Protest compilation cassette in 2017, melodies meander and lollygag. “двa TWO” incorporates human breath played like notes on a pump organ. “дуб OAK” offers a warm tune to tango. “как HOW” loops curious notes that bump into each other with a chirpy acknowledgement. “вас YOU,” the only track on для FOR with lyrics, sets a Wassily Kadinsky poem to song. The second half of the album was written in the autumn. The feathery edges of “раз ONE” extend like watercolors bleeding off a rubber scroll. “зря SEE” is a subdued, shadowy variation of “как HOW”, as if the same song were played in different weather, dimmer light, or by Kate’s devious doppelganger. The electronics unravel and unwind on “пес DOG” until the final track, “кто WHO,” ends with vague solemnity and rattled metals. A short online film series by Sasha Kulak will accompany the release of для FOR. The films follow a solitary figure performing ordinary tasks through a slow, warped lens — each song enacting a daily habit: waking, dressing, reading, and so on. In her live performances around the album, Kate NV will play each song from memory, allowing for variation from the recorded tracks, and scenes from the films will be re-created and improvised in the moment.

File Under: Electronic
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khemmis

Khemmis: Desolation (20 Buck Spin) LP
Anticipation was high for the release of Hunted in 2016, the sophomore album from Denver’s Khemmis and follow up to acclaimed debut Absolution. Rather than the all too common sophomore slump, the band raised the stakes and blew everyone away with their rapidly progressing songwriting and production quality, culminating in Hunted being named Album Of The Year for 2016 by Decibel Magazine. Now in 2018, after wrapping up the Decibel Magazine Tour with Enslaved, Wolves In The Throne Room and Myrkur, the excitement for their third album Desolation is palpable across the metal spectrum. From the stadium-sized opening notes of “Bloodletting,” it is immediately evident that the band are again putting distance between themselves and their earlier influences to inform a sound that is singularly their own. Working for the third time with Dave Otero at Flatline Audio in Denver, the band and producer now have the familiarity and mutual experience to arrive at the perfect symbiosis of songwriting, arrangement and production value. While Khemmis are undeniably influenced by doom and classic metal, to tag them with those labels doesn’t do justice to what’s accomplished on this album, a perfect representation of modern heavy metal in 2018 that integrates the past in a way only possible in the present.

File Under: Metal
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konstruktKonstrukt: Oryantal (Holidays) LP
Istanbul based multi-instrumentalist Umut Çağlar founded the Turkish free jazz band Konstrukt at the beginning of 2008. Since then the band went through many line-up changes and collaborated with the likes of Peter Brötzmann, Joe McPhee, William Parker, and Keiji Haino, continuously evolving its sound. The band is currently formed by Çağlar, Korhan Futacı, Apostolos Sideris, Erdem Göymen, and Berkan Tilavel and Oryantal — recorded at Hayyam Studio in Istanbul in 2017 with two drummers and a double bass player on board — shows a more melodic and groovy side of the band. The session explores their rhythmic roots with the use of traditional instruments such as bendirs, tefs, and double reeds, trying to carry these sounds to the future with the help of electronics. Edition of 300.

File Under: Jazz
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PHS007LP_CUEkrin Koray: Elektronik Turkuler (Pharaway Sounds) LP
In tomorrow… Technically his second LP after a collection of singles, this benchmark record from 1974 taught Istanbul’s musicians and pop fans how to put Turkish folk songs from the 17th century together with meaty, thundering guitar solos. With a crack bass player by his side (Ahmet Güvenç from Bunalim and Baris Manco’s Kurtalan Ekspres) and an electrified bağlama in his hands, Erkin Koray lets his gloomy baritone voice float over wiry double-reed melodies, bulging riffs, and hammer-ons that go on for-friggin’-ever. Savagery begins at home people, so make sure you get a physical copy of the best record by the Turkish Hendrix into your house.

File Under: Psych, Turkey
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williamsCharles Lloyd & The Marvels + Lucinda Williams: Vanished Gardens (Blue Note) LP
In tomorrow… Vanished Gardens is a transcendent new album that presents the fascinating collaboration between NEA Jazz Master saxophonist/composer Charles Lloyd and acclaimed Grammy-winning singer/songwriter Lucinda Williams. Together they weave several threads of American music (Jazz, Blues, Americana, Country, and Rock) into a thrilling and uplifting musical hybrid. The Marvels are Bill Frisell on guitar, Greg Leisz on pedal steel guitar and dobro, Reuben Rogers on bass, and Eric Harland on drums. Vanished Gardens was produced by Lloyd, Dorothy Darr, and Don Was. “A friend had turned me on to Lucinda when Car Wheels On a Gravel Road came out,” Lloyd recalls. “Lu has worked a lot with Bill Frisell and Greg Leisz, so a couple of years ago she came to one of my Marvels concerts at the Lobero Theater in Santa Barbara. It was our first meeting and I sensed a deep Southern crossroads connection. Not long after that meeting she invited me to guest at her UCLA concert and then I invited her to guest at one of my concerts about a year later…It was clear we had something we wanted to explore together.” Williams is featured on five of the ten tracks on Vanished Gardens, including expansive new versions of her well-known songs “Dust,” “Ventura” and “Unsuffer Me,” as well as a full-hearted interpretation of Jimi Hendrix’s “Angel” that closes the album. Alternating with the vocal tracks are five sublime instrumental offerings including three new Lloyd originals and versions of Thelonious Monk’s “Monk’s Mood” and the Roberta Flack popularized song “Ballad of The Sad Young Men.” “I’ve worked with a lot of poets,” Lloyd says, “especially during my Big Sur days; Lawrence Ferlinghetti, Charles Bukowski, Gary Snyder, Diane diPrima, Schyleen Qualls, Michael McClure, Bob Kaufman, James Dalessandro…putting words and music together. Lu is a poet. An authentic, American voice. Her sound is like an emotional barometer. A weather vane. Sometimes it swirls around in the tempest of a storm and sometimes it is sweet and pure as a Southern breeze carrying the intoxicating perfume of magnolia to you. As a poet, her imagery knocks me out. She is a reporter of the human condition, of life on planet Earth.”

File Under: Jazz
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melodyMelody’s Echo Chamber: Bon Voyage (Fat Possum) LP
In tomorrow… Made up of seven expansive tracks, Melody’s Echo Chamber’s second album marries Melody Prochet’s breathless soprano to the wildest sonic excursions, always pinned to an emphatic, clattering groove as she delivers her fables of spiritual search and emotional healing in multiple tongues (French, English and Swedish). Bon Voyage is a collaborative record between Prochet and Dungen’s Reine Fiske and The Amazing’s Fredrik Swahn with Melody sculpting and producing the sessions as well as encouraging the players around her to experiment, often with instruments that might be less familiar to them. It also features special guests Gustav Esjtes and Johan Holmegaard (both from Dungen) and Nicholas Allbrook (Pond). A musical journey of discovery, Bon Voyage delves deep into the collective musical psyche of Melody and her Swedish fellow travellers, who she met one serendipitous summer’s afternoon in Angers back in 2015. Prochet describes the members of Stockholm’s premier neo-psychedelic overlords Dungen as “soulmates and extreme beings, uncompromisingly intense and sensitive.” These kindred souls daydreamed about making music together, and then Prochet took matters into her own hands and moved to Sweden in the winter of 2016 to begin their adventure. Working in the woods of Solna, Melody says: “Swedish nature helped me to breathe and soothed me in times of anxiety. I had a majestic forest with a lake three minutes’ walk from my home. Recording sessions were a break in our lives, an escape from our frustrations as young adults, parents, musicians and embittered life jugglers. What transpired was a kind of modern fairytale full of duality: beautiful and disenchanted, happy and painful, internal and external, childish and mature, but also violent and measured. We had no structure and no limits and we stepped out of our comfort zones.” Bon Voyage arrives more than five years after Melody’s Echo Chamber’s debut, and it is the soundtrack to a trip back from the brink, the sound of spiritual renewal, and a pilgrimage to the sonic outer limits.

File Under: Pop, Rock, Psych
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melvinsMelvins: Bullhead (Boner) LP
Available again with updated artwork and a new gatefold sleeve! Melvins’ follow-up to 1989’s Ozma was 1991’s groundbreaking Bullhead. The songs are longer, the mood is calmer, yet more menacing. “Boris” (which gave the Japanese group their name) is a long, slow, low death march of addiction and self-abuse. “Zodiac” is a frantic punk rock machine gun blasting away at Buzz’s demons (both inner and outer). “Cow” is a happy baboon bashing away at the best drum solo of his life. “It’s Shoved” is a groovy beat for the cast of Shindig to bop along to, until their carefree performances of The Pony, The Mashed Potato, and The Watusi are horribly interrupted by the soundstage tilting up and sliding them all into a mangled heap of screaming dancers, broken cameras and flaming electronic equipment at the bottom.

File Under: Metal
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monopolyMonopoly Child Star: Make Mine, Macaw (Discrepant) LP
In tomorrow… Earlier this century, Spencer Clark, aka Monopoly Child Star Searchers, created a sound phantasy with Skaters and after that he pursued a new alchemy under various aliases (Charles Berlitz, Fourth World Magazine, Monopoly Child, Typhonian Highlife, etc.) and projects (like Egyptian Sports Network, Tarzana, or The Temple Defectors). The different aliases aren’t a mode of dispersion or to create confusion, they’re setups for the different possibilities he imagines for music. Make Mine, Macaw — previously released in 2010 as a limited CDR on Pacific City label — references a large long-tailed parrot and is part of a trilogy about birds, Spencer’s Tropical Bird Romance Audio, which also includes, Bamboo For Two (2010) and The Garnet Toucan (2012). A deep dive into this record makes it clear why it should be re-released. In the field of experimental-tropical-cocktail music, no one does it like Spencer Clark, especially through his output Monopoly Child Star Searchers. Make Mine, Macaw explores the best cocktail recipes through five colorful pieces, using Clark’s premium technique of blurry repetition and dreamy percussions. A tropical fantasy that starts in your ears, feeds your brain, and changes your life. You won’t know what a pacific city sound vision is until you see one. Make Mine, Macaw makes you see one clearly.

File Under: Electronic, Experimental, Gamelan
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neurosisNeurosis: Pain of Mind (Neurot) LP
“Pain Of Mind marks the inception of one of the weirdest and most powerful bands there ever was as they begin their odyssey through the sonic landscape: thirty-three years, thirteen albums and counting. These gritty punk songs bear little resemblance to what Neurosis would become, but the future was written here, and if you listen closely to these kids—barely out of high school at the time, you can hear their early influences: the guitars and existential anguish of Amebix and Rudimentary Peni, the passionate politics of Crass, the heaviness of Sabbath—and here, too, they lay the foundation for some of their enduring concerns: the pursuit of transcendence, and contemplation on the downward suck of despair. “As Ian MacKaye coyly suggests in the East Bay Punk doc Turn It Around, there are ‘a lot of holes to fall into’ growing up in the Bay Area. In 1987 Dave Edwardson was 18, Scott Kelly was 19, Jason Roeder was 16, Chad Salter, the band elder, was 21, and they had already fallen into many of them, including, of course, the great abyss of depression. Only a teenager could write the punk anthems ‘Black,’  ‘Grey,’ ‘Life on Your Knees,’ and of course the title track, ‘Pain of Mind.’ They are songs of survival. “With Pain of Mind, Neurosis sunk their claws into the hearts and minds of the East Bay scene like no one else. They were fucking dark, gazing right into the abyss and refusing to turn away. The cacophony of vocals on this album—Kelly’s unhinged screams, and Edwardson’s guttural growl, suggested a familiar sort of internal mania: like the voices in an unquiet mind, paranoid, but for all the right reasons. And Jason Story’s original cover art perfectly captures that torment. “Neurosis shows in the Pain Of Mind-era were like nothing else. The pit was wild; people rolled around on the floor, climbed the walls, threw themselves off the stage. For a few days after a show, you always felt real mellow. “Neurosis reminded us that maybe we weren’t free, but at least we were locked up together. It sounds melodramatic, but Neurosis might have saved our lives.” — Anna Brown

File Under: Metal
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nineNine Inch Nails: Bad Witch (Null) 12″
In tomorrow… Nine Inch Nails complete the trilogy that began with 2016’s Not The Actual Events and 2017’s Add Violence with the new six track 12″ release Bad Witch. In support of the EP, the band will launch their Cold And Black And Infinite North America 2018 Tour with support from The Jesus and Mary Chain and bring their “musical, visual, emotional sensory onslaught” (The New York Times) to some of the most iconic venues in the USA.

File Under: Electronic, Rock, Pop
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noprobNo Problem: Let God Sort Em Out (Deranged) LP
Standing on the precipice of a damaged world circling the drain Edmonton Punks No Problem are set to figuratively “kill’em all” with the release of Let God Sort’em Out, their ambitious third studio album out on Deranged Records. No Problem welcomes listeners into a frightening world filled with heavy riffs and nervous, gloomy, frustrated sounds. The perfect summer playlist to underscore our impending doom. A mainstay in Edmonton Alberta’s underground punk community, No Problem formed in 2010, blending the mutant sounds of early Canadian punk with the classic primitive stomp of American hardcore. Drenched in atmosphere No Problem have created the ultimate soundtrack to society’s impending doom. No Problem’s notorious high energy show has toured over twenty countries across three continents, sharing the stage with bands like Career Suicide, Fucked UP, DOA, Night Birds, Red Dons, The Regulations and many more. With three studio albums and over four 7”/EPs, No Problem are one of Canada’s top DIY exports.

File Under: Punk
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nwwNurse With Wound Plays The New Blockaders: Changez Les Blockeurs LP
In tomorrow… In 1982 The New Blockaders self-released their debut LP Changez Les Blockeurs in an edition of only 100. Steven Stapleton was the very first person to purchase/hear the album and subsequently distributed copies via United Dairies. The LP has since attained a somewhat mythical/legendary status (Record Collector magazine included it in a list of the rarest, most collectable records ever) and 2017 was the 35th anniversary of its original release. In celebration of this, TNB invited Steven Stapleton to rework the original which is now available in all its glory here. The LP cover features brand new artworks by Steven (aka Babs Santini). It comes with an insert including a TNB/NWW article by Paul Hegarty, author of the much-acclaimed Noise Music: A History (2007). The cover is printed on heavy 550mcn matte laminated board, and the insert on 250 gsm art board. Edition of 300.

File Under: Experimental, Noise
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NA5169LP_CUMike Nyoni & Born Free: My Own Thing (Now Again) LP
OBI strip and resealable “Japanese-style” plastic sleeve. 145 gram vinyl; Gatefold jacket; Hand-numbered edition of 1000. Download card for WAV files of the album and bonus tracks from solo releases from Nyoni and his Born Free band. Contains booklet that presents an overview of the Zamrock scene, Nyoni’s story, and the confluence of the Zimbabwean and Zambian rock scenes in the ’70s. “The latest release in Now-Again’s deluxe Reserve Edition series: the first ever anthology of Zamrock musician Mike Nyoni’s funky, psych-rock and folkloric 1970s recordings spread over 2 CDs. Zambian guitarist and singer/songwriter Mike Nyoni’s music is Zamrock only because he came of age during the country’s rock revolution. His preferred wah-wah to fuzz guitar, James Brown to Jimi Hendrix. His 70s recordings — often politically charged and ranging from despondent to exuberant — are amongst the funkiest on the African continent. He was also one of the only Zamrock musicians to see his music contemporaneously issued in Europe. This anthology collates works from his three 70s LPs — his first, with the Born Free band, and his two solo albums Kawalala and I Can’t Understand You — and presents a singular Zambian musician on par with celebrated artists Rikki Ililonga, Keith Mlevhu and Paul Ngozi. The package also features an extensive, photo-filled booklet contains an overview of the Zamrock scene and Nyoni’s story.”

File Under: Psych, Zamrock
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SR455LP_CUOiseaux-Tempete: Tarab (Sub Rosa) LP
In tomorrow… Red/white vinyl; Includes four-page insert and download code which includes a bonus track featuring Radwan Ghazi Moumneh, “Through The Speech Of Stars”. Tarab (in literary Arabic: euphoria, secular exaltation, ecstasy), Oiseaux-Tempête’s sixth release on Sub Rosa, is the result of live recordings captured during the AL-‘AN! tour. In a handful of improvised albums circumnavigating the troubled waters of the contemporary Mediterranean — Greece with the eponymous Oiseaux-Tempête, Turkey and Sicily for Ütopiya?, and Lebanon with AL-‘AN! — the collective Oiseaux-Tempête has stretched its electric arc over musical genres and borders, imposing itself in a river of tours and releases like a wild UFO within the hexagonal indie scene. It is little surprise that following the remix album — Re-Works — and collection of B sides — Unworks & Rarities 2012-15 — Oiseaux-Tempête unveils, by way of a new opus, an album entirely recorded in concert. Tarab is the result of live recordings captured during the AL-‘AN! tour which led the group, after a preliminary residency at l’Autre Canal in Nancy, to cross Europe and into Canada, performing at Le Guess Who? in Utrecht, opening for Suuns and Jerusalem In My Heart in Montreal and Toronto, following Jerusalem In My Heart through France then from Brussels to Berlin, and closing at the Irtijal festival in Beirut. Tarab is a meeting of the Parisian founding members Frédéric D. Oberland and Stéphane Pigneul, electronic sound wizard Mondkopf, G.W.Sok (The Ex), Sylvain Joasson (Mendelson), videographers As Human Pattern, and the Lebanese musicians Charbel Haber, Abed Kobeissy, and Ali El Hout (Two Or The Dragon). The studio pieces are stretched, deconstructed, and rearranged here while new works from the road — poems “Grasse Matinée” by Jacques Prévert and “Tuesday And The Weather Is Clear” by Mahmoud Darwish — find unique musical settings. It is in symbiosis, in the fever and visceral experimentation, that the musicians seek rapture. Arranged in a semicircle, they invoke the elements and attempt the catharsis, inviting the spectator to spiral with them, entwined in the sonic explosions, finding beauty and peace in the spaces of improvisation and elaboration. Marrying free-rock, organic electronics, traditional instruments, and unbridled electricity, Tarab, far beyond the vibrant testimony, is a generous invitation to experience, to meditate, and to share.

File Under: Rock, Experimental, World
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potterColin Potter: The Where House? (Dark Entries) LP
Colin Potter is a sound engineer and musician currently based in London. He has worked within the fields of electronic and experimental music for over 35 years, collaborating with the likes of Current 93, The Hafler Trio, Organum, Andrew Chalk, and most notably as a key part of Nurse With Wound alongside Steven Stapleton. He started the esteemed ICR (Integrated Circuit Recordings) label in 1981 releasing a clutch of wonderful home recordings of his own, over half a dozen small run cassette only releases. ‘The Where House?’ was recorded in 1981 at IC Studio, a converted wash house in Sutton on the Forest in North Yorkshire. The album was self-released on cassette that same year via ICR. This expanded double LP edition features all 13 tracks from the original tape on vinyl for the first time plus 4 bonus tracks. ‘The Where House?’ is a prime example of early UK post-punk/industrial electronic music. “Combining dub, electro, and krautrock rhythms with psychedelic, kosmische noise in multiple mutations ranging from almost pop-wise songcraft to horizon-scanning motorik flights,” says Boomkat. Most of the damage was done by Colin using guitars, synths, sequencers, drum machines, percussion, and modified toy keyboards with fairly primitive 4-track recording equipment. He was assisted on some of the tracks by Stephan Jadd-Parry (guitar, percussions), Jon Caffery (guitar, bass, e-bow, percussion) and Nick Jackson (synth). All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is sleeved in a replica of the original cassette artwork by Jonathan Coleclough. Every copy includes a double sided postcard insert with notes from Colin.

File Under: Experimental, Post Punk, Electronic, Industrial
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rollingRolling Blackouts Coastal Fevers: Hope Downs (Sub Pop) LP
It’s rare that a band’s debut album sounds as confident and self-assured as Rolling Blackouts Coastal Fever’s Hope Downs. To say that the first full-length from the Melbourne quintet improves on their buzz-building EPs from the last few years would be an understatement: the promise those early releases hinted at is fully realized here, with ten songs of urgent, passionate guitar pop that elicit warm memories of bands past, from the Go-Betweens’ jangle to the charmingly lo-fi trappings of New Zealand’s Flying Nun label. But don’t mistake Rolling Blackouts Coastal Fever for nostalgists: Hope Downs is the sound of a band finding its own collective voice. With the help of engineer/producer Liam Judson and his portable setup, the band recorded Hope Downs live, and co-produced ten guitar pop gems over the course of two weeks in Northern New South Wales during the winter of 2017. Hope Downs possesses a robust full-band sound that’s all the more impressive considering the band’s avoidance of traditional recording studios. If you loved Talk Tight and The French Press, you certainly won’t be disappointed here – but you might also be surprised at how the band’s sound has grown. There’s a richness and weight to these songs that was previously only hinted at, from the skyscraping chorus of “Sister’s Jeans” to the thrilling climax of album closer “The Hammer.” Hope Downs is as much about the people that populate the world around us – their stories, perspectives, and hopes in the face of disillusionment – as it is about the state of things at large. It’s a record that focuses on finding the bright spots at a time when cynicism all too often feels like the natural state. Rolling Blackouts Coastal Fever are here to remind us to keep our feet on the ground – and Hope Downs is as delicious a taste of terra firma as you’re going to get from a rock band right now.

File Under: Indie Rock
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superior-viaduct-spacemen-3-for-all-the-fucked-up

Spacemen 3: For All The Fucked-Up Children of this World (Superior Viaduct) LP
In 1984, Spacemen 3 made their first-ever recording session and sold a few cassettes at now-legendary, incendiary gigs. Growing out of the dual guitar attack of Jason Pierce and Pete Kember, the band’s three-piece line up with Natty Brooker on drums offered a liturgical take on ’60s psychedelia, bare-knuckle blues and stunning feedback. This early glimpse into the Spacemen 3 cosmos—crafted by and for all the fucked-up children of this world—captures the band’s unorthodox approach to rock ’n’ roll with nuance and power. While the raw atavism of “Things’ll Never Be The Same” and “Walkin’ With Jesus” would be scaled back considerably on later recordings, the one-chord propulsion of “T.V. Catastrophe” and hardwired stomping of “Fixing To Die” draw from a primitive force that served as the impetus for the group’s formation. For All The Fucked-Up Children remains the perfect introduction to Spacemen 3. Not only do these demos reveal the auspicious beginnings of two teenagers born on the same day in Rugby, England, but also compelling clues that point toward the exploration and eventual refining of their signature sound.

File Under: Rock, Psych
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superior-viaduct-spacemen-3-taking-drugs-to-make-mSpacemen 3: Taking Drugs to Make Music to Take Drugs to (Superior Viaduct) LP
Amidst the swirl that is Spacemen 3’s discography, Taking Drugs To Make Music To Take Drugs To occupies a pivotal position — one right at the nexus between their garage beginnings and their expansionist future. While much of this material is expanded upon via Sound Of Confusion and The Perfect Prescription, many devotees consider these urgent, minimally treated recordings as the prime document of Spacemen 3 at this stage. Taking Drugs To Make Music To Take Drugs To casts Spacemen 3 alongside the mid-80s cadre of UK front-line rockers, contributing a distinct variation of high pop shining through layered noisy guitars.  Ultimately, this collection serves to exalt the strength of Spacemen 3’s songwriting over the atmospherics and production assemblage that would permeate their later efforts.  Be it the rave-up rendering of “The Sound Of Confusion” or the churning take on “Losing Touch With My Mind”, these full band recordings capture the excited and inspirational spark of psychedelia rather than deep-dive ruminations on sonics and space.

File Under: Psych, Rock
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ALGA0432LP_PRODJacques Thollot: More Intra Musique (Alga Marghen) LP
Produced in collaboration with the legendary Jac Berrocal’s label d’Avantage, More Intra Musique is the second LP in Alga Marghen’s series dedicated to previously unreleased recording by the drummer and experimentalist Jacques Thollot. While the furious Intra Musique free jazz first LP was centered on a live recording with Michel Portal, Eddie Gaumont, and Mimi Lorenzini at the Faculty of Law in Paris, on an evening in 1969, it is an unexpected Jacques Thollot that you encounter on this second LP, vivid and blazing even more than you might have already known. Jacques Thollot was a major force in the French free jazz scene, collaborating with artists at the level of Don Cherry, Steve Lacy, Sonny Sharrock, Joachim Kühn as well as with French pioneers Jef Gilson and Barney Wilen. Starting from 1971 he released Quand Le Son Devient Aigu, Jeter La Giraffe A La Mer or Watch Devil Go on Futura and Palm Records, or some of the most relevant and revolutionary sonic masterpieces in France. More Intra Musique is free improvisations of course, but also synthetic jitters, musique concrete, and loop experiments, sketched pop songs, minimalist trances with African accents, or simply the promiscuity of a lullaby or the voice of a child posed like a bird in a Norman garden. These long-lost visionary recordings featuring Eddie Gaumont on prepared piano and Jacques Thollot on drums, piano, prepared piano, synth, and tapes are an absolute revelation which make you rethink everything you know about French free improvisation. Tape manipulation created as a potential background for a live set… Bursting rehearsal with Eddie Gaumont… Is the piano well prepared? Besides the stingy mention Intra Musique sticked on the reel, nothing is known of this recording. Edition of 350 copies.

File Under: Experimental, Free Jazz

tinman

Tin Man: Acid Acid Acid (Acid Test) 4LP
In tomorrow… Acid Test reissues the highly sought-after Acid Acid LP from Tin Man, originally released in 2005. Now titled Acid Acid Acid, it includes a fourth disc of unreleased material recorded from the period. Remastered by Stefan Betke.

File Under: Electronic, Acid
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tombTomb Mold: Manor of Infinite Forms (20 Buck Spin) LP
Bubbling up from the oozing sewers of Toronto like a bizarre insectoid of mutant genotype, Tomb Mold reanimates with their second album, and first for 20 Buck Spin, Manor Of Infinite Forms. Constructing monumental towers of obscure shape, jarring yet coherent, this band’s compositions evoke a distorted world alongside this one, where all manner of oddity and peculiarity are permitted. Songs on this album move in strange ways, recklessly contorting into cohesion until suddenly they’re proceeding with a force and purpose in perfect synchronicity to the universe that contains them. Disharmoniously melding the pulverizing heaviness of Finnish death metal with a never overbearing technicality, Tomb Mold careen through world after world of alien landscape with formidable singularity. Tracked in Toronto, this then landed in the hands of Arthur Rizk (Power Trip, Pissgrave, Code Orange) to achieve its organically huge mix. A remarkable puzzle of an album, Manor Of Infinite Forms constitutes a creative high point for 2018’s many strong death metal releases.

File Under: Metal
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vargVarg: Nordic Flora Series Pt. 5: Crush (Posh Isolation) LP
In tomorrow… Following on from the previous iterations of the series, particularly the widely acclaimed Nordic Flora Series Pt. 3: Gore-Tex City (2017), the cast of collaborators remain familiar. Some faces are more prominent on this occasion, while others were folded into the series for the first time at last year’s Berlin Atonal festival where Varg’s Nordic Flora program was unveiled. The album’s most tender moments arrive when the acoustic instrumentation and ambient ascents cross and tangle with the spoken word performances from AnnaMelina and Chloe Wise. They speak in lullabies of decadence. And the sincerity catches you out, tapering the rush, awakening the crush. When working with both AnnaMelina and Vanity Productions, the gentle details get scaled up for bigger arenas, the track signaling a kinship with last year’s Yung Lean collaboration. Not surprisingly, Varg configures this side of Crush alone, perhaps letting this stormy intensity out just the once in a mournful piece with Ecco2k. True to the Nordic Flora Series, the artwork comes from American multidisciplinary artist Cali Thornhill DeWitt. Features Morning Star, Ecco2k, AnnaMelina, Chloe Wise, Matti Bye, Christian Augustin, Henrik Söderström, and Vanity Productions.

