…..news letter #1022 – shake…..

Another busy week around here with lots of great stuff in and now up on the site. Going to try get  a used batch today, but… only time will tell if that actually happens. 

As for the new restrictions, they don’t really effect us. According to our business association’s clarification of the new restrictions, we are already doing what is required of us, limited capacity and mandatory masks. The vaccine exemption does not apply to retail stores. So mask up and keep your visit brief if it’s busy so no one has to wait outside.

– in-store shopping/pick ups – 11 – 6 pm Monday – Friday, 11 am – 4 pm Saturday
(if you don’t want to come into the store for a pick up, call and/or use the back door)
– Max 4people in the store at a time
– Wear a mask(if you don’t have one, we’ll have some)
– Sanitizeyour hands(we’ll have some)

…..picks of the week…..

Alvin Curran: Fiori Chiari, Fiori Oscuri (Black Truffle) LP
Black Truffle announce the first-ever vinyl reissue of Alvin Curran’s classic Fiori Chiari, Fiori Oscuri, originally issued in 1978 on Ananda, the cooperative label run by Curran, Roberto Laneri, and Giacinto Scelsi. Fiori Chiari, Fiori Oscuri (Light Flowers Dark Flowers) — its title inspired by an intersection in Milan — is the second in the series of four solo recordings Alvin Curran issued in the 1970s and early 1980s, preceded by Songs and Views from the Magnetic Garden (1975), followed by The Works (1980) and Canti Illuminati (1982). Each of these solo works combines field recordings with performances on synthesizer, various acoustic instruments, and voice, arranged in languorously paced, dreamy sequences. Far from the bracing pointillism of much musique concrete, the elements encountered on the meandering course followed by Fiori Chiari, Fiori Oscuri — whether a frenetic piano improvisation, dense layers of Serge synthesizer and ocarina, or a monologue from Frederic Rzewski’s five-year old son, Alexis — often occupy the foreground of our attention for minutes at a time. As Curran explains, his approach is like that of a filmmaker in the editing process, working with “whole blocks of recorded time.” The purring of a cat, toy piano, a child counting, plaintive synthesizer tones, the cacophony of exotic birds at the London Zoo — each disappears into the next, until, on the LP’s second side, a solo piano performance takes center stage, moving unexpectedly from percussive minimalist permutations to a halting rendition of “Georgia on My Mind”. A subtle yet stunning work that more than forty years on still seems charged with possibility, Fiori Chiari, Fiori Oscuri arrives in a loving reproduction of the original sleeve, featuring Edith Schloss’ beautiful cover painting, remastered audio and with new liner notes by Alvin Curran and Francis Plagne.

File Under: Experimental, Electronic, Ambient
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O Yuki Conjugate: Equator (Aguirre) LP
British post-industrial/ambient group O Yuki Conjugate arrives on Aguirre Records with a vinyl run of their previously CD only 1995 release Equator. Coming four years after their lauded Peyote release, the group split and reformed into their Mk II phase with the two original members Roger Horberry and Andrew Hulme, along with Malcolm McGeorge, Dan Mudford, and Pete Woodhead. Making use of the emergent technology of the early ’90s, Equator was one of the first albms to be mixed with digital equipment, weaving together a blend of studio, live and location recordings to create their own deeply immersive, enveloping soundscapes. Brooding atmospheres unfold underneath a wide range of ethnic percussion and deep, meditative basslines — existing in a unique cross-section of Hassell-inspired 4th world mystery, Industrial landscapes and the rich middle-eastern projections pioneered by Muslimgauze. It’s a deeply hypnotic work that joins the dots between the late 80’s industrial scene and the smoked-out chill out rooms of the ’90s, which should have received more attention at the time, were it not for the haphazard Staalplaat label who ensured O Yuki Conjugate remained a total obscurity in their home country. Now revisited, this expanded vinyl edition features an additional 30 minutes of material, together with new glorious artwork from artist and actor Frederick Schimmelschmidt. Instrumentation: tongue drums, bass, thunderegg, voice, keyboards, samples, wireless, stratus, airtubes, skin, percussion, marimba, digital edits, dharbouka, roto-tom, sholak, finger cymbals, rain stick. Mastered by Pieter De Wagter. Smokey clear vinyl; gatefold cover with insert; edition of 500.

File Under: Ambient, Electronic, Fourth World
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Dean McPhee: Witch’s Ladder (Hood Faire) LP
Witch’s Ladder is the fourth full-length album from UK guitarist Dean McPhee, whose last LP Four Stones (2018) introduced a kick drum pulse, hypnotic loops and synth-like Ebow lines to his sparsely meditative, echo-laden solo guitar music. On this new album he uses his Telecaster, valve amp and effects to weave an even deeper spell, as fingerpicked melodies soar over hypnotic riffs, looped basslines and cosmic reverb trails. Recorded live with no overdubs and inspired by folklore, mysticism and the landscapes of the North of England, Witch’s Ladder represents a significant evolution in his sound, while also retaining the unique sense of depth and space that has drawn comparison with the likes of Loren Connors, Dylan Carlson, and Popul Vuh. The cover art to Witch’s Ladder features the stunning 1933 painting “The Primal Wing” by Agnes Pelton, a visionary symbolist who was not widely known during her lifetime but is now being recognized as a pioneer of spiritual abstract art alongside the likes of Hilma Af Klimt and Wassily Kandinsky. Witch’s Ladder is the twelfth release on the Hood Faire label, a venture overseen by Sam McLoughlin (Samandtheplants/Tongues of Light), David Chatton Barker (Folklore Tapes), and Dean McPhee.

File Under: Guitar, Solo, Ambient
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…..new arrivals…..