File Under: Electronic, Techno, Ambient
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wahnfriedRichard Wahnfried: Time Actor (Dark Entries) LP
Dark Entries is honored to re-issue one of the greatest and most overlooked albums of the 1970s. “Time Actor” was the result of a collaboration between legendary Crazy World & Kingdom Come visionary Arthur Brown and German synthesizer and ambient genius Klaus Schulze, recording under the pseudonym of his alter-ego Richard Wahnfried. “Richard” is the name of Klaus’ son born in 1979, and the first name of the German composer Wagner. “Wahnfried” is the name of Richard Wagner’s house, from the German “wähnen Frieden fand” (that his search and hopes will find peace). The album was a unique fusion of Brown’s eccentric musical vision and Schulze’s mastery of synthesis. The album was originally released in 1979 on the German Innovative Communication label. Time Actor stands out amongst Schulze’s massive catalog as a masterwork of avant garde new age. Schulze helms the project on electronics, and guests include Michael Shrieve on percussion, Vincent Crane on keyboards, and vocalist Arthur Brown, who sings – or should we say, speaks – on top of it all. Schulze describes the Wahnfried project in the liner notes as “the collective pseudonym of an idea: Time-Electronic, an experiment between avantgarde and muzak: Utility-music for sound-covered environment, in which a new generation grows up: Richard Wahnfried is this generation: Music between genius and nonsense: New ideas transported by an old medium to your ear.” This newly re-mastered reissue expands the original 60 minutes of music across a double LP to help with playback and distortion experienced on original pressings. We’ve added a bonus track in the form of a Cosmic 12-minute extended remix by Italian producer and DJ Maurizio Delvecchio from 1983. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a gatefold jacket with original album artwork featuring a surreal painting by German artist Peter Nagel plus lyrics and notes. “I wish you plenty of TIME” – Klaus Schulze

File Under: Electronic
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weeeedWeeed: This (Important) LP
In tomorrow… Weeed’s debut for Important Records, titled This, has an expansive musical vision and an astonishingly mature sound from a young band. Despite their relatively young ages Weeed has been together for ten years — a fact made apparent by the fluidity and unity of their sound. Labels such as stoner/psych/jam/alt/krautrock fall short as the band draws from a deeper pool of inspiration including gnawa, traditional folk, jazz, minimalist orchestras, overtone singing, and much more. This is the product of both a desire to make such influences more apparent as well as a desire to explore the boundaries of the members’ abilities to connect with each other; to become, in essence, one mind. Though the skeleton of the album was written during practices, the dynamics and fullness of each song were often reconnoitered and spawned through the improvisations which occurred during live settings and tours. The idea was discovery through the act of being present, and This was the result. Sonically, This is an outgrowth of their last release, Meta (2017), which saw the band beginning to experiment with ambient and vocal looping, flutes, synthesizers. Those explorations are present here, as is the notable (and permanent) addition of a second drummer, which is defined through the mixtures of tight syncopations and pulsing polyrhythms present in these songs. Recorded and produced at Bear Creek studio in Woodinville, WA, This marks a shift in sound that will only lead to further exploration into new musical territory.

File Under: Garage, Psych
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wilkins

Wilkson/Edwards/Noble: 3 of a Kind (Bo Weavil) LP
The trio of Alan Wilkinson, John Edwards, and Steve Noble continue to plot their course ever outward and ever upward. These new songs, recorded in South London at that wonderful performance space — at the heart of the improve scene here at this moment — Iklectik, are the very beating heart of improvised music. It’s not that they are good, or even representative — such relative terms fail to express the continuum of which these sounds are a key part. This is music that evades the strictures of scientific measurement or critical theory. It just is. Wilkinson is a master of the tribal, balls-out approach to sax playing. He lets it all hang out. But there is great subtlety in what he does with his horn, in the range of inflection, the space between the phrases, the singing tone. At times he sounds like a tight knit sax section in a swinging big band all on his own. There is definitely jazz in there. Edwards and Noble form the rhythmic base for much that is good and beautiful in the improv scene today. Years of playing together and individual brilliance mean they mesh like the gears of a micro-tuned machine. Together the trio make music. And that is all that needs saying. Personnel: Alan Wilkinson – alto, baritone saxophones, bass clarinet; John Edwards – double bass; Steve Noble – drums.

File Under: Jazz

…..Restocks…..

Francis Bebey: African Electronic Music (Born Bad) LP
Bell Witch: Longing (Flenser) LP
Glenn Branca: Lesson No. 1 (Superior Viaduct) LP
Leon Bridges: Coming Home (Columbia) LP
Leon Bridges: Good Thing (Columbia) LP
The Clash: London Calling (Legacy) LP
Grouper: Grid of Points (Kranky) LP
Gruppo d’Improvvisazione Nuova Consonanza: s/t (Superior Viaduct) LP
Guided By Voices: Bee Thousand (Scat) LP
Lhasa: s/t (Audiogram) LP
MF Doom: Operation Doomsday (Metal Face) LP
Oh Sees: Carrion Crawler (In The Red) LP
Oh Sees: Orc (Castle Face) LP
Orb: Birth (Castle Face) LP
OST: Blade Runner 2049 (Lakeshore) LP
Parquet Courts: Wide Awake (Rough Trade) LP
Parquet Courts: Human Performance (Rough Trade) LP
Pixies: Doolittle (4AD) LP
Radiohead: A Moon Shaped Pool (XL) 3LP
Terry Riley: Persian Surgery Dervishes (Aguirre) LP
Damien Rice: O (East West) LP
Scientist: Introducing Scientist (Superior Viaduct) LP
Ty Segall: Manipulator (Drag City) LP
Ty Segall: Melted (Goner) LP
Ty Segall: Sleeper (Drag City) LP
Ty Segall: Twins (Drag City) LP
Sleep: Volume One (Tupelo) LP
Sonic Youth: Daydream Nation (Goofin) LP
Sonic Youth: Evol (Goofin) LP
Sonic Youth: Sister (Goofin) LP
Stars of the Lid: Avec Laudenum (Kranky) LP
Stars of the Lid: Tired Sounds of (Kranky) LP
Sunn o))): Monoliths & Dimensions (Southern Lord) LP
Taake: Noregs Vappen (Napalm) LP
Chrissy Zebby Tembo: My Ancestors (Mississippi) LP
Various: Panama! 2 (Soundways) LP
Various: Spider Jazz (Trunk) LP
Zeal & Ardor: Stranger Fruit (MVKA) LP

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…..news letter #853 – sled…..

Well, it’s probably safe to assume you are reading this on your phone between bands at Sled Island right now, unless you are like me and stuck in Edmonton. And if you are stuck like me in Edmonton, good news… there’s lots of rad new records to stick in your ear this weekend!!!!

Hopefully you’ve had a chance to check out our new webstore… if not CHECK IT OUT!  The inventory is live with the shop, so if it’s in stock there, it’s in stock in the store. We have an instore pick up option, so if you are local, but going out of town, or just don’t want to miss out on something, by all means, buy it through the site and it’ll be here waiting for you when you have time to get in.

…..pick of the week…..

washington

Kamasi Washington: Heaven & Earth (Young Turk) 4LP
Kamasi Washington’s sophomore album Heaven and Earth is the sequel to his critically acclaimed debut The Epic, and consists of two halves where the groundbreaking artist explores the realities and cosmic themes of life. The album is about Washington’s settlement with today’s global chaotic states, as well as his vision for the future. Heaven and Earth not only fulfills its overarching ambition, but illustrates the dialectic between seen and unseen, real and imagined, citizen and culture, self and self, as well as self and other, and does so through the lens of a mature but never jaded revolutionary consciousness. Washington gathered his band, The Next Step, along with members of the well-established collective The West Coast Get Down in Henson Studios in Los Angeles to record the album’s 16 tracks. The artist’s own words best convey the inspiration behind this monolith of an album: “The world that my mind lives in, lives in my mind. This idea inspired me to make this album Heaven and Earth. The reality we experience is a mere creation of our consciousness, but our consciousness creates this reality based on those very same experiences. We are simultaneously the creators of our personal universe and creations of our personal universe. The Earth side of this album represents the world as I see it outwardly, the world that I am a part of. The Heaven side of this album represents the world as I see it inwardly, the world that is a part of me. Who I am and the choices I make lie somewhere in between.” Over 2.5 hours worth of music across 4 pieces of vinyl housed within a be-spoke gatefold sleeve.

File Under: Jazz, Funk, Fusion
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…..new arrivals…..

purple blue

Eric’s Trip: Purple Blue (Sub Pop) LP
Hailing from Moncton, New Brunswick, indie rockers Eric’s Trip formed in 1990 when musicians Rick White and Christopher Thompson of The Forest joined Julie Doiron and Ed Vaughan (who was later replaced by Mark Gaudet of Purple Knight). The first Canadian band signed to Sub Pop Records, White described their sound as “sappy melodic pop music on top of thick distortion.” 1996’s Purple Blue is the group’s third album, issued just prior to their first break up. The psych and noise flavored anthemic pop affair served as the only record where Eric’s Trip recorded together rather than White piecemealing individual parts, as on their first two albums. It’s been out of print on vinyl since its original pressing.

File Under: Indie Rock
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forever

Eric’s Trip: Forever Again (Sub Pop) LP
Hailing from Moncton, New Brunswick, indie rockers Eric’s Trip formed in 1990 when musicians Rick White and Christopher Thompson of The Forest joined Julie Doiron and Ed Vaughan (who was later replaced by Mark Gaudet of Purple Knight). The first Canadian band signed to Sub Pop Records, White described their sound as “sappy melodic pop music on top of thick distortion.” The raw and emotional Forever Again (1994) is the group’s second full-length effort and follow-up to their Sub Pop debut Love Tara (1993), recorded in 1994 at White’s home  studio, Stereo Mountain. It’s been out of print on vinyl since its original pressing. Eric’s Trip broke up in 1996 and subsequently reunited in 2001, and again in 2006.

File Under: Indie Rock
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express

Express Rising: Fixed Rope II (Numero) LP
The fourth Express Rising LP (and second featuring the expanded lineup of William Suran and Kevin Blagg, in addition to leader Dante Carfagna) finds the trio largely eschewing percussion in favor of twelve concise, three-minute-or-so-long bittersweet excursions that nevertheless retain the restrained, measured, and highly melodic scaffolding of their previous work. There’s more than a bit of Santo & Johnny at their most somnambulant on Fixed Rope II, slightly glazed, definitely reverbed out, mysteriously bottling the flaring, saturated light of the desert at dusk.

File Under: Experimental, Post Rock
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prass

Natalie Prass: Future and the Past (ATO) LP
Natalie Prass had her new album written, her band ready, the recording studio booked. Then the 2016 election happened, and out of her despair and disappointment in those results came an impulse she could not ignore: she rewrote the album to reflect these swirling emotions. The result is The Future and The Past, a stunning snapshot of a musician in a state of personal rediscovery and surging femininity. The celebratory and defiant collection also signals a significant artistic leap for Prass on the heels of her 2015 breakthrough debut. It finds Prass tapping into deep, dancey grooves that glisten with ’80s pop and ’90s R&B, nestled alongside quivering, lushly orchestrated ballads. Like her debut album, Prass made The Future and The Past in Richmond, VA with long-time friend and collaborator Matthew E. White at his Spacebomb Studios. She added some new collaborations to the mix as well: Blue (Solange’s A Seat At The Table, Blood Orange, Carly Rae Jepsen) and Michael Brauer (Elle King and James Bay). The Future and the Past is ripe with a myriad of grooves, string orchestrations, piano flourishes, snaking synth lines and fuzzed out guitars while Natalie’s vocals float on top, light as a feather and tough as nails. “Short Court Style” dials the tempo into 90s R&B territory – punctuated by handclaps, sampled “woos,” and a Dr. Dre-esque whistling synth line. Lyrically she wields a sharp knife as well on the love torn “Lost” and the empowering feminist anthem “Sisters.”

File Under: Rock, Pop
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happy

Happy Rhodes: Ectotrophia (Numero) LP
The first authoritative compilation of American dream pop artist Happy Rhodes, whose singular songwriting and 4-octave vocal range emanated from the pastoral confines of upstate New York in the ’80s. Her melding of classical music influences with synthesizer and acoustic guitar, and her enchanting and idiosyncratic singing, are favorably compared to heralded English chanteuse Kate Bush. Fans of such artistic pop music would be remiss to overlook Rhodes’s similarly remarkable and otherworldly sonic transmissions, traversing tales of dreamers, outsiders, lovers and other lovely and terrifying creatures born of a wellspring of wild creativity and bold imagination. Affectionately remastered from the original tapes, Ectotrophia gathers essential songs from Rhodes’s mid-’80s salad days, many written when she was just a teenager – wildly ahead of her time and unafraid to bare her soul to regional audiences, the ectophiles who’d eventually coin an entire subgenre of pop music in her honor. Dive deep into ecto, with the woman who started it all!

File Under: Indie Rock, Dream Pop
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sleep

Sleep: The Sciences (Third Man) LP
Finally a good stack of these in! Sleep unleashes their first full-length album of new recordings since 1998 on Third Man Records. Years after the release of Volume One in 1991, Sleep’s Holy Mountain in 1992 and Dopesmoker in 2003, the sonic titans reaffirm their place at the top of the riff pyramid with the brand-new six-track double album masterpiece, The Sciences. Featuring guitarist Matt Pike (High On Fire), bassist/vocalist Al Cisneros (Om) and new drummer Jason Roeder (Neurosis), “This is Dopesmoker Beyond the Thunderdome, a lawless, yet demanding exploration of Sleep’s stock-and-trade, and hopefully just the hazy horizon of riffs to come” (NPR Music).

File Under: Metal, Stoner
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sylvian

David Sylvian & Holger Czukay: Plight, Premonition, Flux & Mutability (Gronland) LP
Groenland reissues one of ambient music’s hidden gems, by two unique musicians whose paths crossed in the early-80s while working on David Sylvian’s debut solo album, Brilliant Trees. In 1986, Sylvian – of British Art-Pop band Japan – and Holger Czukay – founding member and bassist in legendary German Kosmiche band Can – were ostensibly reconvening for Sylvian to record a vocal for Czukay’s Rome Remains Rome. But on arriving at Czukay’s studio – a former cinema in Köln – Sylvian began playing freeform, improvising on readily available instruments located in the studio itself. No sooner had Sylvian started to structurally define/refine the performance than Czukay would stop the recording he’d surreptitiously been making. Czukay had attempted to capture the process of creation without a musician’s inclination for refinement. This process, drawn out over two nights, gave birth to the duo’s first, full-fledged, collaboration, “Plight and Premonition.” Having been out of print for some time, the parallels between the original release 30 years ago and now are quite stark; at the time of recording the Cold War was lifting – but still very real – after a bitter winter. The names “Plight & Premonition” and “Flux & Mutability” themselves hint at an instability. In Sylvian’s words, the sessions seemed to touch on something: “A form of music that seemed to have been created while we were absent by instruments abandoned to the earth and the woods, sounded by the coarse winter elements.” The version of “Plight and Premonition” included here is a new mix by Sylvian from 2002. All the recordings have been fully remastered. The packaging has been redesigned by Chris Bigg with Art Direction by Sylvian with new, previously unseen, photographs by Yuka Fujii, accompanied by an extensive essay by David Toop. Originally released separately, they are now packaged in a 2LP set.

 File Under: Ambient
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GRAZIE_LP

Piero Umiliani: Grazie! (Nature Sounds) LP
Nature Sounds is proud to present GRAZIE! – A quintessential and truly unique approach to the work of legendary Italian composer, Piero Umiliani. Understandably inspired by a recent whirlwind Italo-adventure to both meet the maestro’s family and friends, as well as to visit his Sound Work Shop, renowned soundtrack and library record collector Mike Wallace immediately got to work compiling and mixing an all Umiliani DJ mix. The result is a fitting tribute and sonic treat for the senses: a double-LP compilation album and mix CD consisting of a prime selection of Umiliani’s soundtrack and library work, meticulously sourced off iconic rarities, and including classic tracks such as “Lady Magnolia”, “Nostalgia”, “Chaser”, and many more. Limited to only 1000 copies, GRAZIE! is sure to become an indispensable addition to the record collections of Italian soundtrack and library music aficionados worldwide.

File Under: Library, OST
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zeal

Zeal & Ardor: Stranger Fruit (MVKA) LP
Creative firebrand Manuel Gagneux returns with the brand new Zeal & Ardor album Stranger Fruit. Mixing blues, gospel, and soul with harsher music has opened up a world of possibilities for Gagneux. Previously creating as a one man solo effort, the immense interest and critical acclaim Zeal & Ardor attracted upon release of debut album Devil Is Fine, has led to the project becoming a fully-fledged, internationally-touring band. After months hidden away, crafting the new songs for Stranger Fruit, Gagneux entered the studio with producer Zebo Adam and mixer Kurt Ballou (Converge, Kvelertak, Nails). While the finished sound is larger and heavier, it’s still unmistakably Zeal & Ardor. The diverse yet cohesive nature of the sixteen tracks on Stranger Fruit is designed to encourage the listener to dig a little deeper and find their own meaning in its words. In contrast to first LP Devil Is Fine, these songs are deliberately intended to play off each other both lyrically and musically. While the record seethes with a justifiable rage, its wider-reaching aim is to unify, not divide, and to inspire action, not inertia. Elements of a bleak melancholy are tempered by hope. Superficially, the album tells small isolated stories, but there are also references to the Goetia, Yoruba, and obscure occult literature and history within.

File Under: Metal
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thisissoul

Various: This is Soul (Atlantic) LP
Appearing first in the UK in 1968, This Is Soul was an immediate success. The compilation features the best of Stax and Atlantic artists, at a time when mainstream radio was not focused on soul music, and buying a compilation like this was UK’s first introduction to the great soul music from the US. This reissue is a replica of the original release, in mono, starting and ending with Wilson Pickett and featuring the likes of Ben E. King, Sam & Dave and Percy Sledge.

File Under: Soul, Funk RnB

…..Restocks…..

Big Black: Headache (Touch & Go) 12″
Bill Callahan: Sometimes I Wish I Were an Eagle (Drag City) LP
Bill Callahan: Apocalypse (Drag City) LP
Kenny Dorham: Afro-Cuban
Funkadelic: Maggot Brain (Westbound) LP
Funkadelic: America Eats Its Young (Westbound) LP
Funkadelic: Cosmic Slop (Westbound) LP
Massive Attack: Heligoland (EMI) LP
Lee Morgan: Cornbread (Blue Note) LP
Lee Morgan: Sidewinder (Blue Note) LP
Lee Morgan: Search for the New Land (Blue Note) LP
Neutral Milk Hotel: In The Aeroplane Over The Sea (Merge) LP
Liz Phair: s/t (Universal) LP
Tom Petty: Full Moon Fever (Universal) LP
Lou Reed: Berlin (Legacy) LP
Lou Reed: Coney Island (Legacy) LP
Rolling Stones: Exile on Main Street (Abkco) LP
Yasuaki Shimizu: Kakashi (Palto Flats) LP
Smog: Red Apple Falls (Drag City) LP
Cecil Taylor: Conquistador (Blue Note) LP
Various: Don’t Stop Recording Tap (Numero) LP
Various: Drive (Lakeshore) LP
Various: Technicolor Paradise (Numero) Box
Various: Westbound Disco (Westbound) LP

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…..news letter #852 – dads…..

It is indisputable fact, DADS WANT RECORDS FOR FATHERS DAY. So, we’ve got you covered. Loads of great stuff in this week, both new and used. Come dig for dad.

Hopefully you’ve had a chance to check out our new webstore… if not CHECK IT OUT!  The inventory is live with the shop, so if it’s in stock there, it’s in stock in the store. We have an instore pick up option, so if you are local, but going out of town, or just don’t want to miss out on something, by all means, buy it through the site and it’ll be here waiting for you when you have time to get in.

…..picks of the week…..

takahashi

Kuniyuki Takahashi: Early Tape Works (1986 -1993) Vol. 2 (Music From Memory) LP
The Japanese producer and DJ Kuniyuki Takahashi is the subject of Music From Memory’s latest retrospective compilation with Early Tape Works (1986-1993). Composed of two volumes, the compilations gather together a selection of tracks from a tiny run of privately released tape only albums, highlighting a fascinating early period in Kuniyuki’s musical output, one of which little is known. After discovering the world of nightclubs in Japan around 1986, and the seemingly boundless freedom expressed there through music as well as art, Kuniyuki became inspired to experiment with electronic music. Excited by the possibilities of new music technology, he would begin to gather together a number of, at that time, reasonably accessible and inexpensive local keyboards, drum computers, and recording equipment. This became for a way for Kuniyuki to explore music not as such made for nightclubs, but certainly inspired by them. Setting up a home studio in his hometown of Saporro, Kuniyuki would record extensively during this period with the equipment he had gathered together, equipment such as Roland’s Juno60, TR-606, TB-303, Casio FZ-1, Korg 770, Boss DE-200, Foster A8, and a Yamaha MT44 track cassette recorder. Driven to develop a musical language derived as much by an exploration of music technology and a desire to create new sounds, Kuniyuki was also looking to evolve the possibilities of what he refers to as a “new Oriental sound”. Early Tape Works )1986-1993) then brings together two albums of material which not only highlights the evolution of Kuniyuki’s own work but also of Japanese electronic music as a whole.

File Under: Ambient, Electronic, Japan
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spiderjazz

Various: Spider-Jazz (Trunk) LP
If you hadn’t already ordered or confirmed a hold on this we are sold out, but we do have a restock coming real soon. If you want one, let us know ASAP to ensure you get one! 
Subtitled: … That We Are Not Allowed To Mention For Legal Reasons. Rare and brilliant music as used in the late 1960s amazing animated series we are not allowed to mention for legal reasons. And the same music was used in all the NFL clip shoes throughout the ’60s and ’70s too. Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue-and-red dressed character that had originated in 1962, through Marvel Comics by Stan Lee and Steve Ditko. This amazing series ran on ABC TV in the USA, then Canada, then a few years, it ran in the UK. The series was notoriously low budget. After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat (1972). Krantz also slashed the already cripplingly small spider budget and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent production turned to the KPM catalog. This was one of the few really established library catalogs around at the time with a modern edge; it was full of fabulous, modern dramatic music tracks — often all on the same LP. But more importantly all the tracks were far longer than the one-minute musical cuts that many of the fledgling USA library companies were issuing at the time. Krantz produced two amazing spider series, and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground. For many enthusiasts this really is formative music — a junior foray into hip swinging crime jazz and esoteric musical grooviness. So, what features on this Spider-Jazz LP? Well it’s music from the amazing TV series, but, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across the episodes. It’s all distilled down into one exciting and enthralling LP. Features Syd Dale, Johnny Hawksworth, Bill Martin/Phil Coulter, David Lindup, Johnny Pearson, Keith Mansfield, and Alan Hawkshaw.

File Under: OST, Library
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…..new arrivals…..

abrams

Joshua Abrams: Excavations 1 (Feeding Tube) LP
“The Chicago-based string genius Joshua Abrams first talked to us about the idea of this album a while back. It took a couple of years to get together, but in a way, it’s cool that it’s being released in 2018 — the 50th anniversary of the recording of the first free bass solo LP, Barre Phillips’ Journal Violone. Issued by Opus One in the U.S., Music Man in the UK (as Unaccompanied Barre), and Futura in France (as Basse Barre), Phillips’ groundbreaking album was a gorgeous and gritty exploration of textures that are usually bound deep inside the creative flow of unit improvisation. Hearing these sonorities explored, at length, without extraneous gabble was revelatory, but not easy to replicate. I could only think of a dozen other LPs of the stuff that have been done in the intervening years (CDs don’t count)*. But Abrams is undaunted by such shit. Anyone who has seen him play or listened to him on record knows he has an aggressively wide palette and a fearless drive to explore new regions of sound. The tones on Excavations 1 have a much gnarlier feel than many of the tones Joshua explores inside group dynamics. Almost more like some of the bassists associated with avant garde composition (Bertram Turetzky, Fernando Grillo, etc.), Abrams’ work here is about pushing against accepted precepts of melody and rhythm, freeing the bass from its accepted role, and allowing it to scream for real.” –Byron Coley, 2018 Edition of 500.

File Under: Jazz
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against all

Against All Logic: 2012-2017 (Other People) LP
Nicolas Jaar shows he is paying attention to the masses by issuing a widely called for vinyl press of his A.A.L. (Against All Logic) album 2012-2017. Originally issued as a digital-only release back in February of 2018, it’s slowly grown to become one of the most cherished releases in the entire Other People discography. Much like Kerrier District did to disco, A.A.L. (Against All Logic) borrows heavily from the samples and sounds ingrained deep within Jaar’s listening habits and evidently a record collection packed to the brim with classic soul, house, and most importantly, funk hooks. Keenly twisting these sounds and filtering them through a studio set up that’s leaning heavily on the beefed-up kick drums and reverb units to make a well-executed homage to these sounds, pieced together with the inherent idea of making the listener unable to resist the urge to move, be it in a bedroom, basement, or just sat in work staring at a computer screen. A.A.L. (Against All Logic) is both a well-executed homage to all of the above references, yet also just a really strong and enjoyable record from Nicolas Jaar. Its undeniable popularity digitally is sure to see the vinyl evaporate in no time at all.

File Under: Electronic
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facetime

Ambarchi/Jaeger/Rushford: Face Time (Black Truffle) LP
Face Time is the second release from the trio of Oren Ambarchi, Kassel Jaeger, and James Rushford, following on from their 2016 debut Pale Calling (BT 020LP). Recorded at the GRM studios in Paris in June 2017, the record immediately returns to the idiosyncratic sound-world of the trio’s first release, a simmering stew of electronic smears, pitched-down animal moans, and mysteriously emotive microtonal organ chords. But before long the record takes an unexpected turn, as sounds that initially enter as occasional percussive pitter-patter build to a halting rhythm. Equally reminiscent of Basic Channel-style dub techno and the sound of a microphone loose in a pocket, these stumbling rhythmic figures provide the framework for the remainder of the record’s two sides, occasionally receding into the background to allow squelching electronics, chiming bells, distorted autoharp, inchoate grunts, and the sound of a Cristal Baschet to take center stage, but each time returning with the inevitability of an idée fixe. Eschewing any clear sense of form, the two side-long pieces move seamlessly through episodes with the organic flow of improvisation, embracing the happy accidents of events conjoined by chance and lingering on liminal moments. Gradually washing out into a cavernous roar, the record’s final moments are suddenly enlivened by shimmering metallic percussion and a sequence of woozy synth chords, combining with the muted rhythms and a distant thunderstorm to become a sort of oneiric tribute to the work of Wally Badarou. Bringing together three of contemporary experimental music’s most individual voices, Face Time is an essential slice of outsider electro-acoustics. Cover design by Stephen O’Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Comes on neon orange vinyl.

File Under: Experimental
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baschet

Baschet/Deneuve: 4 Espaces Sonores (Transversales) LP
Transversales Disques present a reissue of Bernard Baschet and Michel Deneuve’s 4 Espaces Sonores, originally released in 1982. Rare 1979 recording of Bernard Baschet performing on his Sound Sculptures. The Baschet brothers are known worldwide as creators of Sound Sculptures, fantastic shapes of molded metal and glass, which combine the visual arts with music. François Baschet had always been fascinated by acoustics, by the relationships between the shape and material of an instrument and the beauty of its sound. Bernard Baschet was passionately interested in contemporary music and firmly believed that such instruments were the proper tools for modern music, for they offered, to the artist and performer, a personal means of expression denied by electronic devices. Together the brothers began to design and produce Sound Sculptures, which could also be regarded as musical instruments. Circa 1965, Bernard worked alongside Pierre Schaeffer as a member of the GRM (Musical Research Group) on the elaboration of what was to become Schaeffer’s Traité des objets musicaux (“Treatise on Musical Objects”). The Baschet brothers also created structures and instruments of all sizes, including bell towers, windmills, and fountains, using the natural elements of wind and water to make music. Bernard Baschet was especially proud of his pedagogical work amongst deprived and handicapped children, with the instrumentaium made up of fourteen pieces. Double-LP comes in gatefold sleeve.

File Under: Avant Garde
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dagar

Ustad Zia Mohiuddin Dagar: Ragas Abhogi & Vardhani
(Ideologic Organ) LP
“Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O’Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar. Dhrupad, for those who do not know, is a branch of Hindustani classical music said to ‘show the raga in its clearest and purest form’. It’s pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance . . . In early 2015 I was able to make contact with Zia Mohiuddin Dagar’s son Bahauddin and some of his American students/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access to a massive archive of recordings and developed these two paired titles for my label . . . I’m proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time. Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad. Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar’s life and teaching (a long story also in Seattle, my hometown!), the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release. Ragas Abhogi & Vardhaniwere recorded in a private house concert in Seattle at the home of the Benegals in March 1986 (the week before the accompanying release, Raga Yaman, was recorded). The Benegals were friends (and Shantha Benegal was also a student) of Dagarsahib who sometimes hosted Hindustani music concerts in their home. It’s a rare glimpse of a more intimate, personal and perhaps different kind of performance considering the form of dhrupad.” –Stephen O’Malley, March 2018, Paris, France Mastered and cut by Rashad Becker at Dubplates & Mastering.

File Under: World, Middle East
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dagar1

Ustad Zia Mohiuddin Dagar: Raga Yaman (Ideologic Organ) LP
“Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O’Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar. Dhrupad is a branch of Hindustani classical music said to ‘show the raga in its clearest and purest form’. It’s pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance . . . In early 2015 I was able to make contact with Zia Mohiuddin Dagar’s son Bahauddinand some of his American students/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access to a massive archive of recordings and developed these two paired titles for my label . . . I’m proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time. Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad. Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar’s life and teaching, the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release. Raga Yaman was recorded at a public concert in Seattle at the HUB Ballroom at the University of Washington in March 1986 (the week after the accompanying release Ragas Abhogi & Vardhani(SOMA 028CD/LP) was recorded) at the end of his last tour of the United States. Yaman was a special raga for Zia Mohiuddin Dagar, one of his signature raags. For centuries, Yaman has been considered as one of the most fundamental ragas in Hindustani music and is one of the first ragas which is taught to students.” –Stephen O’Malley, March 2018, Paris, France Mastered and cut by Rashad Becker at Dubplates & Mastering.

File Under: World, Middle Eastern, Ragas
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flu

The Flu: Patsy: A Collection of Absolute Insanity (Artoffact) LP
“Artoffact Records is proud to offer a this reissue of what is the absolute rarest cEvin Key-related album of all time. Between 1986 and 1989, cEvin Key (Skinny Puppy) and the late Alan Nelson (Hilt) spent countless hours recording out of Nelson’s third story apartment in Toronto as The Flu. The music they produced in those sessions is quite remarkable, blending electronics, guitars, live drums, drum machines, live singing by cats, and recordings from tele-personals, all with Al’s inimitable lyrics and vocals.”

 File Under: Electronic, Skinny Puppy
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harris

Emmylou Harris: Ballad of Sally Rose (Rhino) LP
One of the singer’s most personal albums, Emmylou Harris once called her concept album, The Ballad Of Sally Rose a country opera. Released in 1985, the song cycle is loosely based on her short time with influential singer-songwriter Gram Parsons, who died in 1973. Known more for singing songs written by others, this was Harris’ first self-composed album and it remains one of her favorites. Rhino/Warner Bros. revisit this underrated gem with a 2LP Expanded Edition that features a newly remastered version of the original album along with unreleased demos for most songs on the album. For years, Harris used the name Sally Rose as an alias on tour. So when she started writing songs about a singer whose lover and mentor – a hard-living, hard-drinking musician – is killed while on the road, the name Sally Rose was a natural fit. Harris says the idea for the album had been brewing for years, but she needed time away from the road to write. “That happened in 1982, when, after hearing and being stunned by Bruce Springsteen’s masterpiece, Nebraska, I realized it was time to leave my comfort zone as interpreter, and follow Sally’s muse into the unknown territory of full-time songwriter.” Highlights from The Ballad of Sally Rose include the singles “White Line” – which reached No. 14 on the country charts – and “Rhythm Guitar” with Waylon Jennings on lead guitar. In addition, Dolly Parton and Linda Ronstadt sing harmony throughout the album. Two years later, the friends and frequent collaborators would release their first album together, Trio, which sold more than four million copies and won two Grammy Awards. The Expanded Edition’s bonus LP introduces unreleased demo recordings for 10 tracks. Most feature Harris accompanying herself on acoustic guitar giving these versions a stripped-back intimacy. In the liner notes, Grammy-winning music writer Colin Escott says the demos are the Nebraska edition of Sally Rose. “Stark and haunting. Vulnerability and resilience, always her hallmarks, were never closer to the surface.”

File Under: Folk, Country
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hval

Jenny Hval: The Long Sleep (Sacred Bones) LP
The follow-up to Jenny Hval’s acclaimed 2016 album Blood Bitch is The Long Sleep, an adventurous new EP that sees the Norwegian multidisciplinary artist embracing an instinctive, even subconscious, approach to creating meaning. In contrast to Hval’s more explicitly conceptual work, The Long Sleep foregrounds the act of composition itself, letting the melodies and structures reveal the other elements of the songs. All of the songs on the EP recycle the same compositional motives, but manipulate them into very different shapes that take them further and further out of their original, “life-like” context. Hval recorded The Long Sleep with longtime collaborator Havard Volden and producer Lasse Marhaug, along with an ace new supporting cast of talented players from the jazz world – Kyrre Laastad on percussion, Anja Lauvdal on piano, Espen Reinertsen on saxophone, and Eivind Lonning on trumpet. Hval calls them some of her favorite contemporary musicians, and their musical background helps to give the songs on The Long Sleep their intuitive, improvised feel.

File Under: Indie Rock, Experimental
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long branch

Long Branch: Found the Setting Sun (DWR) LP
“Members of Shadowy Men on a Shadowy Planet, the Good Family and Adaptor 45 Announce Debut Album as Long Branch” “The band brings together a number of music vets, including Lisa Myers and Laura Pitkanen of Adaptor 45, D’Arcy Good of the Good Family, Don Pyle of Shadowy Men on a Shadowy Planet, and Sally Lee of Venus Cures All (and Myers’ all-girl punk group Chicken Milk). After crossing paths at various times and places over the decades — from seeing each other play to rallying together to fight “evil” landlords in Parkdale — the group are finally set to unveil their first full-length. ” – Exclaim!

File Under: Alt-Country, Shadowy Men
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lowman

Leon Lowman: Liquid Diamonds (Music From Memory) LP
2018 repress. Following on from co-compiling one of 2012’s best-received compilations Into the Light: A Journey into Greek Electronic Music, new Amsterdam-based record label Music From Memory sets sail with a compilation of lo-fi beach funk and lazy synth jams from the Rhode Island keyboardist and ocean-loving Leon Lowman. As well as a devoted painter and East Coast surfer, the synthesizer-loving Lowman privately released two albums Syntheseas (1980) and its follow-up cassette-only Sound Horizon (1982). Something of a homage to his love of the local seashore and the women he was trying to woo there, the albums also express Leon’s pure love of the sound of the synthesizer and reflect his unique melodic wanderings. With Leon’s albums meeting little commercial success at the time of their release, both albums have in recent years become highly sought-after. Along with previously-unreleased material from the time, Liquid Diamonds highlights Leon Lowman’s unique blend of lo-fi synth-funk and surf ambience.

File Under: Electronic, Funk, Synth
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piccioni

Piero Piccioni: Al Cinema Con Piero Piccioni (Sonor) LP
Sonor Music Editions present a reissue of Piero Piccioni’s Al Cinema Con Piero Piccioni, originally released in 1968. Originally composed of two volumes and released on the famed RCA SP series in 1968, compiled with a curated selection of the best tracks and presented with renewed striking artwork. Two absolutely cult and impossible to find albums of Italian discography released in a unique LP edition and carefully remastered by from the original RCA master tapes. Includes original soundtrack of the films Il Terrorista (1963), Le Mani Sulla Città (1963), Nude, Calde E Pure (1965), La Donna E’ Una Cosa Meravigliosa (1964), Chi Lavora E’ Perduto (Tinto Brass) (1963), with the huge jazz imprint of maestro Piccioni. 180 gram vinyl. Heavy cardboard sleeve, like the originals; Limited to 300.

File Under: Library
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protoProtomartyr: Consolation (Domino) LP
Protomartyr follow-up their critically acclaimed Domino debut, Relatives In Descent (2017) with the Consolation EP, a 4-track collection of new material recorded in collaboration with Kelley Deal (The Breeders) and Mike Montgomery (R. Ring, Ampline). Captured at Montgomery’s own studio, Candyland, the EP encapsulates the breadth of mood and stylistic variety of a full-length Protomartyr album – from the short sharp shock of the opener “Wait,” through the mutant pop of “Same Face In A Different Mirror,” the epic “Wheel of Fortune,” to the beautiful closer “You Always Win.” Add to this Montgomery’ss recording skills, Deal’s unparalleled vocals, and the arrangements that see the inclusion of Jocelyn Hatch (viola), Evan Ziporyn (bass clarinet), and Lori Goldston (cello), and the EP becomes a truly unique prospect in Protomartyr’s discography.

File Under: Punk
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mirage

Enzo Scoppa & Cicci Santucci: Mirage (Sonor) LP
Sonor Music Editions present a reissue of Enzo Scoppa and Cicci Santucci’s Mirage, originally released in 1971. Absolute mythical Italian library LP out of the New Tape micro-label vaults. Mirage is an album signed by SCOEN, aka Enzo Scoppa, and actually composed and arranged by Francesco Cicci Santucci, originally released in 1971 in an edition of 100 copies only. Dreamy collectors’ item and super obscure gem, this outstanding LP is another must-have jewel from the unlimited Italian music library production of the ’70s and easily one of the top of this game. What we have is mental jazz-funk beats with fat basslines and killer drum breaks, bewitching exotica groove, and dope lounge moods, all driven by a solid groovy key for the whole album. Another monster Italian library is just filed. Edition of 500.

File Under: Library
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selmanWilliam Selman: Musica Enterrada (Mysteries of the Deep) LP
What if music had no beginning, no end? Can music exist “for itself” or “of itself”, without structure constraining it, defining it? Can music be non-linear, non-narrative, simply experiential, existential? The second full-length album on Mysteries Of The Deep, Musica Enterrada from Portland’s William Selman, neither answers these questions nor supposes them. But in listening, one can’t help but wonder: What if I disappeared into this record forever? In another time and place, William Selman was known as Warmdesk, an alias through which he issued a series of sharply precise minimal techno records. In recent past, Selman shifted gears, shedding the dynamics of tension and release that characterized his previous alias’s output. Under his own name, Selman began releasing process-oriented, freeform experimental music on cassette-focused outlets like Digitalis and Hausu Mountain. Now comes Musica Enterrada, a diaphanous, weightless musical vision not unlike the theoretical square root of GRM and Popol Vuh’s early electronic forays. Split into six tracks across two sides of vinyl, Musica Enterrada bubbles, churns, drifts, and dozes. Dulcet tones pile up gently like waves on shore. Patterns repeat and reconfigure, as if heard from different angles. Rhythms appear, shift the frame, then disappear, into the ether whence they came. Play Musica Enterrada on repeat. And if you disappear into it, fret not — you have drifted into solace. Full color jacket — deluxe printed sleeve; 140 gram vinyl; Includes download code.

File Under: Country
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snailmail

Snail Mail: Lush (Rough Trade) LP
Lindsey Jordan is on the brink of something huge, and she’s only just graduated high school. Her voice rises and falls with electricity throughout Lush, her debut album as Snail Mail, spinning with bold excitement and new beginnings at every turn. Recorded with producer Jake Aron and engineer Johnny Schenke, with contributions from touring bandmates drummer Ray Brown and bassist Alex Bass as well, Lush sounds cinematic, yet still perfectly homemade. “Is there any better feeling than coming clean?” sings the 18-year-old guitarist and songwriter halfway through the sprawling anthem that is “Pristine,” the album’s first single. You can’t help but agree with her. It’s a hook that immediately sticks in your head – and a question she seems to be grappling with throughout the record’s 10-songs of crystalline guitar pop. Jordan’s clear and powerful voice, acute sense of pacing, and razor-sharp writing cut through the chaos and messiness of growing up: the passing trends, the awkward house parties, the sick-to-your-stomach crushes and the heart wrenching breakups. Jordan’s most masterful skill is in crafting tension, working with muted melodrama that builds and never quite breaks, stretching out over moody rockers and soft-burning hooks, making for visceral slow-releases that stick under the skin.

File Under: Indie Rock
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thingThe Thing: Again (The Thing) LP
The Thing, recorded July 2nd and 3rd, 2017. Personnel: Mats Gustafsson – tenor and baritone saxophone; Ingebrigt Håker Flaten – electric and double bass; Paal Nilssen-Love – drums, percussion. Recorded July 2nd and 3rd, 2017 by Øyvind Gundersen at Studio Paradiso, Oslo. Mixed October 2017, by Andreas Werliin at Repeat Until Death, Stockholm. Mastered by Lupo at Calyx mastering, Berlin. Liner notes by Brian Morton.

File Under: Jazz
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umiliani 1

Piero Umiliani: Al Cinema Con Piero Umiliani (Sonor) LP
Sonor Music Editions present a reissue of Piero Umiliani’s Al Cinema Con Piero Umiliani, originally released in 1969. One of the true rarities of Italian discography out there and an absolute grail of Italian film music. Originally released in 1968 on the legendary RCA Italiana SP 8000 series (promo-only) in an edition of 100 copies, here’s an impossible jewel by maestro Piero Umiliani that contains various themes from original scores of the ’60s: Il Comandante (1963), Extraconiugale (1964), Tutto Il Bello Dell’uomo (1963), La Bella Di Lodi (1963), Controsesso (1964), La Celestina P… R… (1965). Carefully remastered from the original RCA master tapes. 180 gram vinyl; Heavy cardboard sleeve like the originals; Limited edition of 300.

File Under: Library
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kamaalKamaal Williams: The Return (Black Focus) LP
Whether re-defining experimental fusion sounds with the hugely acclaimed Yussef Kamaal, or his catalog of 12″s for imprints such as MCDE, Eglo, and Rhythm Section as Henry Wu, South London’s Kamaal Williams has been a key figure in his thriving international scene for the past few years. The Return is a natural evolution from the Yussef Kamaal project, mining the influence of visionary jazz but blended with all kinds of texture, sounds and signals from the over-saturated London streets. At times the keyboard work evokes the classic ’70s fusion work of Lonnie Liston Smith or Roy Ayers, but underpinned by rhythms more reminiscent of blunted hip-hop and arrangements subliminally laced with the cut-ups of pirate radio. Progressive, funky, cosmic, exploratory and effortlessly musical, this is the sound of a musician honing his craft into thrilling new shapes. In the US the like of Kamasi Washington and Thundercat have made great strides in opening a whole new dialogue between jazz and hip-hop, drawing in a young, highly engaged new audience in the process. Kamaal Williams mines a similar seam on the other side of the Atlantic alongside other exciting London talents such as Ezra Collective, Ruby Rushton and Shabaka Hutchings. The Return is exactly that: a return and refinement to the sound Yussef Kamaal were progenitors of, and first set the scene for one of the most exciting musical movements London has had in years. Notable tracks for old and new listeners are “Slow,” “Situations,” “Medina,” “London Shuffle” which features Mansur Brown (of Mansur’s Message) and for those die hard Yussef Kamaal fans – they should hear the interpolated roots of “Strings of Light” in the title track “The Return.” And that signature Wu funk can be heard on “Broken Theme” and “High Roller.”

File Under: Jazz, funk
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screamVarious: African Scream Contest 2 (Analog Africa) LP
Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin? Once Analog Africa released the first African Scream Contest in 2008, the proof was there for all to hear; gut-busting yelps, lethally well-drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space. Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasure trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks off Les Sympathics de Porto Novo’s pile-driving opener, it’s clear that African Scream Contest 2is every bit as joyous a voyage of discovery as its predecessor. Ignace De Souza & The Melody Aces’ “Asaw Fofor” would’ve been a killer instrumental but once you’ve factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it’s a total revelation. The screaming does not stop there, in fact it’s only just beginning. Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined military band Les Volcans de la Capitale, Lokonon André vanished in a cloud of dust at Ben Redjeb’s behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he’d been given. The source of this Afrobeat bounty-hunter’s impressive people-finding skills — his training with the KGB — highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the ’60s and ’70s. Happily, in this instance, Lokonon was tracking the artists down to offer them licensing deals, rather than to arrest them. Samy Ben Redjeb’s determination to track this amazing music to its human sources pays huge karmic dividends. Features Stanislas Tohon, Elias Akadiri & Sunny Black´s Band, Picoby Band D´Abomey, Antoine Dougbé, Orch. Poly-Rythmo de Cotonou, Black Santiago, Lokonon André et Les Volcans, Sebastien Pynasco and L´Orchestre Black Santiago, Super Borgou de Parakou, Cornaire Salifou Michel et L´Orchestre El Rego & ses Commandos, Gnonnas Pedro and His Dadjes Band, and Orchestre Poly-Rythmo de Cotonou. African Scream Contest 2 includes meticulously researched text and effortlessly fashion-forward photography, supplied by the artists themselves.

File Under: Africa, Afrobeat, Funk
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boombox3Various: Boombox 3 (Soul Jazz) LP
Soul Jazz Records’ new Boombox 3 compilation continues their story of the first rap records to be pressed to vinyl. It’s a jam-packed collection of original independent old school hip hop, created with just one thing in mind – to get this party jumping. After the explosion of hip hop in the parks and clubs of The Bronx in the mid-70s, it was in Harlem where the first rap records emerged at the end of ’79 – an avalanche of superb rap tracks released on small independent labels all trying to capitalize on the success of “Rapper’s Delight.” Like hip-hop culture itself, these first rap singles are the product of their own unique set of aesthetics – exciting and innovative rap performed with Bronx block party B-Boy funk breaks, disco jams and Jamaican sound system culture. The extensive sleevenotes discuss hip hop’s trajectory from the first wave of Bronx creativity – the legendary DJs Kool Herc, Grandmaster Flash and Afrika Bambaataa – through to its arrival in Harlem via the entrepreneurism of old-school African-American rhythm and blues producers and émigré Jamaican producers all living in New York. Along the way the notes discuss everything from the New York power blackout of 1977, the Italian mafia involvement in the music industry, the links between rap and Jamaican dancehall and more besides. Boombox 3 features a line-up of stunning, near unknown New York rap artists, classic disco breaks (including Chic’s omnipotent “Good Times,” MFSB’s “Love Is The Message,” Queen’s “Another One Bites The Dust”), proto-electro and more. And by the early-80s the first rap records outside New York began to emerge – L.A., Houston, Milwaukee, Phoenix – and the first of these are also featured here in this new collection. Heavyweight triple vinyl with download code and full notes.

File Under: Hip Hop, Electro

paradiseVarious: Welcome to Paradise (Italian Dream House 90-94) Vol. III (Safe Trip) LP
Safe Trip is taking one final deep dive into the warm waters of Italian dream house with Welcome To Paradise Volume III, the concluding chapter in the label’s journey through the previously overlooked world of one of dance music’s most vibrant and influential underground movements. While the influence of dream house continues to echo through the ages, the style was at its peak between 1989 and 1994, when producers across Italy delivered a high volume of loved-up, wavy, and occasionally blissful productions that fused contemporary deep house tropes — most notably from Chicago, New York, and New Jersey — with elements borrowed from ambient, jazz, and Balearica. It’s this six-year period that provides the focus for Welcome To Paradise Volume III, which draws together a spine-tingling mixture of sought-after classics, unheralded gems, and little-known delights from the original Italian dream house movement. Thrillingly, Welcome To Paradise Volume III co-curator Young Marco has managed to source two previously unreleased tracks during the dream house period: the gently unfurling, sunrise-friendly bliss of Jacy’s “Resounding Seashell” and a special “Longer Edit” of Neurostate’s brilliant “Dance To The House”, a track that — somewhat surprisingly — has never previously been issued on vinyl before. Elsewhere, there are plenty of treats to set the pulse racing, from the must-have deep house brilliance of Leo Anibaldi’s “Universal” — a rare foray into dream house territory from the Italian techno pioneer — and the Afro-bleep-goes-dream-house trip of Golem’s “Sun City”, to the cowbell-driven, New Jersey garage-influenced warmth of Deep Choice’s “Children Trip” and Cosmic Galaxy’s “Walkin’ On The Moon”, a Detroit techno-influenced outing with a deliciously saucer-eyed, extended ambient intro. You’ll also struggle to find a more inspired house record than Green Baize’s “Tramp Heart”, which mixes familiar dream house elements with spacey electronics and tribal chants that recall Italy’s early ’80s Afro-cosmic scene. It all adds up to another essential selection of rich, glassy-eyed dream house treats tailor-made for sound-tracking drawn-out Adriatic sunsets, Mediterranean sunrises, and loved-up parties the world over. Also features Optik, Deep Blue, Lonely Dance, and Don Carlos.

File Under: Italo, House
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yoribaVarious: Yoruba! (Soul Jazz) LP
Soul Jazz Records’ latest collection Yoruba! Songs and Rhythms for the Yoruba Gods in Nigeria was newly recorded in Lagos, Nigeria. The album was co-produced by Laolu Akins, founding member of the legendary 1970s Nigerian Afro-Funk/Rock group Blo, and label head Stuart Baker. The 2LP-set features songs honoring the Nigerian gods of the Yoruba traditional religion – Yemoja, Obatala, Ogun, Sango and others – as well as a selection of instrumental cuts focusing on the Bata and Dundun drums. It comes complete with extensive text and photography showing the influence of Yoruba culture throughout the world and the social and historical context for the music contained here. The enormous impact of Yoruba and West African music and culture is worldwide – from the first Afro-centric explorations of African-American jazz musicians in the 1950s such as Art Blakey, Randy Weston and Dizzy Gillespie, the explosion of Nu Yorican Latin music in New York City starting in the 1960s – Mambo, Boogaloo, Latin funk and soul – through to the sacred and powerful Afro-derived music of the religions of Santería in Cuba, Candomblé in Brazil and Voodoo in Haiti, which all came in to existence on account the Atlantic slave trade which began over 400 years ago. On a wider scale West African music remains the primary root of all African-American musical forms – from New Orleans jazz to Bronx rap, gospel, soul and more. Yoruba! features an array of local master drummers led by Olatunji Samson Sotimirin and singers (featuring the lead vocals of Janet Olufanmilayo Abe) performing heavyweight Afro-rhythms, with talking drums, Bata and Dundun drums and a mass of percussion in these deep spiritual and sacred songs used to honor and worship the traditional and ancient Yoruba gods in Nigeria, West Africa.

File Under: Africa, Percussion

…..Restocks…..

Air: Moon Safari (Parlophone) LP
Bad Religion: No Substance (Epitaph) LP
David Bowie: Ziggy Stardust (RCA) LP
Breeders: Title TK (4AD) LP
Tim Buckley: Hello & Goodbye (Rhino) LP
Che’-SHIZU: A Journey (Black Editions) LP
Cinematic Orchestra: Every Day (Ninja Tune) LP
Ornette Coleman: The Atlantic Years (Rhino) LP
Dead Moon: Strange Pray Tell (Mississippi) LP
Julie Doiron: Desormais/Heart & Crime (Jagjaguwar) LP
Brian Eno & Jon Hassell: Fourth World Vol. 1: Possible Musics (Glitterbeat) LP
Fleetwood Mac: Rumors (Rhino) LP
Hot Snakes: Automatic Midnight (Sub Pop) LP
Joy Division: Unknown Pleasures (Rhino) LP
Madvillian: Madvilliany (Stones Throw) LP
Merzbow: Noisembryo (Hospital) LP
Metallica: Garage Days (Blackened) LP
Metallica: Ride the Lightning (Blackened) LP
Roberto Musci/Giovanni Venosta: Water Messages on Desert Sand (RER) LP
Parker/Bailey/Bennink: Topography of the Lungs (Otoruko) LP
Steve Reich: Music for 18 Musicians (Nonesuch) LP
Klaus Schulz: Cyborg (Brain) LP
Sisters of Mercy: Vision Thing (Warner) LP
Sisters of Mercy: Floodland (Warner) LP
Sisters of Mercy: First and Last and Always (Warner) LP
Smog: Dongs of Sevotion (Drag City) LP
T. Rex: Electric Warrior (Rhino) LP
Wilco: Yankee Hotel Foxtrot (Nonesuch) LP
Zazou/Bikaye/CY1: Blanc et Noir (Crammed) LP
Various: Shaolin Soul 1 (Because) LP
Various: Shaolin Soul 2 (Because) LP
Various: Shaolin Soul 3 (Because) LP

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…..news letter #851 – 6…..

A much quieter week here on the new release front, which gives you some time to catch up on all the stuff that’s been coming out lately. Loads of hot new rekkids to pick up. And if new records aren’t your thing, we’ve been getting lots of sweet little stacks of used records too, and we’ve been pricing up a storm. Come have a dig.

If you haven’t had a chance to check out our new webstore… CHECK IT OUT!  The inventory is live with the shop, so if it’s in stock there, it’s in stock in the store. We have an instore pick up option, so if you are local, but going out of town, or just don’t want to miss out on something, by all means, buy it through the site and it’ll be here waiting for you when you have time to get in.

…..pick of the week…..

rega

Rega Planar 6 Sale!
Rega doesn’t have a lot of sales, but when they do, they are killer deals, and this one is no exception! Crazy savings on amazing turntables! Only for the month of June! The Planar 6 has one goal, to reproduce your vinyl as accurately as possible. We have engineered every aspect of this turntable to extract as much detail from the vinyl surface as possible. Advanced materials and engineering solutions have been used throughout the design to ensure the greatest level of performance.The Neo PSU offers electronic speed change, advanced anti-vibration control and user adjustable electronic fine speed adjustment only found on the RP10 until now. See ‘product details’ tab below for full information.

File Under: Sales, Gear, Rega
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…..new arrivals…..

behemoth

Behemoth: Messe Noire (Metal Blade) LP
Polish black/death overlords Behemoth present the brand new live collection Messe Noire, recorded at Progresja in Warsaw, Poland on August 8, 2016. Comments singer/guitarist Nergal: “‘Messe Noire’. Well, that is everything that the Behemoth live magick represents, and we’re stoked that we have a true representation on record for everyone out there to enjoy. ‘Messe Noire’ captures the true intensity of what we do as a band and the energy we share with our fans. This is also an exclamation mark, the perfect way to conclude ‘The Satanist’ cycle which has been an overwhelming experience and amazing chapter in Behemoth’s career and our lives so far!”

File Under: Metal
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bombino

Bombino: Deran (PTKF) LP
In tomorrow… Home. Where the heart is. For Bombino and most other Tuareg, there’s only one place that can be. In recent years, the rest of the world has largely written off that home as a hot and savage wasteland, a bolt hole for religious extremists and terrorists, a geopolitical video nasty with little to offer apart from the oil, gold and phosphates that lie beneath its soil. But Bombino would like us to take a closer look and think again. How to celebrate that desert home, how to protect it, develop it, unify it, respect it and, above all, never forget it, are the salient themes of his brand new album Deran. They’re dressed up in 10 songs of rare maturity and power that mark a turning point in the career of a guitarist and songwriter who was born in the shade of an acacia tree about 80 miles north west of the ancient town of Agadez, and has since risen to forefront of the new Tuareg guitar generation. It’s a turning back the source of everything that makes Bombino who he is. “My mission for this album was always to get closer to Africa,” he says. Not surprising then that the decision was made to record Deran as close as possible to his native Niger in the southern Sahara. The ideal venue emerged in the shape of Studio Hiba, a top flight recording facility owned by King Mohammed VI located in a fairly drab industrial suburb of Casablanca in Morocco. There Bombino and his steady long-term band – fellow Tuareg Illias Mohammed on guitar and vocals, American Corey Wilhelm on drums and percussion and the Mauritanian (living in Belgium) Youba Dia on bass – slept, ate and made music in blissful isolation. Their circle was widened by Moroccan percussionist Hassan Krifa, and by Bombino’s cousins Anana ag Haroun (lead singer of the Brussels-based Tuareg band Kel Assouf), and Toulou Kiki (singer and star of the film Timbuktu), who dropped in to add some ‘gang’ vocals. After Casablanca, the tapes flew to Boston to be embellished by Sudanese friend and keyboardist Mohammed Araki. Whatever emerged at the end of the process had to be fresh and powerful. Yes. Bombino and crew have conjured up a roving mystery tour of contemporary Saharan sounds, from the raw diesel rock of the opener “Imajghane” (‘The Tuareg’), to the camel gait lope of “Tenesse” (‘Idleness’), the tender lilt of “Midiwan” (‘My Friends”) and the ‘Tuareggae’ style that is Bombino’s unique contribution to desert music on the song “Tehigren.” All the desert is there, harsh and gentle, tragic and playful. But more than anything Deran had to be honest and true. The pressure to be the authentic voice of his culture and his home on the world stage weighs heavy on Bombino. “You have to begin with the question of who you are,” he says. “You’re a Tuareg. With all the travels, all the experience of world, it’s as if I’m making myself remember where I come from. Where I come from will always be my home, my memory.” Simple, raw, true, that was the brief. “We wanted him to take a deliberate step out of the shadow of the celebrity producer,” says Bombino’s manager, and Deran producer, Eric Herman. “Apart from that, the idea was to take this raw, spontaneous, unadulterated approach to capturing his songs.”

File Under: Tuareg, Desert Blues
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fatherjohnmisty-gods_1800x

Father John Misty: God’s Favorite Customer (Sub Pop) Loser Edition LP
Written largely in New York between the summer of 2016 and winter of 2017, Josh Tillman’s fourth Father John Misty LP, God’s Favorite Customer follows-up his Grammy-nominated 2017 effort Pure Comedy and reflects on the experience of being caught between the vertigo of heartbreak and the manic throes of freedom. God’s Favorite Customer reveals a bittersweetness and directness in Tillman’s songwriting, without sacrificing any of his wit or taste for the absurd. From “Mr. Tillman,” where he trains his lens on his own misadventure, to the cavernous pain of estrangement in “Please Don’t Die,” Tillman plays with perspective throughout to alternatingly hilarious and devastating effect. “We’re Only People (And There’s Not Much Anyone Can Do About That)” is a meditation on our inner lives and the limitations we experience in our attempts to give and receive love. It stands in solidarity with the title track, which examines the ironic relationship between forgiveness and sin. Together, these are songs that demand to know either real love or what comes after, and as the album progresses, that entreaty leads to discovering the latter’s true stakes. God’s Favorite Customer was produced by Tillman and recorded with Jonathan Rado (Foxygen), Dave Cerminara (Jonathan Wilson, Foster the People, Conor Oberst), and Trevor Spencer (FJM). The album features contributions from Haxan Cloak, Natalie Mering of Weyes Blood, longtime collaborator Jonathan Wilson, and members of Misty’s touring band.

 File Under: Indie Rock
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joan of arc

Joan of Arc: 1984 (Joyful Noise) LP
Over their 20-odd year discography, Joan of Arc’s astute, endlessly probing musical experimentation – steadfastly resistant to dogma and genre at every turn – has been chorused by a barrage of voices, mostly from the singular larynx of mainstay Tim Kinsella, who remains endlessly obsessed with (and infuriated by) Orwellian language and it’s dominion over American life. Richard Brautigan, Mark Twain, Elizabeth Taylor, and Assata Shakur might visit his lyrics, but it’s the band itself that contains multitudes. Throughout Joan of Arc, Kinsella and his bandmates have hewn together a true artistic democracy – some two dozen members over the years – to confront the darkening political realities and interpersonal mysteries of our time. Like their namesake – a donee of revelation who became a fierce holy warrior, only to be discarded by a king and burned at the stake as a heretic – Joan of Arc has inspired their share of true believers and dismayed legions of skeptics. And now, a series of nearly a cappella performances from Kinsella’s fellow vocalist Melina Ausikaitis, debuted live by Joan of Arc over the last several years, has become the backbone of their new LP, 1984. Remarkably, so much of the cluttered sound of earlier LPs has largely fallen away on 1984, as has Kinsella’s voice. At first it’s genuinely shocking. But the songs here are a revelation, as profound and plainspoken as parables. Thoroughly of the band’s lineage, Ausikaitis’ lyrics are equally measured with wit, despair and stubborn perseverance. There is awkward sex at Grandma’s house. There are kids in the snow wearing cop sunglasses and the crumbling psychic defenses of childhood memories. There are A-frame houses and white horses. There are trucks losing their brakes on the hill at the end of the street. There are heaps of thoroughly useful self-help advice (“stop chicken-shittin’ all over your life” has become a personal mantra.). Like the album’s striking hand drawn cover art, the music inside is often spare. Anthemic highs ring from elegiac lows and back again. At times, Ausikaitis sings in an earnestly tangy and lovely flat twang redolent of the midwest, before screwing her voice up into a fearsome roar. Sometimes her voice is electronically distorted, like bells in the sky, into ringing eternity.

File Under: Indie Rock
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megadeth

Megadeth: Killing is my Business… and Business is Good (Century Media) LP
Hailed as one of the best thrash metal debuts of all time, legendary thrash metal trailblazers Megadeth celebrate the band’s 35th Anniversary with a deluxe 180g 2LP re-issue of their revolutionary first effort, Killing Is My Business…And Business Is Good! Originally released in 1985, the album has been completely restored to band mastermind Dave Mustaine’s intended vision. Remixed by veteran metal mixer, Mark Lewis (Trivium, Death Angel, Devildriver, Whitechapel) and remastered by Ted Jensen for an optimal listening experience, the 2018 version reveals previously unheard parts and performances throughout the record, including a missing drum performance found during the mixing sessions. This rare gem includes the full original album, along with 7 live audio tracks from VHS tapes found in MegaDave’s own attic. In addition to the bonus live tracks, the re-issue also features Megadeth’s 1984 3-track demo and the previously removed cover of “These Boots,” that has been added back to the record with recut vocals true to Lee Hazelwood’s version. The re-issue is further enhanced by new album cover artwork featuring a fully executed sculpture of the iconic skull that has been lost over the many years since the album’s initial release. The packaging also includes classic flyers and band photos pulled from their archive of timeless metal moments from Megadeth’s storied 35-year history. Mustaine delves into the struggles during that time period as well as some of the surprising moments during the remixing sessions throughout the re-issue’s liner notes.

File Under: Metal
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phair

Liz Phair: s/t (Capitol) LP
Available for the First Time on Vinyl! Ever since Exile In Guyville landed in 1993, Liz Phair has been cipher for a certain kind of aesthetic. She’s been called “the female face of indie rock,” a “slacker poet of the first degree” and a “brainy bad girl,” but she forever remains America’s sardonic sweetheart. Following up her great trifecta of albums that included Exile in Guyville (1993), Whip-Smart (1994) and Whitechocolatespaceegg (1998), Liz Phair’s eponymous fourth full-length effort and second in just ten years found her working in a more mainstream pop arena with singer/songwriters Michael Penn and Pete Yorn and hitmakers The Matrix. The album debuted at No. 27 on the Billboard 200 and yielded the successful singles “Why Can’t I?” and “Extraordinary.”

File Under: Indie Rock
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whip smart

Liz Phair: Whip-Smart (Capitol) LP
Ever since her audacious debut, Exile In Guyville, landed in 1993, singer-songwriter Liz Phair has been cipher for a certain kind of aesthetic. She’s been called “the female face of indie rock,” a “slacker poet of the first degree” and a “brainy bad girl,” but she forever remains America’s sardonic sweetheart – as Guyville’s follow-up, Whip-Smart, continued to prove in 1994. Fusing lo-fi production with a singer-songwriter sensibility, Phair helped shape what would become “indie rock” and defied expectations of what a female rock star could be. Whip-Smart builds upon the foundation set forth by her debut, capturing the same intimate, DIY style but with slicker arrangements, multi-layered vocals and experimental sound effects. Whip-Smart is far more 90s power-pop than her first offering however. Lead single, “Supernova,” dominated alt.rock radio and MTV that year, and greatly introduced the once indie darling to more mainstream audiences, even earning Phair her first Grammy nomination. Whether she’s reflecting on a one-night stand to the tune of the traditional waltz “Chopsticks” or invoking the official slogan of America’s westward expansion in “Go West,” to get over an ex, her unflinching honesty and confessional songwriting is why an entire generation so strongly identified with her, and why she forever looms large as the alt.rock queen of the 90s. “Nashville” is another standout track, with its hazy shoegaze intro, and features one of the best refrains on the album. Much of the latter half of the record is dominated by downtempo bedroom rock, with the exception of the full-on rocker, “Jealousy.” Whip-Smart would go on to debut at No. 27 on the Billboard 200, later achieving Gold status and inspiring countless singers and female-fronted bands for decades to come.

File Under: Indie Rock
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whitechocolate

Liz Phair: Whitechocolatespaceegg (Capitol) LP
Ever since Exile In Guyville, landed in 1993, singer-songwriter Liz Phair has been cipher for a certain kind of aesthetic. She’s been called “the female face of indie rock,” a “slacker poet of the first degree” and a “brainy bad girl,” but she forever remains America’s sardonic sweetheart. The final installment in Phair’s great trifecta of albums which began with her audacious debut and continued with its slick power-pop follow-up Whip-Smart (1994), Whitechocolatespaceegg marked her hook-fueled return from hiatus in 1998. Drawing on themes of motherhood and family after getting married and giving birth to a son, the intimate and autobiographical collection peaked at No. 35 on the Billboard 200 and yielded the singles “Polyester Bride” and “Johnny Feelgood.”

File Under: Indie Rock
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prof3Professor Rhythm: Professor 3 (Awesome Tapes From Africa) LP
Professor Rhythm’s 1991 recording Professor 3 is a vivid reflection of urban South Africa as apartheid was ending. Thami Mdluli’s production project had young and old dancing to a sound that sought to unite Blacks within Southern Africa. “Our music gave hope to the hopeless,” he says. Professor Rhythm’s third instrumental album (which contains some background vocals, to be exact), portrays the moment when the dominant mbaqanga and American R&B-based bubblegum sounds being produced in Johannesburg and other urban centers were transforming into house and hip-hop-inspired kwaito. The pop of the 80’s and all that went with it – from the models of synths and drum machines to the lyrical style – gave way to a changing melodic emphasis and new, much slower tempi using a completely different rhythmic skeleton. Upbeat, chipper bubblegum, often with double-time breakdowns and upstroke syncopations, faded and the sounds began to more closely resemble those of contemporary Black America – where hip-hop was slowing down and the bass-lines and melodies were getting moodier, darker in general. At the same time house music had briefly reached mainstream acceptance in the States and that popularity continued to feed into awareness overseas. These two influences blended with the burgeoning house music scenes in Johannesburg and Pretoria as Professor 3 was being produced in March 1991 (the same year apartheid ended). Mdluli explains, “We were Influenced by foreign bands and so people updated their sound.” According to Mdluli, the evolving sound was bolstered by widening availability of house and rap records from abroad while, most importantly, an increasing sense that apartheid might soon be finished was met with a new positivity vibe society. Professor 3 came out on vinyl as the LP business was dying in South Africa and sold around 20,000 copies. It was mainly distributed on tape, which sold closer to 100,000. With the help of engineer Fab Rosso, the recording features backing vocalists from Mango Groove. After making a half-dozen records as Professor Rhythm, Mdluli once again shifted his focus musically. By the mid-90’s he had veered off gospel music – and left playing in bands and started making his own solo recordings. His enormous success in the gospel realm in the years since is a remarkable story in its own right, but for now we are only dancing.

File Under: Africa, Funk, Electro
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reichSteve Reich: Live Electric Music (Analog Spark) LP
“‘It’s Gonna Rain’ was composed in San Francisco in January of 1965. The voice belongs to a young black Pentecostal preacher who called himself Brother Walter. I recorded him along with the pigeons one Sunday afternoon in Union Square in downtown San Francisco. Later at home I started playing with tape loops of his voice and, by accident , discovered the process of letting two identical loops go gradually in and out of phase with each other. “‘Violin Phase’ was composed in New York in October 1967. Here, the process discovered with tape recorders is applied to a human being playing against several pre-recorded tapes of himself. In two sections of the piece the performer gives a sort of auditory “chalk talk” by simply playing one of the pre-existent inner voices in the tape a bit louder and then gradually fading out, leaving the listener momentarily more aware of that particular figure. The choice of these figures is largely up to the performer, and I want to thank Paul Zukofsky for bringing out several very interesting ones I never would have though of without him. “‘It’s Gonna Rain’ is the first and ‘Violin Phase’ the last of a series of pieces all dealing with the process of gradually shifting phase relations between two or more identical repeating figures. This process determines both the note-to-note (sound-to-sound) detail and the over-all form as well. It is a process we can all hear.” – Steve Reich

File Under: Avant Garde, Tape Music, Experimental
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stonesRolling Stones: Their Satanic Majesties Request (Abkco) LP
Their Satanic Majesties Request (December 1967) was the first Rolling Stones album to be released on both sides of the Atlantic with the same running order and inside the same record sleeve. The title was a satirical take on the words inside a British passport: “Her Britannic Majesty’s Secretary Of State requests and requires…” Coming to fruition during a transformative year in music, the summer of 1967 had been dominated by The Beatles’ pop art masterpiece Sgt Pepper’s, Jimi Hendrix’s Are You Experienced and Pink Floyd’s The Piper At The Gates Of Dawn. Bands the world over wanted to be part of the psychedelic revolution that was changing pop music and the Stones were no different. A tangle of psychedelic sounds and influences, complete with iconic 3D artwork, Their Satanic Majesties Request reached No. 3 in the UK charts and remains a charming curiosity. Though the band went straight back to their rock and blues-based roots the following year with Beggars Banquet, their foray into flower power was a bold and fruitful attempt to branch out. “She’s A Rainbow” is a sweet chorus-based pop song that features Brian Jones on Mellotron and deft string arrangements from future Led Zeppelin bassist John Paul Jones. Another success is “2,000 Light Years from Home,” while the haunting “The Lantern” is arguably a forerunner of “Shine A Light” from 1972’s Exile On Main St

File Under: Rock
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uniform

Uniform/The Body: Mental Wounds Not Healing (Sacred Bones) LP
In Spring 2017, Uniform was asked to support fellow noisy, boundary-pushing duo The Body for a European tour. Having been longtime fans of the band, Uniform vocalist Michael Berdan and guitarist Ben Greenberg jumped at the opportunity. During the planning phase of the tour, Berdan and Lee Buford from The Body started corresponding regularly. Ultimately, Berdan asked Buford if he and The Body cofounder Chip King would be interested in making a collaborative record with Uniform. Buford enthusiastically assented, and the seed of Mental Wounds Not Healing was sown. A few months after the genesis of the idea, Berdan and Greenberg went to the legendary underground Providence studio Machines With Magnets, where The Body were finishing up work on their latest LP. King and Buford had a ton of cool beats and music ready that Berdan played synth bass lines over. Greenberg then played guitar over Berdan’s bass lines, and the songs began to take shape. After the Machine With Magnets session, engineer Seth Manchester sent Greenberg stems of the tracks to work on back in Brooklyn. Berdan recorded vocals in the hallway of Greenberg’s tiny apartment, and the raw intensity of that makeshift session served as the perfect counterpoint for King’s unmistakable voice. Effectively, every song on Mental Wounds Not Healing is a duet between Berdan and King. The collaboration pushes both bands far beyond their roots in industrial music and metal, creating an immersive listening experience that truly transcends genre. The title of the record is a line stolen from the chorus of Ozzy Osbourne’s “Crazy Train.” Most of the titles are culled from horror literature and cinema, with specific nods to Shirley Jackson, Jack Ketchum, and Elem Klimov. Thematically, the songs have to do with feeling trapped in one’s own mind, projecting images over and over again of a future in shambles before it even gets a chance to happen. It is about hopelessness, anxiety, and depression so familiar that they seem like permanent fixtures of one’s psyche and identity.

File Under: Metal
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…..Restocks…..

Beach House: 7 (Sub Pop) LP
Bjork: Homogenic (One Little Indian) LP
Boards of Canada: Campfire Headphase (Warp) LP
Boards of Canada: Tomorrow’s Harvest (Warp) LP
Leon Bridges: Good Thing (Columbia) LP
Nick Cave: Push the Sky Away (Bad Seed) LP
Chvrches: Love is Dead (Glassnote) LP
Earth: 2 (Sub Pop) LP
Bill Evans Trio: At Shelleys Manne-Hole (OJC) LP
Bill Evans Trio: Waltz for Debby (OJC) LP
Gang of Four: Entertainment (Universal) LP
Getz/Gilberto: s/t (Verve) LP
Herbie Hancock: Prisoner (Blue Note) LP
Jon Hopkins: Singularity (Domino) LP
Lhasa: Living Road (Audiogram) LP
Sturgill Simpson: Metamodern Sounds (Thirty Tigers) LP
Sleep: Dopesmoker (Southern Lord) LP
Sufjan Stevens: Illinois (Asthmatic Kitty) LP
Sunn o))): Monoliths & Dimensions (Southern Lord) LP
Townes Van Zandt: Flying Shoes (Fat Possum) LP
Townes Van Zandt: Live at the Old Quarter (Fat Possum) LP
Gillian Welch: Harrow & The Harvest (Acorn) LP

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…..news letter #850 – wah…..

Yikes, mega stock week! Loads of great stuff in this week, so strap on your reading glasses. Hopefully you’ve had a chance to check out our new webstore… if not CHECK IT OUT!  The inventory is live with the shop, so if it’s in stock there, it’s in stock in the store. We have an instore pick up option, so if you are local, but going out of town, or just don’t want to miss out on something, by all means, buy it through the site and it’ll be here waiting for you when you have time to get in.

…..picks of the week…..

che

Che’SHIZU: A Journey (Black Editions) LP
In tomorrow… Black Editions present the first ever vinyl release of Ché-SHIZU’s signature album A Journey, originally issued in 1994 by Tokyo’s legendary P.S.F. Records. Ché-SHIZU is one of the most original and mystifying groups to ever emerge from the Tokyo underground. Founded by master improviser Chie Mukai in 1981 the group has been guided by her singular vision for nearly 40 years. Throughout its history Ché-SHIZU has challenged traditional notions of song structure and improvisation. Mukai’s signature instrument, the Chinese er-hu, is an ancient two stringed bowed instrument rarely found outside of traditional music. Even within the wildly diverse roster of artists on P.S.F. Records, Ché-SHIZU is a playful and confounding outlier. Early on Mukai became active within the avant-garde movement flowering in Tokyo during the mid-1970s. She studied with renowned Fluxus composer and violinist Takehisa Kosugi, recalling, “that encounter was so huge for me, much more than any one technique. Even in terms of the er-hu, I only started playing it because Kosugi gave it to me.” In 1975 she joined his East Bionic Symphonia, a large improvising ensemble featuring students from Tokyo’s Bigakko art school. From there she contributed to improvising avant-garde groups including an early version of Marginal Consort and later the Vedda Music Workshop. Her work with Ché-SHIZU however is where her vision most clearly emerged. Ché-SHIZU released its first album I Can’t Promise in 1984 on Zero Records, in time the album would become a revered classic. It would be another ten years before another full-length would be released. During that time the group performed extensively with various rotating line ups. In the summer of 1994, Mukai led the group to Studio J in Tokyo to record an album for the P.S.F. label. Released later that year, the album was titled A Journey. Fittingly, it is a sprawling excursion through ethereal dreamscapes, the group confident in its own resplendent joy. Over the album, the group creates a spontaneous, loose form of chamber pop that weaves folk and a light psychedelia into something entirely unique. Pop songs like “Juso Station” intersect with instrumentals such as the title track to create a varied yet coherent improvisational language. Remastered; deluxe double-LP edition cut at Dubplates & Mastering, Berlin and pressed at Pallas Germany. Includes new expansive artwork and lyric translations, housed in a spot gloss heavy gatefold jacket; Includes high resolution digital download.

File Under: Chamber Pop, Psych, Japan
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cups

Various: Cups N Cakes (Double Lunch) CS
A DIY labour of love! The Cups N Cakes Network have released their very first compilation and it’s an impressive DIY statement. Out now on Double Lunch Records the packaging is designed to mimic a box of Crayola Crayons. This limited edition cassette comes in a handmade crayon box. Each tape is hand-numbered and coloured to mimic the crayons within. Other goodies found inside include a booklet, stickers and a download code.  The release features 17 songs from these 18 different acts: Screaming Targets (Edmonton), Mulligrub (Winnipeg), Dumb & Friends (Vancouver), Doug Hoyer (Edmonton/Chicago), Gary’s House (Montreal), Ultra Mega (Winnipeg), Chris Page (Ottawa), Bad Canada (Vancouver), Valiska (Calgary), Expanda Fuzz (Ottawa), Cham (Edmonton), Body Lens (Lethbridge), Counterfeit Jeans (Edmonton), Soul Mates (Saskatoon), Sister Ray (Edmonton), Jesse & The Dandelions (Edmonton), Napalmpom (Calgary) & Night Committee (Calgary). Each song was recorded exclusively for release on this compilation, you’ll only find these tracks here! Limited to a run of 300, this special edition packaging will be a one-time release.

File Under: Punk, Indie, Cups N Cakes
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…..new arrivals…..

agitation

Agitation Free: Last (Wah Wah) LP
Last, the third LP by krautrock legends Agitation Free, was originally released in 1976 on Barclay in France as a posthumous LP that included tracks from ‘73 and ’74. Agitation Free had been formed in 1967 by Lutz ’Lüül’ Ülrich, Michael ‘Fame’ Günther, Lutz ‘Ludwig’ Kramer and Christoph Franke. They soon gained the residency as the house band on Berlin’s Zodiac Club with their impressive multimedia stage show. By 1973 they had already released two LPs and suffered several line-up changes and the members of the band that recorded ‘Last’ included Michael Günther on bass, Burghard Rausch on drums, plus Jörg Schwenke and Lutz Ulbrich on guitars, plus friends – Erhard Grosskopf on loops, Michael Hoenig on synthesizer, a.o. Although the album was first released in 1976, side one was recorded live in France in March 1973 and side two live in the studio in Berlin, February 1974. But don’t be fooled by this, the whole LP sounds as a proper studio recording, no intrusive audience noises, perfect mix, outstanding audio quality.
File Under: Krautrock
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alloversAllovers: Yer Guises (Anxious & Angry) LP

Formed  in  2011,    the  Edmonton/Calgary  hybrid,  made  up  of  guitarist  Matt  Pahl,  bassist  Paul  Arnusch  (The  Wet  Secrets,  Faunts,  The  Whitsundays)  and  drummer  Garrett  Kruger  (Fire  Next  Time),  has  a  way  of  combining  genres  that’s  unique  to  them,  all  the  while  writing  songs  that  either  make  you  think  twice  or  not  think  at  all.    With  titles  like  Dog  Team  Cooperation, Hitchcock  Twist, and Rinkydink (a  song  written  from  the  perspective  of  a  breaking  down  lawnmower  as  a  comment  on  the  cheapening  of  the  modern  world),  The  Allovers  have  levels  that  belie  their  lighthearted  exterior.  With  punk  structures  reminiscent  of  The  Ramones,  melodies  and  harmonies  cut  from  the  same  jib  as  Burt  Bacharach  or  The  Everly  Brothers  and  sonic  textures  entering  similar  territory  as  Thurston  Moore,  The  Allovers  are  guaranteed  to  hook  you,  move  you,  then  keep  you  singing  along  for  years  to  come.
File Under: Punk
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burkeSolomon Burke: Best of Atlantic Soul (Run Out Groove) LP

Solomon Burke helped shape the sound of rhythm and blues as one of the founding fathers of soul music. He had a litany of hit singles in the ’60s for Atlantic Records including “Cry to Me, “If You Need Me,” “Down in the Valley,” and “Everybody Needs Somebody to Love.” Drawing inspiration from gospel, jazz, country and blues – Burke developed his own unique style and was often called “The King of Rock ‘n’ Soul.” Atlantic co-founder Jerry Wexler hails Burke as “the greatest male soul singer of all time.” In 2001, he was inducted into the Rock N Roll Hall of Fame. Run Out Groove’s twelfth title is a brand new retrospective of Solomon Burke’s critically-acclaimed, recorded material for Atlantic Records from 1962-1965 including the hit song, “Everybody Needs Somebody to Love,” featured on the Blues Brothers movie soundtrack. It is the first domestic vinyl collection of his ground breaking Atlantic recordings released since 1966. Each LP is individually numbered and comes pressed on 180g vinyl courtesy of Record Industry. An old school tip-on Stoughton sleeve with brand new artwork and liner notes rounds out the package. Run Out Groove is a new vinyl only label that caters specifically to music fanatics, pressing titles made by music fans for music fans. Their goal is to uncover, customize, reconfigure and reissue the coolest vinyl titles from the most unique artists of the last five decades. They want the fan to be a part of the process by creating a communal and collaborative environment so they manufacture and release high quality vinyl titles based on fan choices and involve the consumer in the journey from initial concept to delivery of the final product. ROG records are made with the highest quality packaging for the discerning collector and dedicated fan and are all limited to a one time pressing.
File Under: Soul
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case
Neko Case: Hell-On (Anti) LP

An indelible collection of colorful, enigmatic storytelling that features some of her most daring, through-composed arrangements to date, Hell-On is simultaneously Neko Case’s most accessible and most challenging album, in a rich and varied career that’s offered plenty of both. Case’s first solo album in five years is rife with withering self-critique, muted reflection, anthemic affirmation and the beloved singer/songwriter’s unique poetic sensibility. Neko enlisted Bjorn Yttling of (Peter Bjorn & John) to co-produce six tracks with her in Stockholm, Sweden where she mixed the twelve track album with Lasse Mårtén. Hell-On features performances by Beth Ditto, Mark Lanegan, k.d. Lang, AC Newman, Eric Bachmann, Kelly Hogan, Doug Gillard, Laura Veirs, Joey Burns and many more.
File Under: Folk, Country
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cecilia
Cecilia: Adoration (Halcyon Veil) LP

In tomorrow… Adoration is the restrained yet ravishing début album by Mélissa Gagné, aka Cecilia, a Rome-based Montreal artist who previously lit up two songs on Rabit’s Les Fleurs Du Mal album, released an EP for Yves Tumor’s label (2017), and now makes a commanding and significant impression with one of 2018’s most haunting LPs, a filigree dramaturgy of trip hop, ersatz film score music, and ambient collage. Cecilia wrote and produced Adoration, singing in English, French, and Italian with accompaniment by mutual spirits such as her friend Jasmine Pisapia and the poet activist Griséldis Réal, who help to render a stark yet subtly gilded cross-section of her psyche, which places the listener as dark interpreter to a series of tumultuous inner dialogues. “One is summoned to whisper truth, beauty, tragedy to demon ears.” Incubated for 18 months between Montreal, Toronto, and New York, Adoration reads like intimately diaristic pages recalling an amorphous lucid dream. In that phantasmagoric headspace she meditates on loss and romanticism, using a shifting backdrop of highly visual stimuli to frame her thoughts and bring them to life with an uncannily immersive effect perhaps not felt so strongly since Félicia Atkinson’s Hand In Hand in 2017. Electronic bass and percussion are shadowed with traces of synth and guitar improvisations, but the one consistent element is the female voice. Sometime detached, glossolalic, and at others uncannily familiar, plaintive, that vocal presence is integral to the LP’s quietly absorbing atmosphere, and even if the listener can’t understand their direct meaning, they connote so much more through abstracted inference and ambiguity. Following her early forays made with the Charity Whore EP for Yves Tumor’s Grooming label, and previous work as DJ/producer Babi Audi, along with her hybrid stage works, Cecilia ties all those strands into an illusory yet highly distinguished work set to resonate with listeners from myriad backgrounds and disciplines.
File Under: Electronic, Experimental
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chvrches

Chvrches: Love is Dead (Glassnote) LP
In tomorrow… If there’s a theme in Scottish synth pop group Chvrches’ world as they release their third record, Love Is Dead, it’s willful, determined openness, both ideologically and in terms of actual creative process. This time around, instead of Lauren Mayberry disappearing for days at a time, the trio stayed in the same room even while Lauren was writing lyrics. As a result, the album “feels a lot more coherent,” she says. Lauren also consciously pulled from a different psychic well when writing those lyrics, one that’s less introspective and more expansive and imagistic. “I tried to write less about romantic love specifically,” she says. “And more about the overarching concept of love.” And, for the first time ever, Chvrches opened their proverbial doors to outside influence. The Eurythmics’ Dave Stewart served as the band’s de facto mentor, providing insight Lauren says “really pushed us to focus on the artistic integrity of the album and everything that surrounds it.” Steve Mac co-produced the soaring ode to hope, “Miracle.” And thanks to some extremely productive time spent in what Lauren calls his “Aladdin’s Cave,” Greg Kurstin (Adele, Sia) wound up co-producing eight of the record’s twelve tracks. “We had similar musical tastes and we clicked in the writing process pretty quickly,” Kurstin recalls. “I got to pull out all of the things I don’t have a chance to normally use.” The result is the purest ever distillation of Chvrches’ signature pretty gloom. This conscious move towards openness in the creative process reflects a bigger, deeper existential theme as well. Lead single “Get Out” is a sprawling crescendo of heartbroken joy while”Graffiti,” with it’s lilting syncopated backbeat follows suit. Then there’s the slinky “Deliverance,” which personifies that classic Chvrches blend of punk ethos with a pure pop sound. The band doesn’t consider their music expressly political, per se, but the urgent, brightly haunted “Graves,” feels abject and despairing yet joyful in a decidedly topical way. And on, “Miracle,” Mayberry questions “I feel like but I’m falling but I’m trying to fly, where does all the good go?” The dreamy “Heaven/Hell,” gets at an issue Chvrches have been dealing with since day one: what it’s like to be a rock band with a female frontperson. That’s a lot of what Love Is Dead is about: growing up, “coming to terms with the fact that there are great things in the world and there are awful things in the world and that you can’t get one without the other,” Lauren closes.
File Under: Synth Pop
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father johnFather John Misty: God’s Favorite Customer (Sub Pop) LP

Written largely in New York between the summer of 2016 and winter of 2017, Josh Tillman’s fourth Father John Misty LP, God’s Favorite Customer follows-up his Grammy-nominated 2017 effort Pure Comedy and reflects on the experience of being caught between the vertigo of heartbreak and the manic throes of freedom. God’s Favorite Customer reveals a bittersweetness and directness in Tillman’s songwriting, without sacrificing any of his wit or taste for the absurd. From “Mr. Tillman,” where he trains his lens on his own misadventure, to the cavernous pain of estrangement in “Please Don’t Die,” Tillman plays with perspective throughout to alternatingly hilarious and devastating effect. “We’re Only People (And There’s Not Much Anyone Can Do About That)” is a meditation on our inner lives and the limitations we experience in our attempts to give and receive love. It stands in solidarity with the title track, which examines the ironic relationship between forgiveness and sin. Together, these are songs that demand to know either real love or what comes after, and as the album progresses, that entreaty leads to discovering the latter’s true stakes. God’s Favorite Customer was produced by Tillman and recorded with Jonathan Rado (Foxygen), Dave Cerminara (Jonathan Wilson, Foster the People, Conor Oberst), and Trevor Spencer (FJM). The album features contributions from Haxan Cloak, Natalie Mering of Weyes Blood, longtime collaborator Jonathan Wilson, and members of Misty’s touring band.
File Under: Indie Rock
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frickeFlorian Fricke: Die Earth Und Ich Sind Eins (Wah Wah) LP

Issued in 1983 as a limited private pressing, Die Erde und Ich sind Eins was Florian Fricke’s first ‘solo’ LP. It features the guitar of his Popol Vuh partner Daniel Fichelsher and vocals by Anni Morris Wieland, Bettina Fricke Waldthausend, Dieter Prym, Florian Fricke, Friedemann Berger, Friedemann Wieland, Gisela Von Doering, Ingeborg Jahnke, Jan Lorck-Shjmerning, Jana Faust, Karl F. Weber and Klaudia Wieland. ‘You could label it as ‘body-space-music’ (Körperraummusik) where you sing inside the body and take it in such a way that every cell in the body, from the sole of the foot to the crown of the head, starts to vibrate. In order to be able to realise this I have experimented to find where speech resonates in the body. The consonants vibrate at the body walls, the bones and flesh and the vowels fill the body spaces. And that sounds like a gong-concert: it also has a great therapeutic effect.’ – Florian Fricke
File Under: Experimental, Kosmische
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mellow drea

Ryo Fukui: Mellow Dream (We Release Jazz) LP
In tomorrow… We Release Jazz (WRWTFWW Records’ new sister-label) present the official reissue of criminally overlooked Japanese jazz gem Mellow Dream by Hokkaido pianist wunderkind Ryo Fukui, originally released in 1977. Released in conjunction with the its legendary predecessor 1976’s Scenery (WRJ 001CD/LTD-LP). Firmly standing on the foundation he laid down with Scenery, Ryo Fukui continues his exploration of modal, bop, and cool jazz sounds with meticulous grace and absolute mastery. As its title suggests, Mellow Dream ventures into slightly mellower, more soulful, and sometimes more contemplative territories (the Bill Evans-reminiscent “Mellow Dream” and “My Foolish Heart”) while still packing the commanding punch Fukui’s work is loved for, as heard on the amazingly bombastic “Baron Potato Blues” or the gigantic McCoy Tyner/John Coltrane-influenced “Horizon” which sees each member of the trio — Satoshi Denpo is on bass and Yoshinori Fukui is on drums — demonstrating their virtuosity for nine exhilarating minutes. With his sophomore album, Ryo Fukui swings from melancholy to vibrant joy with ease, and reminds you that jazz is best served with a pinch of blues, and displays an immensely rare combination of pure talent, unique personal approach and focused discipline. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists. After releasing the outstanding Scenery and Mellow Dream back-to-back, Ryo Fukui worked on developing his live skills, often performing at Sapporo’s Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing two live albums. He sadly passed away in March 2016, leaving behind a legacy of works that all jazz lovers should explore. Sourced from the original masters. CD comes in digipack.
File Under: Jazz, Japan
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ryo

Ryo Fukui: Scenery (We Release Jazz) LP
In tomorrow… We Release Jazz (WRWTFWW Records’ new sister-label) presents its first release, the official reissue of Ryo Fukui’s highly sought-after masterpiece Scenery, originally released in 1976. Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous, and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From “It Could Happen To You” and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of “Early Summer”, or the incredible teamwork of “Autumn Leaves” where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence, and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have. The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (WRJ 002CD/LTD-LP) in 1977. He then focused on improving his live skills, often performing at Sapporo’s Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing two live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come. Sourced from the original masters.
File Under: Jazz, Japan
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gam

GAM: 1976 (Wah Wah) LP
After the big success of our reissue of Günter Schickert’s amazing Samtvogel LP we present another of his projects, GAM – on which he joined Axel Struck and Michael Leske. A powerful trio of mind-expanding krautrock sounds formed in 1973, they recorded their first sessions in 1976, improvising directly to tape in Schickert’s basement – but these weren’t released until 1986, originally in cassette format – reissued some years later on CD. The sound of GAM 1976 differs a bit to that of Samtvogel. Obviously, this is a band effort delivering their guts in a one take session, while on Samtvogel Schickert was playing all the parts, layering one after the other using the sound on sound facilities of his reel to reel recorder. Here, instead, we have an energetic echo charged jam that takes us through different atmospheres and moods, a hidden gem in krautrock’s Kosmische history legacy.
File Under: Krautrock, Kosmische
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gas

Gas: Rausch (Kompakt) LP
In tomorrow… “Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there’s nothing / Once upon a time, there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist / Heavy as lead / Music happens / To flow like gas /A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite.” –Wolfgang Voigt, 2018; Rausch was created as a single composition. The intention is to listen to the album as a whole from beginning to end. Following a global tour, GASwill continue to perform live throughout 2018 to support Rausch.
File Under: Electronic, Techno
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ghostGhost: Prequelle (Loma Vista) LP
In tomorrow… Grammy Award-winning rock band Ghost unleash their highly anticipated fourth sacred psalm, Prequelle. Previous efforts have dealt with broad themes like impending doom (Opus Eponymous – 2010), the antichrist and the Inquisition (Infesstimum – 2013), humanism and avarice (Meliora – 2015), Prequelle delves into the plague, the apocalypse, and dark ages. It’s a snapshot of the world in which we live in on a daily basis, brought to life through an emotive, enlightening, and riveting body of songs. In an interesting twist in the Ghost saga, Cardinal Copia takes over vocal duties here, introduced by the epic lead single “Rats.” The album was recorded in 2017 at Artery studios in Stockholm with producer Tom Dalgety (Opeth, Royal Blood) and was mixed at Westlake Studios in West Hollywood, CA with Andy Wallace (Nirvana, Slayer). Colored vinyl pressing with accompanying 7-inch featuring covers of the Pet Shop Boys’ “It’s A Sin” and Leonard Cohen’s “Avalanche.”

File Under: Rock, Metal
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headtechHead Technician: Profane Architecture (Ecstatic) LP
In tomorrow… Pye Corner Audio morphs into Head Technician mode for the project’s brooding second sojourn with Ecstatic. Taking inspiration from his fascination with Brutalist construction, Martin Jenkins exclusively uses Roland TR-606, MC-202, and TB-303 boxes plus the Roland System 100 modular synth to sketch out a slow, murky sound in furtive pursuit of the vibes on Zones (2017), but this time the results are even darker and obscure. Echoes of early Detroit and UK bleep and bass infiltrate the stark corridors of Profane Architecture as much as the hauntological spirits of Boards of Canada, combining to make a sound that revels in nostalgia yet yearns for the future. It’s not a new idea, but it is one that Jenkins executes with such classic style and unique character that can only lead to comparisons with acid maestros such as early Plastikman or the Analord, Richard J. James. For moody dancers, Profane Architecture is perfect; from the oozing elan of opener “First Pour” through the spheric momentum of “Béton Brut” and the mind-weaving acid of “Formwork” he establishes a slickly hypnotic sound that works its magick with more funk on the flipped, generating the tactile form of “Second Pour” and the ruggedly hewn groove of “The New Brutalism”, then closing out with the exquisite darkness of “Demolition” — a real highlight in his extensive and highly collectible catalog. Cut by CGB at Dubplates & Mastering.

File Under: Electronic,Techno
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hedleyJoshua Hedley: Mr. Jukebox (Third Man) LP
With the release of his highly anticipated debut album Mr. Jukebox via Third Man Records, Joshua Hedley embraces the role he was born to play: this generation’s classic country champion. Hedley didn’t start writing his own songs until he was about 28 years-old. So on the backend of his 20s, he finally started writing, eventually unlocking a flood of clarity and creativity. The heartbreaking, distilled, defiantly classic country that poured out of him became Mr. Jukebox, a salve and beacon for 60s honky-tonk devotees everywhere. Album opener “Counting All My Tears” carves out the collection’s gloriously tear-jerking territory from the jump. As “oooooohhhs” and “aaaaahhhs” serve as spine-tingling harmonies – a classic-country flourish carried throughout Mr. Jukebox – lonely piano is joined by a familiar cast including steel and of course, fiddle. “Mr. Jukebox” is a swinging nod to those beloved machines – both inanimate and breathing – that dependably play a lot of songs for a little money. It’s impossible to listen to the tune and not smile thinking of Hedley’s years logged in cover bands on Nashville’s Lower Broad. Lush strings kick off the sauntering “Weird Thought Thinker,” which features harmonies that evoke both bass walkdowns and angels. An ace fiddle intro opens “Let Them Talk,” a carefree ode to being in love and not worrying about who knows it. “Let’s Take a Vacation” pleads for one last lovers’ getaway to try to remember what’s been lost. Hedley delivers a masterful recitation over crying steel, soft harmonies, and rich supporting strings. He penned shuffling “These Walls” about FooBar, a beloved East Nashville dive Hedley lived near before it shut down. “This Time” paints a vivid picture of leaving that’s both proud and blue. Simple and brilliant, “I Never Shed a Tear” sounds like a standard, but just like all but one track on Mr. Jukebox, it’s a Hedley original. “You’re trying to say as much as you can in as few words as possible,” he says. “Trying to convey an emotion to make people feel their own emotions.” Hedley’s ability to capture feelings is on spellbinding display in album standout “Don’t Waste Your Tears,” a soaring, gut-punching vocal performance. The final track is the only cover: a goosebumps-inducing version of “When You Wish Upon a Star.” Hedley picked the song to honor his dad, who passed away about three years ago without seeing the record deal, glowing press, and peer admiration Hedley’s earned. “We spent a lot of Christmases at Disney World,” he says. “When I was searching for a cover song, it dawned on me that my dad didn’t get to see any of this happen, but he always wanted it.” When asked what he hopes listeners get out of Mr. Jukebox, Hedley doesn’t hesitate. “I just want people to remember they have feelings, and that they’re valid,” he says. “Not everything is Coors Light and tailgates. There are other aspects of life that aren’t so great that people experience. They’re part of life, part of what shapes people. And that’s worth noting.”

File Under: Country
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basil

Basil Kirchin: I Start Counting (Trunk) LP
In tomorrow… Sublime unreleased score for the weird cult/brutalist thriller I Start Counting! (1970). Charming, odd, and affecting score by Basil Kirchin, made “in association” with his regular cohorts, Jack Nathan and John A. Coleman. The film was directed by the multi-talented and quite radical David Greene. Greene was also an actor, a successful producer and had already employed the services of Kirchin for his 1967 horror The Shuttered Room and quirky crime thriller The Strange Affair (1968). I Start Counting!, notably starred a 14-year-old Jenny Agutter, is set in brutalist Bracknell, with Agutter’s character living in Royal Point, a classic “threepenny bit” of a 1960s tower block. When she ventures away from the safety of this concrete castle on an obsessive, erotically charged journey, her world is turned upside down. As macabre, coming-of-age thriller, the score for I Start Counting! allowed Kirchin to explore more dark edges of film music and composition: as a score, it bubbles along with lots of classic Kirchin hallmarks, but here you are also treated to a beguiling opening song that is lyrically and musically developed and then slowly pulled apart over sequential cues. There is also an unusual Eastern tinge to some of the percussion and Kirchin’s distinctive pastoral oddness is here too. His sonic jumps between low drama and high tension are extraordinary, and his use of free jazz to bring about unease is both perfectly simple and effective. Basil’s original idea for the opening song was to have it sung by Cilla Black or Jenny Agutter, but in the end Lindsay Moore, the daughter of jazz chum Barbara Moore stepped in. The score is mighty fine but a little short, so included here is more unreleased soundtrack material from the Kirchin archive — a tape labeled “Third World Documentary”. This dates from the early 1980s and was produced for either TV or a festival and musically complements the first score well, even though they are two decades apart. The names of the musicians working here died with Basil, but the drummer for I Start Counting! may well have been Clem Cattini, Evan Parker was more than likely involved with the session, and possibly Derek Bailey too. As for the later recording, there is a distinctive modern “Fairview” sound to the cues and production. Mastered and sequenced by Jon Brooks, AKA The Advisory Circle.
File Under: OST, Library
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mogardAbul Mogard: Circular Forms (Ecstatic) LP
In tomorrow… Abul Mogard presents his debut LP, a suite of four analog synth pieces. Mogard was born in Belgrade, Serbia, and spent most of his life working in a metal factory, only beginning to approach music after his retirement. Following two highly regarded cassette releases on Steve Moore and Anthony Paterra’s VCO label and a series of compilations and split releases, Mogard makes a surprising departure on this debut album for Ecstatic Recordings. Circular Forms channels a wealth of soulful modular explorations and shadowy white-noise clouds. The end result is evocative, unsettling, and beguiling modern synth music. There’s a real emotive essence to his almost lyrical arrangements that is very much removed from the contemporary modular revival. Composed and recorded in solitude using a limited equipment array of Farfisa organs in conjunction with a self-built modular synthesizer, the album’s intoxicating distortions and extreme low frequencies translate into personal space and beautifully restrained impressions. Abul Mogard: “Lately I have been reading and appreciating visual art and paintings and this has informed my work on this album. Compared to my previous albums, this was the first time that I had a clear visual representation of my music, as geometrical forms — each element of a track suggested a form that intertwined with the other elements.”

File Under: Ambient, Electronic
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mogard1Abul Mogard: Works (Ecstatic) LP
In tomorrow… Ecstatic offer a deeply arresting and definitive collection of Works by erstwhile Serbian factory worker-turned-synthesist Abul Mogard; containing selections from two cassettes released in 2012 and 2013 on Steve Moore and Anthony Paterra’s VCO Recordings, as well as a cassette only release on Ecstatic, never before available on vinyl. Abul Mogard’s relatively unusual path to releasing music is well documented, but bears repeating here. Upon taking retirement from a job at a factory which he held for decades, Mogard craved the mechanical noise and complex harmonics of the industrial workplace, and found that the best way to fulfil that need was through electronic music – using a limited set-up of Farfisa organs, voices, samplers and a self-built modular system to realize a peaceful yet haunting, sweetly coruscating sound that resonates uncommonly with music from Leyland Kirby to Alessandro Cortini, or Fennesz and Tim Hecker. The nine tracks on Works are soused in an emotional richness that’s hard to forget once experienced. Broad daubs of distorted bass and naturally glorious harmonic progressions paint panoramas of wide open, grey-scaled skies whilst equally conveying the intimate feel of a person with their nose to the machine, toiling for a sound or feeling that really means something to them, and by turns, us. The fact that Mogard hails from an area hardly well-known for its synth music, and that he’s of an age where most people take up gardening or lawn bowls, rather than synth music, only helps to aid the enigma and magic surrounding this remarkable artist and his layered, emotional music. RIYL: Alessandro Cortini, The Caretaker, Fennesz, Tangerine Dream, Brain Eno, Tim Hecker.

File Under: Ambient, Electronic
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oneohtrixOneohtrix Point Never: Age Of (Warp) LP
In tomorrow… Age Of is Daniel Lopatin aka Oneohtrix Point Never’s most cohesive and richly composed work to date weaving a tapestry of disparate musical histories – early music, country and folk balladry, melodic pop, computer music and much, much more – demonstrating both the complexity and range of the artist’s repertoire. With sounds that are unsettlingly familiar and uniquely his own, Age Of guides us through an unclassifiable new world.

File Under: Electronic
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numbers
107-34-8933 (Nik Pascal Raicevik): Numbers (Wah Wah) LP
If you check the credits of The Rolling Stones’ Goats Head Soup LP from 1973 you’ll find a certain “Pascal” listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene – the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn’t do too well, since Buddah didn’t renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End… Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah’s Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read “Do not listen to this LP if you are stoned”. Numbers was the first reference in the Narco catalogue (NR101), each of the three tracks it contains is named after a drug: Cannabis Sativa, Methedrine and Lysergic Acid Diethylamide. The album was credited to 107-34-8933, there is no date of release on the disc, some sources take it as back as 1968 – in any case, this is the same record that was issued on Buddah in 1970 credited to Head and eponymously-titled. The Wah Wah reissue features the original cover artwork from the Narco edition. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain. “Nik Raicevic’s music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations. “This is an absolute must for collectors and fans of visceral, neurotic soundscapes.” (www.progarchives.com) “As far as late-60s / early-70s American Bedroom’ Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic’s alien topographIes – the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage’ sci-fi pulp-novel covers – & copious Downer’ sentiment. This music is imbued with a sort of lonely, anti-social sensibility that’s about as far as you can get from the Academic’ Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same.” (www.twoheadeddog.com)

File Under: Prog, Electronic, Kosmische, Psych
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beyondNik Raicevic (Nik Pascal Raicevik): Beyond The End, Eternity (Wah Wah) LP
Beyond The End… Eternity was released in 1971 under the Nik Raicevik monicker as Narco NR102. According to http://www.twoheadeddog.com, “Raicevic is clearly still in the early learning-curve stages,” which it a key LP to understand Nik’s evolution and setting the path for more evolved works to follow. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain. “Nik Raicevic’s music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations. – Limited Edition of 500

File Under: Electronic, Prog, Psych, Kosmische
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sixth earNik Pascal (Nik Pascal Raicevik): Sixth Ear (Wah Wah) LP
1972 saw the release of The Sixth Ear (Narco NR666), this time credited to Nik Pascal. A more complex work than Beyond The End…, it adds consistent rhythmic patterns to the mix with the addition of bongoes and also explores some interesting chord progressions. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain. – Limited Edition of 500

File Under: Electronic, Prog, Psych, Kosmische
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magentic webNik Pascal (Nik Pascal Raicevik): Magnetic Web (Wah Wah) LP
Magnetic Web was released in 1973. It appeared under the Nik Pascal monicker and showed a clear evolution in sound, favoured by the addition of an Arp 2600 and some rhythm boxes. It also included percussions and cymbals. The Two Headed Dog site thinks “this is his masterpiece in all of its acid-laced glory.” Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain. – Limited Edition of 500

File Under: Electronic, Prog, Psych, Kosmische
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zero gravityNik Pascal (Nik Pascal Raicevik): Zero Gravity (Wah Wah) LP
Nik’s last album, Zero Gravity (Narco NR123) came under the Nik Pascal name and had a fantastic side long piece on the title track which reminisces of the works of Cluster. B side features four tracks that also bear some Conrad Schnitzler reminiscences. This was to be Nik’s last LP before he would sell all his synths to ex car racer and future electronic/ambient music star Steve Roach. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain. – Limited Edition of 500

File Under: Electronic, Psych, Prog, Kosmische
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popol tantricPopol Vuh: Die Nacht Der Seele (Tantric Songs) (Wah Wah) LP
Die nacht der seele is the twelfth album by Popol Vuh, originally released in 1979 by Florian Fricke and friends–Daniel Fichelscher on guitar, Djong Yun and Renate Knaup on vocals, plus guests Alois Gromer on sitar and Susan Goetting on oboe. Popol Vuh had moved again one step farther, ellaborating a complex world music opus based mainly on acoustic instruments plus Fichelscher’s electric guitar and the use of multitracked vocals to reproduce the sounds of Tibetan monk chants.

File Under: Krautrock, Ambient
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popol sei
Popol Vuh: Sei Still, Wisselch Bin (Wah Wah) LP
Originally released on Klaus Schulze’s Innovative Communication label in 1981, ‘Sei still, wisse ICH BIN’ is Popol Vuh’s 13th LP. Fricke and Fichelscher worked under the production of Klaus Schulze himself and were helped for the occasion by Chris Karrer on soprano sax, Renate Knaup on vocals and the Chorensemble der Bayerischen Staatsoper. Two of its songs, Laß los and …als lebtendie Engel auf Erden where used on the soundtrack of Werner Herzog’s film Fitzcarraldo, from 1982.

File Under: Krautrock, Ambient
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pyramidPyramid: s/t(Mental Experience) LP
In tomorrow… Includes download card. 33 minutes of pure, unadulterated, psychedelic krautrock courtesy of Pyramid, an obscure studio project produced by Toby Robinson, aka The Mad Twiddler. These sessions were recorded circa 1975-76 in Cologne for the underground Pyramid label, which was operated by Toby and his friend Robin Page (the Fluxus artist). During that time, Toby worked as engineer and assistant at various studios in Cologne, including the famous Dieter Dierks studios, where most of the albums from the Ohr/Pilz/Cosmic Courier catalog were registered. Having access to the studios during dead hours, Toby recorded lot of sessions just for fun without any commercial interest, featuring friends and musicians who frequented the studios and the underground art/music scene of Cologne. Some of these sessions were later released as handmade vinyl micro-pressings on his Pyramid label with help from artist Robin Page. Master tape sound. Includes insert with liner notes by Alan Freeman. RIYL: Pink Floyd, Cosmic Jokers, Agitation Free, Ash Ra Tempel, Gila, Porcupine Tree, Amon Düül II. “… from trippy phases with echo guitars and Mellotron onto headfirst plunges into space-rock overdrive territory. In all, an excellent album of spacey krautrock” –Alan Freeman

File Under: Psych, Krautrock
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riceDamien Rice: O (East West) LP
Available for the first time on vinyl, this extended 16-track, gatefold 180g 2LP edition of Damien Rice’s O includes four additional recordings: “The Professor & La Fille Danse” and “Moody Mooday,” which were both originally b-sides to the “The Blower’s Daughter”; “Lonelily,” which also appeared alongside the track “Moody Mooday” as a 7″ single in 2004; and “Woman Like A Man,” which was recorded live in a session at Galway Bay FM and was the lead track for the song’s single release. “Prague” and “Silent Night” (featuring Lisa Hannigan), which were hidden bonus tracks after the album’s closing song “Eskimo,” are also included in this release. O, originally released in the summer of 2002, was one of the last albums to build a true word-of-mouth following before widespread streaming. The Guardian wrote, “Rice’s personality and deft songwriting hoist him above the mass of bedsit mumblers…at its best, O is gorgeous and understated, never too introverted to include a lovely melody.” Three singles were released from O: “The Blower’s Daughter” in 2001, followed by “Cannonball” and “Volcano” in 2002, with many other tracks from the album being audience favorites and mainstays of Rice’s live set, notably “Delicate,” and “I Remember.”

File Under: Indie Rock
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sexedelicSexedelic: s/t (Wah Wah) LP
With their charming look of exploitation LPs, Sexedelic’s Sexedelic and it’s ‘brother’ album The Vampires’ Sound Incorporation’s Psychedelic Dance Party (also reissued on Wah Wah as LPS185) hide the joint works of German composers Manfred Hübler and Siegfried Schwab that were used on three classic 1970 b-movies directed by Spanish film maker Jess Franco: Vampyros Lesbos, The Devil Came From Akasava, She Killed In Ecstasy. Besides the film director and the soundtrack composers, these three films also shared the presence of Spanish actress Soledad Miranda. Manfred Hübler’s work, other than the one appeared on these three films, remains pretty unknown – although prior to partnering with Siegfried Schwab he did soundtracks for several other films and TV series from 1966 through 1969, among them Intercontinental Express (TV series, 12 episodes in 1966), Code Name Is Kill (1967), Polizeifunk ruft (TV series, 6 episodes in 1968), Der Partyphotograph (1968) and The Butterfly (1970). Siegfried ‘Siggi’ Schwab, on the other hand, has an extense career with hundreds of recordings, including soundtracks and records, and is also known as a key member in albums by krautrock bands like Et Cetera or Embryo (his guitar pyrotechnics are big part of the personality of their Father, Son and Holy Ghosts LP which was also reissued on Wah Wah some years ago). Original copies of these LPs could be found for next to nothing in European flea markets until the mid 1990s, when Lucertola Media compiled them both on the 3 Films By Jess Franco CD. The amazing sounds that mixtured jazz pianos, easy listening brass section, psychedelic fuzz guitar, pop harpsichord lines, exotic sitar, and funky bass & drum beats were rediscovered and given new life when a compilation LP featuring the grooviest tracks from both albums was an instant hit which ran high in the alternative music sales charts. The legend grew when ‘The Lions And The Cucumber,’ opening track from The Vampires’ Sound Incorporation’s LP, was picked by Quentin Tarantino and given mainstream exposure on his third film Jackie Brown (1997), starring Pam Grier, Robert Forster, Robert de Niro, Samuel L. Jackson, Bridget Fonda and Michael Keaton. The ‘Vampyros Lesbos sound’ became a classic, awakening also new interest on the movies themselves which have been also issued on DVD since then. The music of Hübler and Schwab has also been sampled and revisited by many artists. Since then, original copies of The Vampires’ Sound Incorporation and Sexedelic LPs fetch small (and not so small!) fortunes in the collector’s market. Now, for the first time, the original albums from which all these amazing tracks were taken from are reissued in its original complete tracklists and sleeve artwork. Owning these two LPs is the only way to have in vinyl format all the original material issued by Hübler and Schwab – all previous reissues omit tracks from the original LPs. Now, for the first time ever, these extremely sought after LPs get a straight reissue in their original artwork, expanded with the inclusion of an 8-page full colour booklet that includes many photos and liner notes. Made in a limited edition of 1000 copies. Get yours before it’s too late!

File Under: Psych, Jazz, Lounge
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shindigShindig #79 Magazine
The Choir, Cleveland’s Anglophile masters’ 1969 unreleased album. TRIP Austria’s “turned on” 1972 TV rock-opera. Moby Grape … enter 1967. Brian James The pre-Damned psychedelic/prog years. John Howard Smartening up and playing the game: 1975’s Kid In A Big World. Gruff Rhys Gentle ruminations surrounding Babelsberg. Regulars. Shindiggin’ What’s hot on the Shindig! turntable. Thoughts & Words Your letters and emails. It’s A Happening Thing Ryley Walker, The Magic Numbers, My Generation, The Resonars, Damien Jurado, Dewolff, Left Outsides, Deep Dark Woods. Happening Right Now The hottest new bands. Family Album Bubble Puppy’s 1968 Texan classic: A Gathering Of Promises. 20 Questions Gary Brooker recollects beat music, big hits, George Harrison, Mickey Jupp… and more. Reviews The best in reissues, new releases, books and live shows. Vinyl Art A late-career statement from Thelonious Monk. Prize Crossword Win a copy of Ace’s brilliant Bob Stanley & Pete Wiggs comp Paris In The Spring.

File Under: Reading

space farmSpace Farm: s/t (Wah Wah) LP
One of the rarest psychedelic blues rock kiwi LPs gets at last an official vinyl reissue respecting its original artwork. Space Farm formed in 1971 out of the ashes of The Underdogs. When Neil Edwards quit to join Human Instinct, the remaining Underdog members Harvey Mann and Glen Absolum decided to reform under the Space Farm monicker with the addition of bass player Billy Williams and saxophonist Bob Gillet. Zodiac released their LP in 1972 featuring Harvey Mann on vocals. A second version of the album featured Underdogs’ vocalist Murray Grinder replacing Mann’s vocal track. This second version is the one that was issued in 1989 on the Little Wing label as ‘Going Back To Eternity’. The Wah Wah version features the original Harvey Mann vocal. Even though Grinder is undoubtedly a better singer than Mann the original mix is stronger and powerful and makes more justice to the high energy Hendrix influenced sound of the band, plus it makes it the very first official vinyl reissue of the original LP.

File Under: Psych, Blues Rock
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turtleMichal Turtle: Return to Jeka (Music From Memory) LP
In tomorrow… Flowers From The Ashes: Contemporary Italian Electronic Music is the latest multi-artist project to bear the acclaimed Stroboscopic Artefacts imprimatur. There is a sensibility of decadence and corroded grandeur etched within the album, reminding you that historically “decadent” times have nonetheless resulted in some of the boldest acts of individual and collective creativity. Like the “floral” theme that has remained a consistent feature of S.A.’s graphic presentation, the music here equally presents fragility and intensity in a way that really drives home this visual metaphor for good, while still holding out the promise that similar creations will be seeded in the near future. Though many of the artists involved have set of residence outside of their native Italy, all contribute here to make a captivating portrait of a shared spirit and cultural memory. The album opens with “Errori”, deceptively fragile sonic ornaments crafted and suspended in space by Blackest Ever Black artist Silvia Kastel. This is followed closely by the mellifluous, warming glow of percussionist Andrea Belfi’s “Spitting & Skytouching”, and then by the resolute electric bass patterns and luminous fog of “Lux Et Sonus” from Eeri label head Marco Shuttle. Hospital Productions alumnus Ninos Du Brasil enters with a similarly dense, amorphous construction built from tribalistic chants and rhythmic patterns, to be followed by Mannequin label boss Alessandro Adriani’s “You Will Not Be There For The End”, showcasing his distinctive take on the “paranoiac breakdance” aesthetic of classic EBM. S.A. veteran Chevelcomes in with interlacing several percolating synth lines together into a richly conversational piece. The journey continues with “Starving The Mind”, an undulating mini-epic from S.A. founder Lucy that is animated by his signature balance of seductiveness and concentration. The bright, biting acid synth tones of “PRV-HH3-X”, by Lory D, then takes a sharp right turn into an invisible metropolis ruled by reflective high fashion and hidden intrigue. The imposing architecture of “Virgo Rebellion”, designed by modular synth futurist Caterina Barbieri, acts as an excellent companion piece, and sets up the closing “4G” from Spazio Disponibile co-founder Neel — a crepuscular serenade that accurately sums up much of the foregoing activity.

File Under: Electronic
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wah-wah-vampires-sound-incorporated-psychedelic-daVampires Sound Incorporated: Psychedelic Dance Party
(Wah Wah) LP

With their charming look of exploitation LPs, Sexedelic’s Sexedelic and it’s ‘brother’ album The Vampires’ Sound Incorporation’s Psychedelic Dance Party (also reissued on Wah Wah as LPS185) hide the joint works of German composers Manfred Hübler and Siegfried Schwab that were used on three classic 1970 b-movies directed by Spanish film maker Jess Franco: Vampyros Lesbos, The Devil Came From Akasava, She Killed In Ecstasy. Besides the film director and the soundtrack composers, these three films also shared the presence of Spanish actress Soledad Miranda. Manfred Hübler’s work, other than the one appeared on these three films, remains pretty unknown – although prior to partnering with Siegfried Schwab he did soundtracks for several other films and TV series from 1966 through 1969, among them Intercontinental Express (TV series, 12 episodes in 1966), Code Name Is Kill (1967), Polizeifunk ruft (TV series, 6 episodes in 1968), Der Partyphotograph (1968) and The Butterfly (1970). Siegfried ‘Siggi’ Schwab, on the other hand, has an extense career with hundreds of recordings, including soundtracks and records, and is also known as a key member in albums by krautrock bands like Et Cetera or Embryo (his guitar pyrotechnics are big part of the personality of their Father, Son and Holy Ghosts LP which was also reissued on Wah Wah some years ago). Original copies of these LPs could be found for next to nothing in European flea markets until the mid 1990s, when Lucertola Media compiled them both on the 3 Films By Jess Franco CD. The amazing sounds that mixtured jazz pianos, easy listening brass section, psychedelic fuzz guitar, pop harpsichord lines, exotic sitar, and funky bass & drum beats were rediscovered and given new life when a compilation LP featuring the grooviest tracks from both albums was an instant hit which ran high in the alternative music sales charts. The legend grew when ‘The Lions And The Cucumber,’ opening track from The Vampires’ Sound Incorporation’s LP, was picked by Quentin Tarantino and given mainstream exposure on his third film Jackie Brown (1997), starring Pam Grier, Robert Forster, Robert de Niro, Samuel L. Jackson, Bridget Fonda and Michael Keaton. The ‘Vampyros Lesbos sound’ became a classic, awakening also new interest on the movies themselves which have been also issued on DVD since then. The music of Hübler and Schwab has also been sampled and revisited by many artists. Since then, original copies of The Vampires’ Sound Incorporation and Sexedelic LPs fetch small (and not so small!) fortunes in the collector’s market. Now, for the first time, the original albums from which all these amazing tracks were taken from are reissued in its original complete tracklists and sleeve artwork. Owning these two LPs is the only way to have in vinyl format all the original material issued by Hübler and Schwab – all previous reissues omit tracks from the original LPs. Now, for the first time ever, these extremely sought after LPs get a straight reissue in their original artwork, expanded with the inclusion of an 8-page full colour booklet that includes many photos and liner notes. Made in a limited edition of 1000 copies. Get yours before it’s too late!

File Under: Psych, Jazz, Lounge
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waits1Tom Waits: Small Change (Anti) LP
After signing with Asylum Records in the early 1970s, Tom Waits recorded a series of acclaimed albums whose noir tales about the after-midnight underworld transformed the seedy into the sublime in songs laced with both dark humor and profound longing. Decades and several musical evolutions later, Waits’ Asylum years still hold a special place in the hearts of many fans. Waits’ first seven albums on Asylum have been remastered and will be re-released via Anti-Records. 1976’s Small Change is a masterpiece that contains some of Waits’ best early work. Classic jazz, Tin Pan Alley, and Stephen Foster filtered through Tom’s unique worldview and lyrical genius. Heartbreaking, hilarious and always vivid, songs like “Step Right Up,” “Tom Traubert’s Blues,” “I Wish I Was in New Orleans,” “The Piano Has Been Drinking” and “Invitation to the Blues” are all classics that have influenced generations of songwriters since. Recorded with a live orchestra and featuring jazz legend Shelly Manne on drums, Small Change stands as one of Tom Waits’ most popular recordings.

File Under: Rock
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zanovZanov: Green Ray (Wah Wah) LP
Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of “Secret” fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself his first syths and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier… Even Gong’s Tim Blake was living in France at that time. And so Zanov soon caught the attention of Polydor, who released Green Ray in 1976. It is a work made with minimal equipment if compared to other French sythetists, not to mention their German peers, he worked on the EMS VCS3 synth and used a 4-track Teac and a Revox A77 Mk IV reel to reel tape recorders obtaining huge sound results. You can appreciate an influence from the Berlin school, Green Ray walks the same path of what artists like Tangerine Dream and the likes were producing at the time, Zanov had felt under the spell of Ricochet, but his head was boiling with ideas which gave the recordings a very personal, unique touch. Zanov’s three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe.

File Under: Electronic, Prog, Psych, Kosmische
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zanov1Zanov: Moebius 256 301 (Wah Wah) LP
Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of “Secret” fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself an EMS VCS3 and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier… Even Gong’s Tim Blake was living in France at that time. By the time of his second LP, Moebius 256 301, issued also on Polydor in 1977, Zanov had already gathered a small collection of gear, including an ARP 2600 and an ARP sequencer, his old VCS3, an RMI Harmonic and a PS 3300. Again under the influence of both first and second generation of Berlin school musicians the LP will appeal to fans of Klaus Schulze or Tangerine Dream, but they will also find a big deal of Zanov’s own personal sound on it, since as the musician himself reckons he had little contact with other peers of his generation, so besides a general love for the electronic gear used and the sounds you could make out of them the creative ideas behind his works were all his own. On his second album a richer sound is found, not only due to the use of the new gear, since some of its tracks where recorded using only his old EMS, but also due to his won experience after having taken his works to the life stages in the Golf Drouot boite, the Lase Olympia venue (on the basement of the famous Olympia), the Paris Planetarium or those for planned one month tour (of which in the end only four dates were accomplished). Zanov’s three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe.

File Under: Electronic, Prog, Psych, Kosmische
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zanZanov: In Course of Time (Wah Wah) LP
In Course Of Time, his third LP was originally issued in Canada in 1982 and in France in 1983, although it contains works that he had began working in 1979. The material was originally shelved due to legal matters, although he continued to add some changes even after that. The Canadian edition came out in Les Disques Solaris, a recently created label that wanted to specialise in “cosmic” music. Zanov used the same equipment he had used on Moebius 256 301, albeit this time he gave more use to the RMI Harmonic Synthesizer. Zanov’s three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe. Zanov’s third LP was released in 1982 in Canada on Les disques Solaris and in 1983 in France on Ondes.

File Under: Prog, Psych, Electronic, Kosmische
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zweistein-trip-flip-out-meditation_miniZweistein: Trip | Flip Out | Meditation (Wah Wah) LP
Zweistein’s trippy Kraut psych experimental masterpiece from Philips Records 1970, arguably one of the most sought after Kraut titles, period! Remastered from the original tapes, absolutely essential! With roughly a half century between us, the revolutionary spirit of the 1960’s is easily lost – watered downed, its energy and truths rubbed clean by the ubiquity of the pop machine. Our contemporary vision of the past rarely resemblances the true zeitgeist of the day. The 1960’s was an era defined by the underground – by those who made a home there, by those who exited the mainstream, plumbing unknown depths, and by the radicalism which they embraced. Few musical contexts present an accurate lens into the decade’s counter-cultural swell – the joining of pop with the avant-garde, equal to the one which emerged within Germany. Writhing, principled, and unflinchingly revolutionary, this scene pushed further sonically into experimental territory than almost any other. Few of its artifacts present this spirit as well as Trip Flip Out Meditation, the lone, astoundingly ambitious triple LP recorded by Zweistein in 1969 and released the following year. Among the most sought after and coveted artifacts in the sprawling canon of Krautrock / Kosmische, it’s long awaited reissue now joins Wah Wah’s stunning catalog of obscure treasures from the radical depths of time. Zweistein was the brainchild of Suzanne Doucet, who was joined by her sister Diane during the recording process, with added studio effects byPeter Kramper. Doucet spent the first part of 60’s as a pop star – gathering number of hits, and as a TV presenter. Filled with a radical spirit, a love of art and technology, and fueled by a heavy intake of psychedelic drugs, her successes proved unfulfilling by the end of the decade. Zweistein was born. The album, which stretches over three LPs, each with its own theme – Trip, Flip Out, and Meditation, is a writhing radical construction in sound – far closer to the revolutionary gestures of synthesis, electronic and electroacoustic practice emerging during that era, than what is commonly associated with Krautrock or Kosmische. Almost completely abstract, with passages of fleeting melody and drone – enveloping landscapes realized through sound, Trip Flip Out Meditation is pure art, creativity, and experimentation, filtered through the lens of LSD – the heights of the era and all the wonders it brought, with an unmistakable, overt attack on the pop sensibility of its day. An artist diving underground, rearing their head into the mainstream with a thrust of what was found. One of the great artifacts of the 1960’s, and of Krautrock, which few ever heard. Originally pressings of Trip Flip Out Meditation, Zweistein’s lone masterpiece, are as rare as they come, making this reissue long overdue – a grateful offering for a new generation of ears. Suzanne Doucet went on to become one of the most noted voices in the European moment of New Age. She was recently featured on Light In The Attic’s survey (The Microcosm) Visionary Music Of Continental Europe, 1970-1986, but Trip Flip Out Meditation is where it all truly began. Grab a piece of history before its gone again for good. As essential as they come. We can’t thank Wah Wah enough for placing this beauty back into our hands. “A pack of drug and art addled young Germans run amok in a recording studio on a major label’s dime Even better, a pair of sisters, one of them a popular mainstream singing star, travel around Europe making weird tapes on a portable tape recorder and then lavishly package the treated results as a triple LP set in an elaborate and expensive silver and gold foil sleeve circa 1970 in Germany? I’m so there!” Dangerous Minds

File Under: Prog, Psych, Krautrock
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o9wmjf7aacncs0x69so1Various: Flowers from the Ashes (Stroboscopic Artefacts) LP
In tomorrow… Flowers From The Ashes: Contemporary Italian Electronic Music is the latest multi-artist project to bear the acclaimed Stroboscopic Artefacts imprimatur. There is a sensibility of decadence and corroded grandeur etched within the album, reminding you that historically “decadent” times have nonetheless resulted in some of the boldest acts of individual and collective creativity. Like the “floral” theme that has remained a consistent feature of S.A.’s graphic presentation, the music here equally presents fragility and intensity in a way that really drives home this visual metaphor for good, while still holding out the promise that similar creations will be seeded in the near future. Though many of the artists involved have set of residence outside of their native Italy, all contribute here to make a captivating portrait of a shared spirit and cultural memory. The album opens with “Errori”, deceptively fragile sonic ornaments crafted and suspended in space by Blackest Ever Black artist Silvia Kastel. This is followed closely by the mellifluous, warming glow of percussionist Andrea Belfi’s “Spitting & Skytouching”, and then by the resolute electric bass patterns and luminous fog of “Lux Et Sonus” from Eeri label head Marco Shuttle. Hospital Productions alumnus Ninos Du Brasil enters with a similarly dense, amorphous construction built from tribalistic chants and rhythmic patterns, to be followed by Mannequin label boss Alessandro Adriani’s “You Will Not Be There For The End”, showcasing his distinctive take on the “paranoiac breakdance” aesthetic of classic EBM. S.A. veteran Chevelcomes in with interlacing several percolating synth lines together into a richly conversational piece. The journey continues with “Starving The Mind”, an undulating mini-epic from S.A. founder Lucy that is animated by his signature balance of seductiveness and concentration. The bright, biting acid synth tones of “PRV-HH3-X”, by Lory D, then takes a sharp right turn into an invisible metropolis ruled by reflective high fashion and hidden intrigue. The imposing architecture of “Virgo Rebellion”, designed by modular synth futurist Caterina Barbieri, acts as an excellent companion piece, and sets up the closing “4G” from Spazio Disponibile co-founder Neel — a crepuscular serenade that accurately sums up much of the foregoing activity.

File Under: Electronic
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voices
Various: Voices of Mississippi (Dust to Digital) 4CD+Book
In tomorrow… This watershed release represents the life’s work of William Ferris, an audio recordist, filmmaker, folklorist, and teacher with an unwavering commitment to establish and to expand the study of the American South. William Ferris was born in Vicksburg, Mississippi in 1942. Growing up on a working farm, Ferris began at a young age documenting the artwork, music, and lives of the people on the farm and in his local community. The archive of recordings that he created and the documentary films that he had a hand in producing have served as powerful tools in institutions of higher learning for decades. Dust-to-Digital present these films and recordings. The label’s hope is that the enjoyment and educational value that has been received by Ferris’s students over the years will be transmitted to listeners around the world and further the understanding of Southern culture. Voices of Mississippi: Artists and Musicians Documented by William Ferris includes: a 120-page hardcover book in full color edited by William Ferris Writings by Scott Barretta, David Evans, and Tom Rankin; three CDs — two of the CDs feature blues and gospel recordings (1966-1978), and the final CD features interviews and storytelling (1968-1994); and one DVD featuring documentary films (1972-1980). Transcriptions and annotations are provided for each track. Comes in a cigar box. In addition to being a groundbreaking documentarian of the American South, William Ferris is Joel R. Williamson Eminent Professor of History and senior associate director of the Center for the Study of the American South at the University of North Carolina at Chapel Hill. A former chairman of the National Endowment for the Humanities, Ferris co-edited the Encyclopedia of Southern Culture (1989) and is the author of multiple books. In 1991, Rolling Stone magazine named him among the top ten professors in the United States. The recordings feature James “Son Ford” Thomas, Lovey Williams, Wallace “Pine-Top” Johnson, Maudie Shirley, and Jasper Love, Scott Dunbar, Mississippi Fred McDowell, Louis Dotson, Sonny Boy Watson, Sam Myers, Tom Dumas, Unidentified Musician with Mississippi Fred McDowell, Walter Lee Hood, Wash Heron and “Big” Jack Johnson, James Hughes, Leland Musician, Inmates at Parchman Farm, George Lee “Sun Bud” Spears, James “Son Ford” Thomas with Sonny Boy Watson, Mary and Amanda Gordon, The Southland Hummingbirds, Lovey Williams, Reverend Smith and Family, Liddle Hines, Providence Missionary Baptist Church, Church of God in Christ, Fannie Bell Chapman, Mary Alice and Alan Mcgowan, Reverend Ott and Family, Rose Hill Church, Lovey Williams and Family, Fannie Bell Chapman and Family, Reverend Isaac Thomas and Rose Hill Church, Barry Hannah, Alice Walker, Alex Haley, Ray Lum, Bobby Rush, Joe “Skeet” Skillet, Joe Cooper, Shelby “Poppa Jazz” Brown, B.B. King, Allen Ginsberg, James “Son Ford” Thomas, and Bill Ferris, Robert Penn Warren, Pecolia Warner, Victor Bobb, and Pete Seeger.

File Under: Blues, Gospel

…..Restocks…..
Vanessa Amara: Manos (Posh Isolation) LP
Bad Brains: I Against I (SST) LP
Boards of Canada: Music Has the Right to Children (Warp) LP
Boli Group: NPDS (Posh Isolation) LP
City & Colour: Hurry & the Harm (Dine Alone) LP
City & Colour: Sometimes (Dine Alone) LP
Descendents: Milo Goes to College (SST) LP
Descendents: Somery (SST) LP
Destroyer: City of Daughters (Merge) LP
Destroyer: Thief (Merge) LP
Drinks: Hippo Lite (Drag City) LP
Firehose: If’n (SST) LP
Husker Du: Land Speed Record (SST) LP
Yussef Kamaal: Black Focus (Brownswood) LP
King Gizzard & The Lizard Wizard: Flying Microtonal Banana (ATO) LP
King Gizzard & The Lizard Wizard: Murder of the Universe (ATO) LP
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) LP
Lord Huron: Vide Noir (Universal) LP
Mariah: Utakata No Hibi (Palto Flats) LP
Massive Attack: Heligoland (Universal) LP
Vito Ricci: I Was Crossing  Bridge (Music From Memory) LP
Terry Riley: Songs for the Ten Voices of the Two Prophets (Beacon Sound) LP
Rural Alberta Advantage: Mended With Gold (Paperbag) LP
Rural Alberta Advantage: Wild (Paperbag) LP
Ty Segall: s/t (Drag City) LP
Sonic Youth: Experimental Jet Set, Trash and No Star (Geffen) LP
Taj Mahal Travellers: August ’74 (Aguirre) LP
Talking Heads: 77 (Rhino) LP
Hiroshi Yoshimura: Pier & Loft (17853)
Adrian Younge: Something About April II (Linear Labs)  LP
Frank Zappa: Freak Out (Zappa) LP
Various: Shaolin Soul 2 (Because) LP
Tagged , , , , , ,

…..news letter #849 – shop…..

If your inbox is anything like mine, you’ve been getting bombarded with emails asking you to confirm your subscriptions to various email lists. Rather than add to the bombardment, we waited to let you know via this weekly email. You may have heard about the new General Data Protection Regulation (“GDPR”), that comes into effect May 25, 2018. In compliance with GDPR consent requirements, we updated our privacy policy, and we need to confirm that you would like to receive content from us.

We hope that our content is useful to you, and our email list is the best way to hear about new arrivals, restocks and things going on around the shop. If you’d like to continue hearing from us, or would prefer to stop receiving updates from Listen Records you may:
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Now on to the fun stuff…..

…..pick of the week…..

site

SHOP
If you ever visit our actual webpage to read this list, you might notice a new button on the menu bar. We’ve added a webshop. Now those of you not located in Edmonton, or those wondering if we’ve still got copies of the International Harvester box set in stock or maybe a Planar 6, can just hop on to our site and check. We won’t likely have EVERYTHING on there but who knows. For now we are focusing on the things you can’t walk into your local drug store to buy other big releases will also wind up on there too as we move forward. It’s still a work in progress and we are slaving away to add inventory to the site, but it’s slowly coming together and we thought, it might be easier to share it with everyone and get feedback as we go. You can also place pre-orders for some upcoming releases or put things on hold for pick up in store. We hope you enjoy!

File Under: Web, Shop

…..new arrivals…..

coleman

Ornette Coleman: The Atlantic Years (Rhino) 10 LP Box
Ornette Coleman recorded one of the greatest bodies of work in jazz during a 22-month-long burst of creativity. Between 1959 and 1961, the saxophonist/composer released six studio albums on Atlantic Records that helped usher in the avant-garde, free jazz movement. Those albums, along with more than two hours of session outtakes, are featured together in the ten LP box set The Atlantic Years, all with newly remastered audio by John Webber at AIR Studios. Several of these titles are long out-of-print on vinyl. The Ornette Coleman Legacy, featuring six songs originally released for the first time in 1993 as part of the CD box set Beauty Is A Rare Thing, makes its vinyl debut. The albums featured in the set are: The Shape Of Jazz To Come (1959), Change Of The Century (1959), This Is Our Music (1960), Free Jazz: A Collective Improvisation (1960), Ornette! (1961), Ornette On Tenor (1961), The Art Of Improvisers (1970), Twins (1971), To Whom Who Keeps A Record (1975), and The Ornette Coleman Legacy (1993). The ten LPs are pressed on 180g vinyl and presented in replica European-style 1960s jackets in a side-loading slipcase. A 12 x 12 booklet with new liner notes written by renowned author-music critic Ben Ratliffand rare pictures taken by legendary jazz photographer Lee Friedlander round out the essential package.

File Under: Jazz
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cityofdaughters

Destroyer: City of Daughters (Merge) LP
Reissue on RED vinyl !! In the hallowed Destroyer discography, the early trinity of City Of Daughters / Thief / Streethawk: A Seduction holds an important place; for not only does it document Dan Bejar’s evolution from lo-fi bedroom tyro to bona fide master of the rock album, it also contains a massive percentage of superlative Destroyer “classics.” 1998’s City of Daughters features some of the first steps out of the demo-tapey experimentation of earlier recordings, with songs like “Comments On The World As Will” refining the sound of that stripped-down earlier work, and the seminal “No Cease Fires” offering us the first taste of just what a full-band Destroyer might conjure. 2000’s Thief naturally went further down that road, and from the opening strums of “The Temple” to the arty quirk of “Queen of Languages” to the gentle, jagged comedown of the title track, it soon became clear that Dan Bejar was master of a singular songcraft– and one that was only just getting started.

File Under: Indie Rock
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thief

Destroyer: Thief (Merge) LP
Reissue on Orange vinyl !! In the hallowed Destroyer discography, the early trinity of City Of Daughters / Thief / Streethawk: A Seduction holds an important place; for not only does it document Dan Bejar’s evolution from lo-fi bedroom tyro to bona fide master of the rock album, it also contains a massive percentage of superlative Destroyer “classics.” 1998’s City of Daughters features some of the first steps out of the demo-tapey experimentation of earlier recordings, with songs like “Comments On The World As Will” refining the sound of that stripped-down earlier work, and the seminal “No Cease Fires” offering us the first taste of just what a full-band Destroyer might conjure. 2000’s Thief naturally went further down that road, and from the opening strums of “The Temple” to the arty quirk of “Queen of Languages” to the gentle, jagged comedown of the title track, it soon became clear that Dan Bejar was master of a singular songcraft– and one that was only just getting started.

File Under: Indie Rock
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doiron

Julie Doiron: Desormais + Heart & Crime (Jagjaguwar) LP
Julie Doiron’s stunning album Désormais, originally released via Jagjaguwar in 2001, marked a departure from the Canadian artist’s grunge pop releases in the ’90s. Like its title might suggest, the intimate record is sung almost entirely in French. Across its 10 tracks, Doiron builds a disarming and warm atmosphere – through minimally-composed fingerpicking, her soft voice steers a wounded sound. Even for the English-speaking listener, the cohesion of the LP’s subdued, immersive atmosphere looms. Heart and Crime, released in 2002, traverses much of the same territory. It’s a companion to its predecessor, similarly vulnerable and scarce compositionally, save for flickers of brass or a piano line flitting in or out. Again, its weight comes from its somber simplicity, in Doiron’s wistful voice and lyricism. Désormais and Heart and Crime serve as visceral time capsules for Doiron’s own personal history. It’s fitting, then that the records are also distinct placeholders within the Jagjaguwar canon. Désormais and Heart and Crime came at a time just as the label began to widen its scope. Doiron’s work was amongst the first in a new era of Jagjaguwar artists that expanded the label’s roster and aesthetic, ushering in new and diverse definitions of their early dedication to emotional dissonance. Désormais was limited to CD and the Heart and Crime vinyl has long since been out of print. This 2LP reissue replicates each album’s original art and has been specially designed to create the illusion of two front covers.

File Under: Indie Rock
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enigk

Jeremy Enigk: Return of the Frog Queen (Sub Pop) LP
Jeremy Enigk performed with legendary indie rock band Sunny Day Real Estate from 1993 to 2000. In 1996, following the band’s first breakup (which lasted from 1995 to 1997), Enigk released his first solo album, Return of the Frog Queen. Representing a major shift in sound, it features backing from a 21-piece orchestra as he performs striking, dramatic, chamber-pop compositions that demonstrate the full breadth of his talents as a singer, musician, and songwriter. The album was produced by Greg Williamson, who also produced Sunny Day Real Estate’s 1998 comeback album, How it Feels to Be Something On. Return of the Frog Queen has been out of print since its original 1996 pressing. This reissue includes the original album, remastered in 2018, plus digital bonus tracks from Enigk’s 1996 live session on Seattle radio station The End.

File Under: Indie Rock
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feelalright

Feel Alright: In Bad Faith (Pleasance) LP
Calgary-based garage rockers Feel Alright release their latest LP In Bad Faith. The album marks the full-length follow-up to 2011’s hilariously titled Hahahahahaha, though the group also released the “Oahu Ohio” 7-inch in 2012. In Bad Faith was recorded at frontman Craig Fahner’s home studio with fellow musicians Brady Kirchner and Matthew Learoyd, then mixed by Pat Kearns at his Mojave Desert cabin. Some of the songs were edited and adjusted over the course of months, while others were written and laid to tape unexpectedly quickly. “When I started Feel Alright, I was living in the US and I started writing and recording music as a means of conjuring an idealized sense of home from a distance,” Fahner tells Exclaim! “In Bad Faith feels very much like a negotiation of what it’s like to actually be in that home — seeing it as a container of warmth, comfort, conflict, turbulence, love, death, food, sleep… The songs run the gamut between nostalgic power pop love songs to darker ballads reflecting on what it’s like to go home again, when you know you can’t go home again.”

 File Under: Indie Rock
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kassin

Kassin: Relax (Luakabop) LP
A not-so funny thing happens when you get divorced: your friends ask for advice on how to deal with their own relationship struggles. Maybe that’s why Alexandre Kassin’s new album, Relax, has two songs about this incredible heartbreak. First there’s “A Paisagem Morta,” a dark bossa nova tune about those initial moments once the breakup is final, when you begin to rediscover yourself. “The lyrics are about trying to keep things happening,” says Kassin, a leading producer and instrumentalist in Brazilian music. Then there’s “As Coisa Que Nos Nao Fizemo,” a mid-tempo song about divorce. Here, above twinkling chimes and stilted drums, Kassin keeps the vibe loose, reflecting upon the ways he and his former partner failed each other. In a way, these songs are therapeutic; Kassin himself went through a very bad divorce. “It’s just now getting better,” he says. Relax isn’t all gloom and doom, though. Across 11 tracks, Kassin flirts with Latin rhythms, Brazilian pop, and straight-ahead soul, using this varied sonic array to tell imagined tales of death, drug usage, politics and fate. On the deeply personal “Momento De Clareza,” Kassin sings of his sixth sense. In 1996, he and his band were slated to fly on the TAM Transportes Aéreos Regionais Flight 402, which struck two buildings and several houses and killed all 95 people on board. Kassin was finishing an assignment and had the foresight to leave sooner than expected, eluding the ill-fated flight by a day. The contrast here is intriguing: the arrangement itself feels bright and danceable, yet the theme is incredibly sullen. Such is the dichotomy of Relax, a record that speaks directly to the yin and yang of everyday life, and the uncertainty that comes with simply existing. Despite their upbeat, pop-centric arrangements, Kassin tackles heavy, thought-provoking themes. “Estricnina,” or Strychnine in English, is a self-described “strange tale.” “It’s a person propositioning another to take Strychnine,” Kassin says. “It’s an experimental samba with dark lyrics and happy sounds.” Similar in theme, “Comprimidos Demais” is about a couple that uses pills to control their mood; “O Anestesista,” Kassin says, is the most politically charged song on Relax. “In this climate,” he continues, “we wish we had a personal anesthetist to help you forget about what’s going on.” In the end, Relax isn’t Kassin’s most conceptual release. This one’s rooted in dreams and surrealism, but it’s still grounded enough to reach listeners where they are. “I wanted to make something with different arrangements and different aesthetics,” Kassin concludes. “I wanted to explore a different, diverse world.”

File Under: Electronic, Brazil, Bossanova
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lattimore

Mary Lattimore: Hundreds of Days (Ghostly) LP
Memories – places, vacancies, allusions – are fundamental characters in Mary Lattimore’s evocative craft. The Los Angeles-based harpist recorded her breakout 2016 album, At The Dam, during stops along a road trip across America, letting the serene landscapes of Joshua Tree and Marfa, TX color her compositions. In 2018, from a restorative station – a redwood barn, nestled in the hills above San Francisco’s Golden Gate Bridge – emanates Hundreds of Days, her second full-length LP with Ghostly International. The record sojourns between silences and speech, between microcosmic daily scenes and macrocosmic universal understandings, between being alien in promising new places and feeling torn from old native havens. It’s an expansive new chapter in Lattimore’s story, and an expression of mystified gratitude. A study in how ordinary components helix together to create an extraordinary world.

File Under: Classical, Harp
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paepe

Bart De Paepe: Pagus Wasiae (Beyond Beyond is Beyond) LP
For over 10 years, Bart De Paepe has sated the appetites of psychedelic searchers with his label Sloow Tapes. A peerless curator, De Paepe has unleashed crucial underground transmissions ranging from paint-peeling Japanese rock to bedroom American Primitivism in microscopic editions. Those fortunate enough to have heard five or six of Sloow Tapes’ releases may be prepared for what “Pagus Wasiae”- De Paepe’s latest solo offering – has in store. The Stekene, Belgium-based artist’s Beyond Beyond Is Beyond debut, “Pagus Wasiae” trades in lysergic texture. Like Tangerine Dream’s early work, “Pagus Wasiae” casts off a ragged rock shore into a bubbling sea of electronics and navigates by dark starlight, leaving in its wake shadows and smoke. De Paepe charges waves of synth ambience, swirls clouds of electric guitar and summons subtle beats of the earth to make “Pagus Wasiae” a fully enveloping and dynamic listening experience-astral traveling without moving. Cluster, Taj Mahal Travellers, and Pink Floyd’s deepest space excursions may be waypoints to “Pagus Wasiae”, but ultimately the destination is the journey and Bart De Paepe has drawn a new map and laid it to tape for us to discover. – Jeff Conklin (WFMU)

File Under: Experimental, Kosmische, Psych
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pedro

Pedro the Lion: It’s Hard to Find a Friend (Jade Tree) LP
It’s Hard to Find a Friend is the debut full-length effort by Pedro the Lion; a solid indie rock album with plenty of lyrical talent to spare. Upon its release in 1998, the record was an instant hit, propelling singer/songwriter David Bazan into the consciousness of newfound fans around the globe and topping many critics’ lists, making it a must for any Pedro The Lion fan. 2018 is the 20th anniversary of the original release of the album and its been remastered for this new vinyl reissue from Epitaph Records. In early 2006, Bazan retired the Pedro The Lion moniker to continue on with solo work under his own name. In December of 2017 Bazan announced that Pedro The Lion will reunite after eleven years for a new album and a worldwide tour.

File Under: Indie Rock
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quiet slang

Quiet Slang (Beach Slang): Everything Matters But No One is Listening (Polyvinyl) LP
There’s something almost cheeky about the title of James Alex’s new project: Quiet Slang. As the name implies, Alex is embracing minimalism, smothering the fuzz in favor of a cello, a piano, and his voice. In October 2017, Quiet Slang released We Were Babies & We Were Dirtbags, an EP comprised of two Beach Slang songs and two covers from The Replacements and Big Star. Consider it an introduction to what Alex calls “chamber pop for outsiders,” because it simply serves as prelude to Everything Matters But No One Is Listening, a collection of 10 Beach Slang covers. The project’s seeds were planted just six months after Beach Slang’s formation, when Alex was asked to a solo Tiny Desk Concert for NPR. “That was just me, my guitar and a clumsy excuse for charm. But, yeah, the response was beautifully unexpected and really nudged my thinking,” he says. “Even now, at almost every show we play somebody’s like, ‘I got turned onto your band from that NPR thing. You should make a record like that.'” A successful solo tour solidified the idea in Alex’s mind, but he says he wasn’t content to make a “campfire record,” elaborating that he “wanted it to have more weight than that.” Alex linked up with longtime co-producer Dave Downham for the project, who worked with him in bringing on cellist Dan Delaney and pianist Keith Giosa. Rounding out the crew were Stacey Downham, Matt Weber, Charlie Lowe and New Jersey quartet The Warhawks, who lent their voices to evoke what Alex describes as a “back alley choir.” The songs that spoke first and foremost to Alex were songs that he feels never quite achieved the vision initially had for them: “Future Mixtape for the Art Kids” and “Warpaint,” both from 2016’s A Loud Bash of Teenage Feelings. “Future Mixtape For the Art Kids” is a rousing document of rebellion on A Loud Bash of Teenage Feelings, but the subdued strings and soft piano of Quiet Slang reveal a love story among outsiders, a midnight connection in dim streets as beautiful as they are cruel. And while the gritted teeth of “Warpaint” remain in its quiet rendition, the empathy coursing through Alex’s call to strength and spirit here conquers his anger. “Warpaint,” and the album itself, closes with the last verse being played in reverse, a choice that helps to further distinguish Beach Slang from Quiet Slang. “I wanted the record to end not with a word, but a feeling,” he says, “even if it’s uneasy or hopeful or whatever. Just some weight of feeling.”

File Under: Indie Rock
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sleep

Sleep: The Sciences (Third Man) LP
If we had more than 2 copies of this on the shelf, it’d be the pick of the week, but thus far, our stock has been real scarce. But if you hurry, there’s a couple here right now. Sleep unleashes their first full-length album of new recordings since 1998 on Third Man Records. Years after the release of Volume One in 1991, Sleep’s Holy Mountain in 1992 and Dopesmoker in 2003, the sonic titans reaffirm their place at the top of the riff pyramid with the brand-new six-track double album masterpiece, The Sciences. Featuring guitarist Matt Pike (High On Fire), bassist/vocalist Al Cisneros (Om) and new drummer Jason Roeder (Neurosis), “This is Dopesmoker Beyond the Thunderdome, a lawless, yet demanding exploration of Sleep’s stock-and-trade, and hopefully just the hazy horizon of riffs to come” (NPR Music).

File Under: Metal, Stoner
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sunnySunny & The Sunliners: Smile Now, Cry Later (Big Crown) LP
When it comes to living legends in the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than vocalist, songwriter and bandleader Sunny Ozuna. Born and raised in San Antonio, where he still resides, Sunny became a star right out of high school in the late ‘50s and hasn’t looked back in the six decades since. Among countless other honors and notable achievements, Sunny was the first Latino artist to appear on Dick Clark’s American Bandstand (in 1963). His classic 45s regularly change hands for hundreds of dollars among collectors around the world, affirming his timeless appeal. Smile Now, Cry Later is a 12-song platter from 1966. As with most Sunny LPs, this is a mix of soulful originals – most notably, “Smile Now, Cry Later” and “Put Me In Jail” – and provocative, wide-ranging covers. Cases in point on the tributes side of this great album include the Sam & Dave shouter “Hold On I’m Comin'”; “Forever,” made famous by both the Marvelettes and Marvin Gaye, and a song that Sunny performs to this day; and the ‘60s Louis Prima crooner special “Just A Gigolo.”

File Under: Funk, Soul
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toralRafael Toral: Sound Mind Sound Body (Drag City) LP
In 1987, Rafael Toral began making his own compositions and solo recordings. Thirty years later, these recordings sound remarkably prescient and perfectly timeless – almost fresher today than when they were first released. Rafael has spent the time since then developing his conceptions, with continued explorations in the many records that have followed. On the 30th anniversary of his start, Drag City is reissuing Sound Mind Sound Body and Wave Field, his first two long out-of-print albums, on vinyl for the first time. Sound Mind Sound Body was partly inspired by exploring some of the working principles of Brian Eno and Robert Fripp, extrapolated by Rafael via a unique signal path leading out of his guitar. He paid notice to the massive impact of discreet gestures, creating slow-moving tones and spacious orchestral resonances, drifting and droning with glacial majesty, hardly recognizable as guitar much of the time. The first of these pieces were recorded in 1987, and in 1994, they were released on Portugal’s AnAnAnA, with material evolved in the years between, producing a remarkable equilibrium over an hour’s listening. Further evidence of the necessity for gradual development exists in subsequent reissues: for the 1998 Moikai reissue, “A E 1” was recorded, and for this edition, “A E R 7 E” was rerecorded and the material for “A E 2” was recorded for the first time ever – all from original processes as noted, and none of which will cause the listener to notice a change in the otherworldly atmosphere.

File Under: Electronic, Ambient
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toral1Rafael Toral: Wave Field (Drag City) LP
In 1987, Rafael Toral began making his own compositions and solo recordings. Thirty years later, these recordings sound remarkably prescient and perfectly timeless – almost fresher today than when they were first released. Rafael has spent the time since then developing his conceptions, with continued explorations in the many records that have followed. On the 30th anniversary of his start, Drag City is reissuing Sound Mind Sound Body and Wave Field, his first two long out-of-print albums, on vinyl for the first time. Wave Field, released in 1995, was a departure from the first album into new composition methods involving the dirty textures of rock guitar, sounding in the open ears of many listeners (like Jim O’Rourke, who issued the disc in the US on Dexter’s Cigar) as a synthesis of disparate elements – a nexus where Alvin Lucier, Sonic Youth, My Bloody Valentine and Eno blend together. Here, the clangorous potential of the guitar was emphasized, giving a metallic edge to the two extended pieces and “radio edit” coda. The jacket paid subtle tribute to My Bloody Valentine, which, along with the radio edit, suggested a harmony between musical directions as wildly disparate as minimalist experimental and rock. Today, such a paradoxical intent is more widely considered as a part of the artist’s purview. This allows the sounds of Wave Field and Sound Mind Sound Body to sit perfectly among the forward-reaching music of today – as it continues to evolve in our ears, moving ever towards the next conception of listening space.

File Under: Electronic, Ambient
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umiliani

Piero Umiliani: Musica Dell’Era Tecnologica (Dagored) LP
Dagored present the first time reissue of Piero Umiliani’s Musica Dell’Era Tecnologica, originally released in 1972. This killer experimental LP recorded by maestro Piero Umiliani in his legendary Soundworkshop Studios in Rome is on every serious electronic/Italian library wantlist. Enter the fourth dimension with Musica Dell’Era Tecnologica! 180 gram vinyl; Edition of 500. “Piero Umiliani has taken things too far with Musica Dell’Era Tecnologica. Way too far. And since he dares to visit innermost heliospheres and microscopic galaxies that are deemed outright crazy to even the most diehard composer of Moog and synth material, he succeeds in his own, very peculiar way …” –ambientexotica.com

File Under:
 OST, Library
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wayfarerWayfarer: World’s Blood (Profound Lore) LP
World’s Blood is black metal of the American West. Wayfarer recorded the album in the Winter of early 2018 at The Thousand Caves in New York under the watchful production of Colin Marston. A reflection of the Rocky Mountains and high plains of their native Colorado, this album tells a story that is uniquely American. Drawing influence as much from the dusty, dark Americana of the “Denver Sound” and the scores of epic Westerns as they do the fury and melody of black metal, the band brings something original to the table with a sound that is at once aggressive and honest. The album paints a hallucinatory picture of the Western frontier, and the haunting presence of the blood in the soil from a culture lost to time. First brought together in 2012, the members of the band aimed to create something original, in order to contribute back to the pantheon of the great and timeless music that shaped them as people. Releasing their debut album Children Of The Iron Age in 2014, which was later picked up by Prosthetic Records, they would tour alongside the likes of Dreadnought, Falls of Rauros, Anicon, Velnias, and Haunter. Their second album Old Souls was released in 2016 and continued the band’s progression to a sound not easily confined by genre tags, more refined and decidedly darker. World’s Blood marks Wayfarer’s debut with Profound Lore Records, as they step into their own in the music underground with their strongest and most fully realized vision to date.

File Under: Metal
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luke winslowLuke Winslow-King: Blue Mesa (Bloodshot) LP
Luke Winslow-King’s’ latest album is an example of craftsmanship at the highest level, radiating a warmth and timeless elegance. Adept at mixing country, blues, R&B, rock ‘n’ roll, and folk influences intuitively and masterfully, Luke shapes a mood from many sources and shepherds it to a unifying place of acceptance and hope. ‘Blue Mesa’ is both stately and approachable, manifestly proficient but deeply personal. Includes a download code.

File Under: Folk, Country, Blues
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woodenshjipsWooden Shjips: V (Thrill Jockey) LP
In tomorrow? Wooden Shjips, long-time leaders of the contemporary psychedelic movement, expand their sound with V. , augmenting their already rich sound with laid back, classic summer songs written by singer/guitarist Ripley Johnson as an antidote to the pervasive anxiety both political and natural. The music is a balm against the noise and negativity. Lead single “Staring At The Sun” is a nearly 8 minute laid back, slowly building narrative, whose lyrics tell of a gentle push and pull between the desire for sun and escape and the tug of anxiety, with peaceful resistance winning the day and guiding the tone. Johnson also gives us a few of his signature traveling songs such as “Eclipse,” and “Red Line,” both showcases for the stellar rhythm section of Omar Ahsanuddin and Dusty Jermier. Their unparalleled sense of groove and restraint leaves ample room for Nash Whalen’s keyboard flourishes.

File Under: Psych
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outerVarious: Outer Himmilayan Presents (Sacred Bones/Dark Entries) LP
Dark Entries and Sacred Bones team up to release the early discography of UK synth-punk and Deathrock label Outer Himmilayan Records. Between 1979 and 1982, Nick Blinko and Martin Cooper’s Outer Himmilayan Records released 7-inches by three short-lived bands – The Magits, Soft Drinks, and S-Haters – who would nonetheless cast a massive shadow on the UK’s burgeoning post-punk/anarcho punk scene. Outer Himmilayan Presents collects all of the music found on those original records, along with rare and unreleased tracks by all three bands. It’s a snapshot of a period of frenzied creativity by some of the UK’s most thrilling experimental punks.

File Under: Punk
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…..Restocks…..

Boards of Canada: Music Has The Right to Children (Warp) LP
David Bowie: Hunky Dory (RCA) LP
James Brown: I Got The Feelin’ (Polydor) LP
James Brown: It’s A Mother (Polydor) LP
James Brown: There it is (Polydor) LP
Cavern of Anti-Matter: Hormone Lemonade (Duophonic) LP
Kenny Dorham: Afro-Cuban (Blue Note) LP
El Michels Affair: Enter the 37th Chambers (Fat Beats) LP
Henry Cow: Leg End (Recommended) LP
Henry Cow: Unrest (Recommended)LP
Henry Cow: In Praise of Learning (Recommended) LP
Johann Johannsson: Theory of Everything (Music on Vinyl) LP
Johann Johannsson: McCanick (Milan) LP
Joy Division: Preston 28 February 1980 (Get Back) LP
Mississippi Fred McDowell: Mississippi Delta Blues (ORG) LP
Meters: Struttin’ (Josie) LP
Modern Lovers: s/t (Music on Vinyl) LP
Roberto Musci & Giovanni Venosta: Water Messages on Desert Sand (Recommended) LP
No Age: Snares Like A Haircut (Drag City) LP
Sarah Shook & The Disarmers: Sidelong (Bloodshot) LP
Sarah Shook & The Disarmers: Years (Bloodshot) LP
Sleep: Holy Mountain (Earache) LP
U2: All That You Can’t Leave Behind (Universal) LP
U2: Pop (Universal) LP
White Zombie: La Sexorcisto (Music on Vinyl) LP

 

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…..news letter #848 – bam…..

 

Heavy week! So many big releases in this week, I hope your wallet has had time to recover from Record Store Day! And with that, I’ll leave you to it, I’ve got boxes piling up around here…

…..picks of the week…..

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Visible Cloaks: s/t (Musique Plastique) LP
The music of Visible Cloaks — the duo of Spencer D and Ryan Carlile, previously known as just “Cloaks” — has been bubbling under the surface of the already rich situation of experimental electronic song-smiths that exists in Portland, OR., and with only a handful of limited CDRs, a few tape releases (the most recent of which came out last year on Cameron “Sun Araw” Stallones’ Sun Ark Editions) and a string of albums released exclusively in Japan, we’ve had to rely on catching them live to find out where they’d been exploring, and what new environments they’d recreate for us. Visible Cloaks “live in a weird zone where corporate Japanese ambient music meets fourth world pop abstraction” (Michael Klausman, Other Music). The collision of synthesized and acoustic sounds, and genres usually associated with either — from Eno or Steve Roach’s ambience to Javanese Gamelan —, are intertwined so effortlessly and effectively that trying to parse out distinct sources is of foolhardy focus. Just as Haruomi Hosono created the magical space between India and Japan with Cochin Moon, Visible Cloaks are building unique worlds and it’s our pleasure to be able to visit them. Their debut LP includes the studio recorded pieces from the Sun Ark tape as well as previously unreleased material.

File Under: Ambient, Electronic
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aguirre-taj-mahal-travellers-aug-74-2lp.jpg

Taj Mahal Travellers: Aug ’74 (Aguirre) LP
Aguirre Records present a reissue of Taj Mahal Travellers’ August 1974, originally released in 1975. A monumental work by the Japanese experimental music ensemble. In April 1972 a group of Japanese musicians set off from Rotterdam in a Volkswagen van. As they crossed Europe and then made their way through Asia they made music in a wide range of locations. They also paid close attention to the changing scene and to differing ways of life. Midway through May they reached their destination, the iconic Taj Mahal on the bank of the Yamuna river in Agra, India. The Taj Mahal Travellers had fulfilled physically the promise of the name they adopted when they formed in 1969. The double album August 1974 was their second official release. The first July 15, 1972 is a live concert recording, but on August 19th, 1974 the Taj Mahal Travellers entered the Tokyo studios of Nippon Columbia and produced what is arguably their definitive statement. The electronic dimension of their collective improvising was coordinated, as usual, by Kinji Hayashi. Guest percussionist Hirokazu Sato joined long-term group members Ryo Koike, Seiji Nagai, Yukio Tsuchiya, Michihiro Kimura, Tokio Hasegawa, and Takehisa Kosugi. The enigmatic Takehisa Kosugi, whose soaring electric violin was such a vital element in their music, had been a pioneer of free improvisation and intermedia performance art with Group Ongaku at the start of the ’60s. Later in that decade, before launching the Taj Mahal Travellers, he had become known internationally through his association with the fluxus art movement. During the mid-70s the Travellers disbanded and while his colleagues more or less stopped performing as musicians Kosugi continued to reach new audiences across the course of several decades as a composer, regular performer, and musical director for the acclaimed Merce Cunningham Dance Company. August 1974 captures vividly the characteristic sound of the Taj Mahal Travellers, haunting tones from an unusual combination of instruments, filtered through multiple layers of reverb and delay. Their music has strong stylistic affinities with the trippy ambience of cosmic and psychedelic rock, but the Taj Mahal Travellers were tuning in to other vibrations, drawing inspiration from the energies and rhythms of the world around them rather than projecting some alternative reality. Films of rolling ocean waves often provided a highly appropriate backdrop for their lengthy improvised concerts. Licensed from Columbia Japan. Remastered and lacquer cut by Rashad Becker.

File Under: Ambient, Experimental, Improv, Essential Grooves
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…..new arrivals…..

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7FO: Moment (Metron) LP
Having previously released a cassette on RVNG International, and a 7’’ single on Bokeh Versions in 2017, this is 7FO‘s debut full length vinyl release. The tracks, recorded between 2012 and 2017, have been tweaked, remastered and recorded to vinyl for the first time. The mysterious Japanese producer recorded the tracks at home, processing guitar sounds, using a sampler, synthesizer and junk equipment. Following in the footsteps of the ambient giants of his native land, 7FO’s music continues this illustrious heritage whilst offering something fresh, modern and beautifully rendered. He describes his own sound as ‘gorgeous sustained tones and dreamlike oscillations that drift through the inorganic/electronic world reverberating through our subconscious creating sonic fables in our minds’.

File Under: Electronic, Ambient
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CourtneyBarnett

Courtney Barnett: Tell Me How You Really Feel (Mom + Pop) LP
Grammy and Brit nominated Australian singer/songwriter Courtney Barnett follows up her critically acclaimed debut Sometimes I Sit And Think And Sometimes I Just Sit (2015) and top 10 collaborative record, Lotta Sea Lice (2017) with Kurt Vile with her second studio effort Tell Me How You Really Feel. One of the most distinctive voices in music, Barnett is known for mixing witty observations with unflinching self-assessment. And although all of the cleaver turns of phrase and an eye for story telling are still here; this new collection ushers in a more serious and outwardly tone which captures the current social landscape while retaining moments of intimacy and warmth. The songs feel comforting and emphatic yet still simmer with a raw energy and the ability to make the listener really think. Scathing lead single “Nameless, Faceless” takes an ax to internet trolls, chauvinist pigs and even has Kim and Kelley Deal from the Breeders on vocals during the head flattening chorus.

File Under: Indie Rock
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Beach House: 7 (Sub Pop) LP
Beach House released B-sides and Rarities in 2017, which served as a proverbial “cleaning out the closet” to pave way for a new creative process. Their approach in the creation of 7 was rebirth and rejuvenation. Victoria Legrand and Alex Scally used to limit themselves to what they thought they could perform live, but this time that limitation was ignored. Also, instead of one long studio session, Beach House recorded when inspired batches of songs, which resulted in 5 mini-sessions over the course of 11 months. Unlike the last four albums, 7 didn’t have a producer in the traditional sense. Spacemen 3’s Sonic Boom (Peter Kember) became a significant force on this record by shedding conventions and helping to keep the songs alive, fresh, and protected from the destructive elements of recording studio overproduction and over-perfection. The band’s trusted live drummer from 2016 to the present, James Barone, played on the entire record, helping to keep rhythm at the center of a lot of these songs. “Looking back, there is quite a bit of chaos happening in these songs, and a pervasive dark field that we had little control over. The discussions surrounding women’s issues were a constant source of inspiration and questioning. The energy, lyrics and moods of much of this record grew from ruminations on the roles, pressures and conditions that our society places on women, past and present. The twisted double edge of glamour, with its perils and perfect moments, was an endless source (see “L’Inconnue,” “Drunk in LA,” “Woo,” “Girl Of The Year,” “Last Ride”). In a more general sense, we are interested by the human mind’s (and nature’s) tendency to create forces equal and opposite to those present. Thematically, this record often deals with the beauty that arises in dealing with darkness; the empathy and love that grows from collective trauma; the place one reaches when they accept rather than deny (see “Dark Spring,” “Pay No Mind,” “Lemon Glow,” “Dive,” “Black Car,” “Lose Your Smile”).” – Beach House

File Under: Indie Rock
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The Breeders: Last Splash (4AD) LP
In October 2017, The Breeders announced their return to 4AD, along with a new album, All Nerve, released in March 2018. The label is also reissuing their previous four albums on vinyl including Pod (1990), Last Splash(1993), Title TK (2002) and Mountain Battles (2008). Following the departure of Tanya Donelly, the breakup of The Pixies, and the return of Kelley Deal to the fold, The Breeders’ hit the alternative big time with their second record Last Splash and its hit singles “Cannonball,” “Divine Hammer,” and “Saints.” The last Breeders album of the ’90s, as Kelley suffered and recovered from drug addiction and Kim found a new outlet in The Amps, Last Splash went platinum and brought Kim Deal’s massive songwriting talents out from behind the shadow of Black Francis once and for all.

File Under: Indie Rock
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The Breeders: Pod (4AD) LP
In October 2017, The Breeders announced their return to 4AD, along with a new album, All Nerve, released in March 2018. The label is also reissuing their previous four albums on vinyl including Pod (1990), Last Splash (1993), Title TK (2002) and Mountain Battles (2008). Though ostensibly a side project of The Pixies’ Kim Deal and Throwing Muses’ Tanya Donelly, The Breeders’ debut, Pod, has held up as a classic of late 80s/early 90s off-kilter alternative pop, surpassing the contemporaneous work of their main bands. Though Deal would really hit the big time three years later with the Breeders’ follow-up, Last Splash, and Donelly would do the same with her next band, Belly, Pod is the band’s finest, most coherent album and perhaps the high point in both of their careers. Engineering by Steve Albini and Kurt Cobain citing it as one of his favorite records certainly doesn’t hurt matters either.

File Under: Indie Rock
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The Breeders: Title TK (4AD) LP
In October 2017, The Breeders announced their return to 4AD, along with a new album, All Nerve, released in March 2018. The label is also reissuing their previous four albums on vinyl including Pod (1990), Last Splash(1993), Title TK (2002) and Mountain Battles (2008). Following the release of their definitive off-kilter alternative pop records Pod and Last Splash, Kelley Deal fell into drug addiction and Kim Deal found a new outlet in The Amps. Nine long years later The Breeders re-emerged with their third album Title TK (“title to come”) which The Guardiancalled, “a welcome return to punky pop that knows how to flex some melodic muscle.” It was produced by Steve Albini and yielded the singles “Off You”, “Huffer” and “Son of Three.”

File Under: Indie Rock
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Jennifer Castle: Angels of Death (Idee Fixe) LP
A sublime meditation on mortality and memory, ghosts and grief, Angels of Death casts a series of spells against forgetting and finality, in the form of mystic-minimalist country-soul torch songs about writing, time travel, and spectral visitations. Ontario songwriter Jennifer Castle wrote and recorded this breathtaking follow-up to the acclaimed Pink City (2014) in a 19th century church near the shores of Lake Erie, where her family also lived and experienced a constellation of losses that inhabit these bruised musings. The arrangements of these remarkable recordings hang in the air like the angels they describe, hovering aloft on pedal steel, strings, and keys. Sonically, songs like “Crying Shame” and “Grim Reaper,” in their disciplined atomization of chords and carefully chosen words, are refined to the point of being barely there. Space is sculpted in silence, and the songs resemble gossamer webs, visible only at an angle, sunlight refracting through dew. Castle’s voice is an instrument of exquisite ethereality and expressive linearity, limpid and narrow and pure as a mountain brook. Angels of Death was produced by Castle and longtime collaborator Jeff McMurrich. Although augmented at subsequent Toronto sessions by other notable players such as Victoria Cheong and Isla Craig on backing vocals and Stew Crookes on pedal steel, the core band comprised Paul Mortimer on lead guitar, David Clarke on acoustic guitar, Jonathan Adjemian on organ/piano, Mike Smith on bass (he also wrote the string arrangements), Robbie Gordon on drums, and Castle on guitar and vocals. Much of it, and most of Jennifer’s vocal tracks, were recorded live in the church over one cold weekend; “the moon,” Castle reflects, “was a member of the band.”

 File Under: Indie Rock
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Cybe: Tropisch Verlangen (Stroom) LP
A techno-nature synthesis for an East-West confrontation/a musical travelog from a Dutch musician searching for inspiration in the East in the early ’80s. Stroom on the release: “After travelling to India, Indonesia, Thailand, Bali and Java in his younger days, Cybe released three cassette tapes. Tropisch Verlangen now compiles a series of ten wonderful handcrafted analogue electronics from those tapes, sounding like lush fields of electronic wheat swaying in voltage-controlled wind. It reads as a musical travelogue from a Dutch musician from Haarlem, who listened to way too much Gong and went searching for inspiration, sound recordings and instruments in the East in the early eighties.”

File Under: Electronic, Ambient
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Colin Fischer: V Le Pape (Geej) LP
V Le Pape is Colin Fisher’s debut album for Geej Recordings. Fisher, a mainstay of the Toronto experimental music scene, has spent the last fifteen years, quite blowing minds as a multi-instrumentalist, improvisational performer. Perhaps best known as one half of the esteemed duo Not the Wind, Not the Flag, he has forged a unique position somewhere between avant jazz virtuoso and a psychedelic shaman of ecstatic performance. Fisher is a constant fixture at everything in Toronto worth going to. He is also constant collaborator, attractive to popular musicians who need something more than just a great player, and he has recorded with Caribou, The Constantines, and Many Arms.. But now he is on his own, and Geej is thrilled to share his spectacular talent to the world.V Le Pape was made entirely using guitar and an array of looping and effect pedals. At first listen one might think that Fisher is part of a growing new wave of Ambient/New Age producers, but that would be to fundamentally skip over what makes Fisher so singular. The album was completely improvised and recorded live off the floor there are no overdubs, no multi tracks, no second takes., and while the music nods to some other heroes of treated guitar; David Torn, Fred Frith, Alan Holdsworth and Fennesz, Fisher is able to construct something unique. V Le Pape lives somewhere between ambient texture and freeform modal exploration. But all of it is immediate, spontaneous and free. Guitar playing as improvisational divination comes naturally to Fisher who has spent the last decade studying Tarot., which he uses as an interpretive guide. He’s used the image of The Pape (The Pope) for this record as it symbolizes what Fisher calls ‘a spiritual respiration, a sense of a living bridge” The Pape is a communicator, perhaps between himself and a new audience, perhaps between the universe and his instrument. For Fisher improvisation is composition, there is no distinction between what is written and what is performed as he says that “the framework of Improvisation is biological, if we are incongruent from our senses, we are not acting in relationship with dynamic stimulus and we are therefore detached from the world…. improvising is acting in the world”Fisher’s interest in the connection between elemental music and organic well being has led him to work with jazz legend Milford Graves. Graves, whose pioneering work on rhythm and biology, has had a deep impact on how Fisher sees symbiotic harmony between music and the organism. Fisher is also a certified teacher of Alexander Technique, a strategy popular with artists which stresses psycho-physical unity. Colin Fisher is the real deal, he lives every day, all day as a musician, tirelessly practicing and honing. It is a rare gift, but it is also a second nature, as Fisher puts it “music is an expression of your biological self”. V Le Pape is a record documenting a musician at being.

File Under: Experimental, Ambient, Improv
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Joanne Forman: Vaults of the Moon (Séance Centre) LP
We humans, the nascent beings that we are, still haven’t quite figured out the full potential of music. Dancing, meditating, emoting, protesting; these are all pretty basic. But what if we communicated more complex ideas with music? What if we codified all of our activities with music? This idea came to composer Joanne Forman when she was commissioned to create the soundscape for an environmental exhibition of sculpture called Artifacts from an Alien Civilization in 1987. The sculptures, elaborate ruins that had been found on the moon, begged the question: who created them and for what purpose? Joanne Forman imagined that Earth’s moon was a vacation spot for advanced beings from another galaxy. Cave Vaults of the Moon became a collection of sonic texts describing the fun things that went on there; earth-viewing, collecting information, building and playing. In her mind the sculptures in the exhibit were the remnants of a deserted playground of moon castles. Forman’s playful score for voice, Ensoniq Mirage, Juno 106, flute, guitar and effects, wafted through the exhibit every day for a month and then lay dormant for nearly 30 years. Unearthed here, Cave Vaults of the Moon sounds prescient and timeless, as if the Wicker Man had been scored by Pep Llopis, and we now have the opportunity to reimagine the messages contained within it. Restored and remastered and cut using DMM.

File Under: Ambient, Experimental
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Frog Eyes: Violet Psalms (Paper Bag) LP
In tomorrow… Seventeen years after their teetering debut, Vancouver band Frog Eyes unveil their eighth and final album Violet Psalms – a giddy lament; a gnashing jubilee; a rain-drenched allocution on hope vs. horror, paradise vs. pride, Marx and Brexit and bad acid trips. No guests, no engineers. A self-invention. Violet Psalms began with its frantic, reverb-drenched guitar, squiggling over a modulation pedal. Next Carey Mercer and Melanie Campbell concocted the drum parts – imagining them an onomatopoeia then recording them in fragments, kickdrum by kickdrum, tom by tom, with tailored effects. “The goal was to disorientate,” Mercer explains, but also to work by instinct, gut – a cut-up of music and image, songs that coil back and kiss. The band pruned as they went, adding Terri Upton’s bass parts, taking other parts away. Whereas past LPs used piano, Shyla Seller worked with shimmering synths – chords like bleeding watercolor, shadows casting on a wall.

File Under: Indie Rock
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Gnod: Chapel Perilous (Rocket) LP
In more than a decade on the planet this singular Salford-birthed entity have married intrepid musical exploration with psychic fearlessness – not to mention a tendency to leave any tag or bracket one attempts to place on them utterly redundant. In a sense, the latest adventure bearing this title evolved both from the lengthy European tour that the band embarked upon in the wake of their stripped-down and paint-stripping 2017 opus Just Say No The Psycho Right-Wing Capitalist Fascist Industrial Death Machine. Recording in Supernova studio in Eindhoven with Bob De Wit, the band found themselves free not only to lay down two tumultuous tracks that they had been honing and hammering into shape on the road – the pulverising fifteen-minute opener ‘Donovan’s Daughters’ and the bracingly brutal ‘Uncle Frank Says Turn It Down’ – but to sculpt more abstract material, utilising dubbed-out repetition, furious riff-driven rancour, bleak soundscapes and experimentation to create an invigorating tableau of dys-topian dread and unflinching intensity. Wherever Gnod go in 2018 and beyond, expect reality to be reinvented anew, whatever the consequences.

File Under: Psych
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Jonny Greenwood: Bodysong. OST (XL) LP
Bodysong. is Jonny Greenwood’s first original score for a film, and makes up the soundtrack to a BAFTA winning documentary film of the same name, directed by Simon Pummell. Originally released in 2003, the reissue has been remastered by Christian Wright. With artwork by Stanley Donwood. Available on single gatefold LP and CD. “I started using modes of limited transposition in the music for Bodysong,” Greenwood once told The Quietus. “[I did this] partly as a way to tie lots of disparate styles of music together – the jazz musicians could improvise using them, the laptop could be restricted to these notes – and so it just helped create some continuity. Always nice to have a set of limits or rules to work against too.”

File Under: OST, Radiohead
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Distant_Voices_Front_Cover_1024x1024Lacy/Takahashi/Kosugi: Distant Voices (Aguirre) LP
Aguirre Records present a reissue of Distant Voices, Steve Lacy’s rare Japanese collaboration album, originally released in 1976. Renowned for remarkable solo concerts that confirmed his mastery of the soprano horn and that carried its instrumental language into previously unexplored regions, Lacy also loved to collaborate with musicians who could inspire him to stretch the boundaries of his own artistry. During the summer of 1975 Lacy toured Japan, and on June 24th he entered a Nippon Columbia studio in Tokyo with Yuji Takahashi and Takehisa Kosugi, two adventurous kindred spirits, guaranteed to fire Lacy’s creative imagination. The fascinating outcome of that dynamic session is Distant Voices, an album without parallel in Lacy’s extensive discography. Composer Iannis Xenakis was so impressed when he heard Yuji Takahashi playing piano in 1961 that he later wrote music especially for him. His repertoire extends back to Bach and Purcell yet for Takahashi, music has remained an open quest and a process of discovery. Takehisa Kosugi on the other hand has been a legendary figure in the international avant-garde since the mid-1960s when his work was endorsed by the fluxus movement. In Japan he was by then already well established as leading practitioner of experimental music and intermedia performance art. At the time Distant Voices was recorded Kosugi had also developed a following for his electric violin playing with the Taj Mahal Travellers, a group whose sound had strong stylistic affinities with psychedelic rock and space music. Subsequently other audiences worldwide came to know Kosugi through his long association as a composer, performer, and musical director with the Merce Cunningham Dance Company. On 24th June 1975 Takahashi sat at a grand piano, with celeste and vibraphone alongside him and small bells attached to his hands. Kosugi was equipped with violin, flute, mouth organ, an electronic modulator, porcelain bowls and at times he used his voice. Lacy played soprano saxophone, of course. Now and then he pressed the mouth of the instrument against the skin of a kettle drum. He occasionally fiddled with a transistor radio, and also found uses for a stepladder, a toothbrush, and a spinning wheel. This was in no sense a routine musical session. Distant Voices preserves a unique occasion when three singular musicians joined together to embrace the unknown. Licensed from Columbia Japan. Remastered and lacquer cut by Rashad Becker. 180 gram vinyl.

File Under: Improv, Experimental, Jazz, Taj Mahal Travellers
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11183_JKTStephen Malkmus & The Jicks: Sparkle Hard (Matador) LP
Sparkle Hard is the new album from Stephen Malkmus & The Jicks. Available from Matador Records, it is their first album in over four years, following Wig Out At Jagbags. Produced by Chris Funk the album was prefaced by “Middle America,” with Malkmus’ wry wordplay and sunny wang create an ode to underdogs everywhere, with bittersweet words of encouragement for the ramshackle character on their receiving end. Only SM & the Jicks can craft this kind of rightly low-key anthem, a perfect three-minute-thirty-second country-speckled gem about life’s questions big (the inevitable passage of time; aging) and small (getting shitfaced; blushing the colour of Robitussin). The album is light ’n’ breezy, head-down heavy, audacious, melancholic and reflective, good time and bodacious, and it pulls off the smartest trick: it’s both unmistakeably The Jicks and – due to the streamlining of their trademark tics and turns, plus the introduction of some unexpected flourishes (Auto-Tune! A fiddle! Guest vocalist Kim Gordon! One seven-minute song with an acoustic folk intro!) – The Jicks refashioned. If 2014’s Wig Out At Jag Bags balanced the lengthy prog workouts of Pig Lib with Mirror Traffic’s sparky pop moments, then Sparkle Hard bears less obvious direct relation to what’s come before. It also has turbocharged energy and enthusiasm by the truckload.

File Under: Indie Rock
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massiveattackMassive Attack: Heligoland (Virgin) LP
Bristol based trip hop pioneers Massive Attack are a hugely influential force in British music. Formed out of the legendary Wild Bunch Soundsystem the group combined elements of hip hop, funk, dub and rock into one stunning package. Massive Attack released the three stunning ’90s albums Blue Lines (1991), Protection (1994) and Mezzanine (1998) while only producing the two albums 100th Window (2003) and Heligoland (2010) in the subsequent 15 years. Heliogoland is the elusive duo’s long awaited fifth and final studio effort to date. The release features an all-star cast of guest vocalists including Damon Albarn, Hope Sandoval, Martina Topley-Bird, Guy Garvey and Tunde Adebimpe. Long time cohort Horace Andy returns alongside founding members Robert Del Naja (3D) and Grant Marshall (Daddy G). Alborn also plays bass on “Flat Of The Blade” and keyboards on “Splitting The Atom” while Portishead’s Adrian Utley plays guitar on “Saturday Come Slow.”

File Under: Electronic, Trip Hop
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Sam McClellan: Music of the Five Elements (Séance Centre) LP
Music is the healing force of the universe. It’s an ancient idea bandied about by Pythagoras and Plato. In the last century, music as medication has been explored by musicians as diverse as Albert Ayler, Spacemen 3 and Pauline Oliveros. Nowhere did this concept gain more traction than in the so-called realm of New Age Music, an entire movement of synth droners and echoey flautists recording home-baked healing mantras on 4-track. In recent years, thanks to cassette collecting devotees and open-minded music journalists, New Age has shed its flowing robes and is being mined for the truly incredible music that swells under its pastel surface. Musician/acupressurist Sam McClellan’s 1982 Music of the Five Elements is one of those revelatory discoveries, an unrivalled work of intense research and focus, simultaneously a near perfect work of art and a scientifically sound elixir for body and mind. After studying electronic composition at Hampshire College with Randall McClellan (no relation), Sam McClellan became intrigued with the possibilities of healing through music. He explored this idea by applying the ancient Chinese philosophy of medicine to the principles of musical composition. Using the pentatonic scale (the traditional scale of Chinese music), McClellan related each of the notes to one of the five elements (Wood, Fire, Earth, Metal Water), and created five variations for each. He experimented with tempo, beat, pitch, duration, and sound quality, studying the effect on people’s energy levels. Using the results of his tests he developed a comprehensive theory of sonic healing and spent the next year composing an album designed to help people achieve inner balance, reducing anxiety and energy depletion. Music of the Five Elements is not only the “acoustic massage” that McClellan set out to make, but is a fully realized and peerless piece of music. Taking cues from Minimalism, American Primitive guitar (Fahey & Basho) and even psychedelia, the album is a continuous sound voyage for voice, synthesizer, guitar, bowed bass, piano, effects and ciao (Chinese flute) all played by McClellan himself. Although divided into sections, the journey is best undertaken as a whole, without distraction. As McClellan himself wrote in the original liner notes: “The optimum effect of Music of the Five Elements will be achieved if each side of this recording is played through, from beginning to end without interruption. Music of the Five Elements, when used as a meditational or body work tool, rather than entertainment, will increase in effect over time. Overplaying or improper use, however, may eventually diminish its designed effect” The prescription for this album: play it loud and heal yourself. Remixed and remastered from the original reels and cut using DMM for the purest dose possible

File Under:
 Ambient, New Age
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Pablo's+Eye+-+Spring+BreakPablo’s Eye: Spring Break (Stroom) LP
Pablo’s Eye is the science of studio pressure, when engineer becomes artist. Appropriating left and right as well as front and back, Pablo’s Eye uses the mixing desk to examine and exhaust the possibilities of moments. Pablo’s Eye is a record of that examination and exhaustion, but it is also a record of its own inner space. By means of depth placement, psychoacoustics and spatial fug, Pablo’s Eye is experienced in the deeper reaches of the body, bypassing the conscious part of the mind entirely. Pablo’s Eye is the turning of recorded music inside out to show its seams. It interrogates a song, stripping down the body of the song to reveal its bones. Pablo’s Eye is in the interstices of music, it plugs the gaps, fills the holes. Pablo’s Eye seeks out the concealed mechanisms, it is a song’s hidden agenda. For this compilation, it was decided to present the softer air-beatings of Pablo’s Eye. More than anything, Pablo’s Eye is a temporary atmosphere, like a taste or a dream…

File Under: Electronic, Ambient
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268x0wParquet Courts: Wide Awake! (Rough Trade) LP/DLX LP
Wide Awake! is New York’s Parquet Courts’ fifth record since their formation eight years ago. The album is filled with Parquet Courts’ traditional punk rock passion, dynamic rhythmic propulsion and exceptional songwriting yet explores new ground and influences from Grace Jones, Townes Van Zandt, Parliament, Augustus Pablo to 80s American punk like Big Boys, Minute Men, The Dicks and Flipper. “The ethos behind every Parquet Courts record is there needs to be change for the better, and the best way to tackle that is to step out of one’s comfort zone’’ guitarist/singer A Savage says of the unlikely pairing with producer Danger Mouse. ‘‘I personally liked the fact that I was writing a record that indebted to punk and funk, and Brian’s a pop producer who’s made some very polished records.” The songs, written by Austin Brown and Andrew Savage, are filled with their traditional punk rock passion, as well as a lyrical tenderness, but are elevated to even greater heights by the dynamic rhythmic propulsion of Max Savage (drums) and Sean Yeaton (bass). Ultimately then the message contained in Wide Awake! is complex. “In such a hateful era of culture, we stand in opposition to that — and to the nihilism used to cope with that — with ideas of passion and love,” Brown says. For Savage, it comes back to the deceptively complex goal of making people want to dance, powering the body for resistance through a combination of groove, joy, and indignation. “Expressing anger constructively but without trying to accommodate anyone.” Austin Savage says they played on the duality between rage and glee like Youth of Today, Gorilla Biscuits and Black Flag. “I needed an outlet for the side of me that feels emotions like joy, rage, silliness and anger,” For Austin Brown, death and love were the biggest influences. One of the most courageous songs on the new record is “Death Will Bring Change,” a moving elegy, with a chorus not unlike the Rolling Stones’ “You Can’t Always Get What You Want,” only this time, London’s Bach Choir were 15 twelve year olds from the upper east side recorded at 9am on a Saturday. * Album opener “Total Football” is named after the eponymous theory of soccer pioneered by the Dutch that requires every player to be able to play every position on the field. It also has shout-outs to iconic individualists the painter Cy Twombly, the poet Mina and sculptor Eva Hesse. Title track “Wide Awake” brings the band’s mission into full focus. It aims to achieve the deceptively complex goal of making people want to dance, while powering the body for resistance through a combination of groove, joy, and indignation.

File Under: Indie Rock, Punk
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flashback-perth-county-conspiracy-s-t-lpPerth County Conspiracy: s/t (Flashback) LP
First LP reissue. 180 gram vinyl; Gatefold Sleeve; Includes 16-page booklet and insert. Flashback present a reissue of The Perth County Conspiracy’s self-titled album, originally released in 1970. Despite having completed their debut for Columbia just weeks earlier, in August 1970 Cedric Smith, Richard Keelan, Michael Butler, and other Conspirators recorded another album, exclusively for Canadian radio broadcast. For this recording they’d assembled a fine batch of new material, as well as striking arrangements of songs by Bob Dylan, Donovan, and Smokey Robinson. Warm, atmospheric, and slightly mystical, it’s a lost psychedelic folk classic.

File Under: Psych, Folk
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pulsePink Floyd: Pulse (Pink Floyd) LP
Originally issued in 1995, Pulse was compiled by producer James Guthrie using various performances from Pink Floyd’s 1994 Division Bell tour across the U.K. and Europe. Featuring original members David Gilmour, Nick Mason and Richard Wright, the album reached No. 1 in both the U.S. and U.K. and includes a smattering of hits and The Dark Side of the Moon performed in full, as well as a whole side dedicated to the show’s encore. This 180g 4LP reissue was remastered from the original analog tapes by James Guthrie, Joel Plante and Bernie Grundman with the original artwork recreated by Aubrey Powell of Hipgnosis and Peter Curzon, who worked on the original art with the late Hipgnosis co-founder, Storm Thorgerson. The set comes complete with four unique inner sleeves and a 52-page hardback photo book, all encased in a thick card slipcase.

File Under: Rock
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relicsPink Floyd: Relics (Pink Floyd) LP
50 years on from its original pressing, Pink Floyd reissue their 1971 compilation album Relics on heavyweight 180g vinyl, remastered from the original analog tapes in 2018 by James Guthrie, Joel Plante and Bernie Grundman. The band’s very first compilation album includes singles, B-sides and tracks from Pink Floyd’s first three albums The Piper At The Gates Of Dawn, A Saucerful of Secrets and More. Also featured is the then-previously unreleased Roger Waters song, “Biding My Time,” which was recorded in July 1969 and made its debut here. Relics was also the first album to include “Arnold Layne” and “See Emily Play,” which previously had only been released as singles, and the original studio recording of “Careful with That Axe, Eugene,” the B-side of “Point Me At The Sky” in 1968. Keeping true to the original artwork, the sleeve features the black and white drawings by Nick Mason, carrying the iconic subtitle A Bizarre Collection of Antiques & Curios. All tracks are the original stereo versions, which sit alongside the Syd Barrett-era, mono mixed singles “Arnold Layne” and “See Emily Play.”

File Under: Rock
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speedy

Speedy Ortiz: Twerp Verse (Carpark) LP
“Necessary brattiness” is the motto for Speedy Ortiz’s dauntless new collection of songs, Twerp Verse. The follow-up to 2015’s Foil Deer, the band’s latest indie rock missive is prompted by a tidal wave of voices, no longer silent on the hurt they’ve endured from society’s margins. But like many of these truth-tellers, songwriter, guitarist and singer Sadie Dupuis scales the careful line between what she calls being “outrageous and practical” in order to be heard at all. “You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world,” says Dupuis. “I call it a ‘twerp verse’ when a musician guests on a track and says something totally outlandish – like a Lil Wayne verse – but it becomes the most crucial part. This record is our own twerp verse, for those instances when you desperately need to stand up and show your teeth.” Twerp Verse was tracked in Brooklyn DIY space Silent Barn, mixed by Omaha legend Mike Mogis (Bright Eyes, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia, Haim, Beck). The record pulls from the most elastic pop moments in Squeeze’s Argybargy and the seesawing synth-rock of Deerhoof and the Rentals. With Dupuis on guitars, vocals, and synths, supporting guitarist Andy Molholt (of psych pop outfit Laser Background) now joins Speedy veterans Darl Ferm on bass and Mike Falcone on drums – and together they accelerate the band’s idiosyncrasy through the wilderness of Dupuis’ heady reflections on sex, lies and audiotape. As public pushback against the old guards reaches a fever pitch – in the White House, Hollywood and beyond – the band fires shots in disillusioned Gen Y theme “Lucky 88,” and casts a side-eye towards suitors-turned-monsters in the cold-blooded single “Villain.” Closing track “You Hate The Title” is a slinky traipse through the banality of this current moment in patriarchy – in which survivors are given the mic, but nitpicked over the timbre of their testimonies. “You hate the title, but you’re digging the song,” Dupuis sings wryly, “You like it in theory, but it’s rubbing you wrong.” Tuned smartly to the political opacity of the present, Twerp Verse rings clear as a bell.

File Under: Indie Rock
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tuttlesTrampled By Turtles: Life is Good on the Open Road (Banjodad) LP
After 15 years of traveling together in close quarters and commanding festival and club stages around the country, the six musicians who make up Trampled by Turtles – Dave Simonett, Tim Saxhaug, Dave Carroll, Erik Berry, Ryan Young, and Eamonn McLain – went nearly a year without all being in the same room. Simonett, the band’s lead singer and songwriter, released a critically acclaimed and highly personal album, Furnace, with his band Dead Man Winter. Other members kept busy with their own side projects in the Twin Cities and their hometown of Duluth, MN, allowing new musical ideas to grow. Tracking for their new album, Life is Good on the Open Road, was completed in just six days at Pachyderm Studio in Cannon Falls, MN and mixed the following week. The band produced the album themselves with the help of Pachyderm’s house engineer, Nick Tveitbakk, recording everything live to tape. Life is Good on the Open Road is the sound of freedom washing over the group like a sunrise, a new day rising. When discussing the album, both Simonett and Berry toyed with the phrase “return to form,” suggesting that it captures something pure and essential about the Trampled by Turtles sound. “Tim said something kind of interesting – he said, ‘This is the most Trampled by Turtles record we’ve ever made,'” says Berry. “He’s right.” The band weaves their instruments together like a seamless tapestry, laying down a bed that seems to float underneath Simonett’s expressive voice. Each song seems to tell its own story, from tales of nights gone wrong to love that’s been lost and dreams that need chasing, and the group shifts in unison from tender ballads to barn burning hair-raisers, sometimes in the same song. Simonett’s lyrics, which have grown ever sharper over the years, occasionally rise up to shoot an arrow directly through the heart. Although no songs directly address the band’s time apart, there are metaphors that speak to the experience of putting Trampled by Turtles to bed and waking it back up again.

File Under: Rock
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vsnaresVenetian Snares & Daniel Lanois: s/t (Timesig) LP
No collaboration is unlikely when the end goals are the same. A meeting of two artists who illustrate different corners of the musical landscape, come together to create a new statement that takes their collective strengths to higher elevations and encompasses new terrains. So it is on the first collaborative journey of Canadian musicians Venetian Snares (aka Aaron Funk) and Daniel Lanois. What started as mutual respect for one another’s work, led to several years of a creative germination resulting in an eight-track full-length exploration. The path began in 2014, after Lanois reached out to Funk as a fan of his work. The project started to take root in Summer of 2016, after Aaron hung around Toronto between shows. Taking his gear to Lanois’ studio, the two began to play for the first time together in what would prove to be a formative moment in their creative journey together. “I love making music with Dan, he has a real understanding of how to create a world and build what may exist within that world,” Funk explains. Recorded live in a former Buddhist temple-turned-studio in Toronto, Venetian Snares x Daniel Lanois travels to new zones in what Lanois describes as “a body of work driven by exploration.” Like all the best collaborations, it’s brought something new out of both musicians. Equipped with their production acuity, they let their natural workflow guide them through uncharted waters. Funk laid the groundwork with drums while Lanois rode the pedal steel, weaving their sounds together in a new sonic tapestry. The two ultimately landed at their destination, their work ready to be shared with those willing to explore.

File Under: Electronic, Ambient
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heart ofsaturdayTom Waits: The Heart of Saturday Night (Anti) LP
Expanding beyond the folk and pop stylings of his first album, Tom Waits’ masterful second studio effort, Heart of Saturday Night (1974) further established his growing reputation as a versatile and distinctly American songwriter. Its bluesy jazz arrangements featured bass, drums, saxophone and Waits on piano. The title track, a melancholy ode to Saturday night rituals, and the tenderly romantic hymn-like “San Diego Serenade” are enduring classics covered by an array of artists from Diana Krall and Nancy Griffith to folk hero Eric Anderson. The album also features “Diamonds on My Windshield,” the first of what would become a signature for Waits – the spoken word-poetry song. Waits delivers the evocative lyrics throughout as pure beat jazz in the stylings of Kerouac, Langston Hughes and Bob Kaufman.

File Under: Rock, Pop
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nighthawksTom Waits: Nighthawks at the Diner (Anti) LP
After signing with Asylum Records in the early 1970s, Tom Waits recorded a series of acclaimed albums whose noir tales about the after-midnight underworld transformed the seedy into the sublime in songs laced with both dark humor and profound longing. Decades and several musical evolutions later, Waits’ Asylum years still hold a special place in the hearts of many fans. Waits’ first seven albums on Asylum have been remastered and will be re-released via Anti-Records. Produced by Bones Howe and recorded in front of a live audience at the Record Plant recording studio in Los Angeles, CA in 1975, Nighthawks at the Diner debuts some of Tom Waits’ greatest classics like “Warm Beer, Cold Women” and “Eggs and Sausage” with a crack jazz ensemble – Pete Christlieb (tenor saxophone), Bill Goodwin(drums), Jim Hughart (upright bass) and Mike Melvoin (piano, guitar) – backing him up and some of the greatest stage banter ever committed to record.

File Under: Rock, Pop
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Riley Walker: Deafman Glance (Dead Oceans) LP
“I was under a lot of stress because I was trying to make an anti-folk record and I was having trouble doing it. I wanted to make something deep-fried and more me-sounding. I didn’t want to be jammy acoustic guy anymore. I just wanted to make something weird and far-out that came from the heart finally. I was always trying to make something like this I guess, trying to catch up with my imagination. And I think I succeeded in that way – it’s got some weird instrumentation on there, and some surreal far-out words. I’m lucky enough to have some people who are playing on it who had a big part in shaping the songs and writing with me. Cooper Crain, the guy who engineered it, and played all the synthesizers. And when the flute guy, Nate Lepine came in, that was really something that made it special. The producer was this guy LeRoy Bach. I love LeRoy, he’s a really talented guy. He did the last record too. And it’s more Chicago-y sounding. Chicago sounds like a train constantly coming towards you but never arriving. That’s the sound I hear, all the time, ringing in my ears.” – Ryley Walker

File Under: Folk
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up0kx0zgvhbl0fajmmwbVarious: Technicolor Paradise Rhum Rhapsodies & Other Exotic Delights (Numero) LP
It was a musical cocktail born in a marketing meeting: Two parts easy listening, one part jazz, a healthy dollop of conga drums, a sprinkling of bird calls, and a pinch of textless choir. Serve garnished with an alluring female on the album jacket for best results. Exotica! The soundtrack for a mythical air conditioned Eden, packaged for mid-century, tiki torch-wielding armchair safariers. Be it mosquito-bitten torch singers, landlocked surf quartets, fad-chasing jazz combos, mad genius band leaders, D-list actors, or a middle aged loner programming bird calls into a Hammond, Exotica was always more concerned with what geography might sound like over who was conducting. Captured across three albums (or three compact discs) are 48 (or 54) curious examples of the short-lived genre’s reach, each summoning their own sonic visions of Shangri La, bringing their versions of the Pacific, Africa, and the Orient to the hinterlands of America. Technicolor Paradise is where one makes it, after all.

File Under: Exotica
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…..Restocks…..

Amen Dunes: Freedom (Sacred Bones) LP
Arctic Monkeys: Tranquility Base Hotel + Casino (Domino) LP
Badbadnotgood: III (Arts & Crafts) LP
Childish Gambino: Camp (Glassnote) LP
Childish Gambino: Awaken, My Love! (Glassnote) LP
The Clash: London Calling (Legacy) LP
Sam Cooke: Mr. Soul (Music on Vinyl) LP
Darkthrone: Circle the Wagons (Peaceville) LP
Darkthrone: Panzerfaust (Peaceville) LP
Nils Frahm: All Melody (Erased Tapes) LP
Nils Frahm: Spaces (Erased Tapes) LP
Fugazi: In on the Killtaker (Dischord)LP
Fugazi: The Argument (Dischord)LP
Godspeed You Black Emperor: F#A# (Constellation) LP
Gong: Radio Gnome Invisible Trilogy (Charly) BOX
Jon Hopkins: Singularity (Domino) LP
Jesus Lizard: Liar (Touch & Go) LP
Sugai Ken: On the Quakefish (Music for Insomniacs) LP
Massive Attack: Mezzanine (Virgin)LP
Massive Attack: Blue Lines (Virgin) LP
Neu!: s/t (Gronland) LP
Neu!: 2 (Gronland) LP
Neu!: 75 (Gronland) LP
Pink Floyd: Dark Side of the Moon (Pink Floyd) LP
Pink Floyd: Piper at the Gates of Dawn (Pink Floyd) LP
Slowdive: Souvlaki (Music on Vinyl) LP
Sunn o))): Monoliths & Dimensions (Southern Lord) LP
Visible Cloaks: Reassemblage (RVNG Intl) LP
Visible Cloaks: Lex (RVNG Intl) LP
White Zombie: La Sexorcisto (Music on Vinyl) LP
Wolves in the Throne Room: Live at Roadburn 2008 (Roadburn) LP
Various: WTNG 89.9 Solid Bronze (Numero) LP
Various: W2NG89.9 (Numero) LP

 

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