94 East: Cookhouse 5 (Numero) LP
Gold vinyl! In 1975, Brooklyn transplant Pepe Willie booked time at Cookhouse Recording Studios in Minneapolis, Minnesota, to demo five original compositions. Without roots in the Twin Cities’ insular scene, Willie had no fixed backing group to help realize the arrangements he and vocalists Marcy Ingvoldstad and Kristie Lazenberry had been rehearsing. Willie organized a young cast of backing musicians for the session, among them his wife’s cousin: a 16-year-old guitar prodigy named Prince Rogers Nelson. Known colloquially as “The Cookhouse 5” these recordings showcase Prince’s instantly recognizable guitar playing, seasoning to perfection 94 East’s short-but-sweet songbook. A crucial document concerning the origins of the Minneapolis Sound, the B-side boasts instrumental versions of each infectious tune, providing an even greater vantage point from which to admire the Purple One’s expressive playing style, already evident in his teenage years.

File Under: Funk, Prince, Soul
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Barrabas: s/t (Sommer) LP
Also known as Música Caliente (Hot Music) and Wild Safari, this is the first album, released in 1972, by Barrabás, the acclaimed Spanish band created by Fernando Arbex after the demise of Brincos and Alacrán. A funk-rock/Latin/Afro bomb, loaded with worldwide hits like “Wild Safari” or “Woman”. First ever reissue with original artwork. Barrabás was created by Spanish genius drummer, songwriter and producer Fernando Arbex after the split of his post-Brincos power-trio Alacrán. Busy with his productions and as songwriter for many artists, Fernando still had in mind the desire of international success. Highly influenced by the beginnings of funk music and the Latin-rock of groups such as Santana (influences that were also already present on Alacrán), Arbex formed Barrabás along with his Brincos bandmates Miguel & Ricky Morales on guitars, ace keyboard player Joao Antonio Vidal (from Madrid based psych band Los Grimm), Afro-Cuban percussionist and multi-instrumentalist Ernesto “Tito” Duarte and Iñaki Egaña (Los Buenos, Alacrán) on vocals/bass. The name of Barrabás came after Fernando watched the movie of the same name by Richard Fleischer. In 1971, the band entered RCA Studios in Madrid for the recording of their first album, sung completely in English. The result was a fabulous mix of funk, Latin music, rock and afro sounds, housed in a striking cover designed by famous Spanish singer-songwriter Luis Eduardo Aute. Songs like “Wild Safari” or “Woman” took the international dancefloors by storm, even reaching the first positions in the US black music charts, being championed by legendary DJs like David Mancuso (The Loft). The album also contained surprises like the mid-tempo “Cheer Up” or the Canned Heat sounding boogie rock of “Rock and Roll Everybody”. A groundbreaking debut album, essential to understand the roots of Spanish funk-rock, reissued for the first time on vinyl faithful to the original one. Heavy cardboard cover with obi and four-panel color insert with detailed liner notes in English/Spanish and photos. Remastered sound. RIYL: Santana, Osibisa, Malo, Mandrill.

File Under: Funk, Rock, Latin
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Dean Blunt: Black Metal 2 (Rough Trade) LP
Mercurial UK artist Dean Blunt delivers his long awaited follow-up album, Black Metal 2, on Rough Trade Records. The original Black Metal was released in 2014 to widespread acclaim. “…Black Metal 2 is the most approachable album of his career without losing the vital ambiguity that has always made his records special. This is minimalist sophisti-pop, sung by a terminally downward-looking troubadour. It is the clearest Dean Blunt has ever sounded and one of his most thrilling releases to date” (Hubert Adjei-Kontoh, Pitchfork).

File Under: Electronic
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Bulbous Creation: You Won’t Remember Dying (Numero) LP
Cream vinyl! A truly underground document of the national obsession with heavy, mind-bent psychedelia. Originating in the unassuming suburb of Prairie Village, Kansas, Bulbous Creation seem to have warped directly from the wrong side of the looking glass with a jabberwocky full of surreal lyrics and gratuitous guitar solos. Recorded and abandoned in the catacombs of Independence, Missouri’s Cavern Sound studio in 1969, Bulbous Creation’s eight-song screed invokes images of sinners, wage slaves, drugs, out of touch parents, jail, and the devil, naturally. “He was kind of a loner,” Jan Parkinson said of his younger brother Paul, singer and guitarist of Kansas City’s Bulbous Creation. Born and raised on the west side of the Missouri River in Prairie Village, Kansas, Paul used his semi-isolated surroundings as fuel for his fantastical lyrics. A series of informal bands were formed in high school with his childhood friend Jim “Bugs” Wine and revolving cast of drummers. The band was put on ice in 1966 for Wine’s enlistment, and he spent the next three years stationed in Korea, Germany, and Fort Riley, Kansas, where he spent his downtime honing his bass chops to a fine point. Discharged honorably into the heady climate of the ’60s final year, Wine waded into the potent stream of freedom and higher consciousness that was flowing in every city. He got an apartment in KC with another childhood friend whose hair was gathering around the collar and a job in avionics. It was here he reconnected with Paul Parkinson. Wine had already been looking into putting a band together. A personal ad in the K.C. Star put him in contact with guitarist Alan Lewis, who had a monstrous talent and a familiarity with Black Sabbath and Uriah Heep. Lewis and Wine gelled immediately, but lacked the introspective nature of true songwriters. Wine invited the wordsmith Parkinson to apply his lyrics and melodic ideas to their heavy foundation. On the drum stool was Chuck Horstmann. For no identifiable reason, Lewis thought the term “Bulbous” applied to their sound, and wanted to name the band thus. His mates balked, but applying the slightly cosmic “Creation” to it at least let it roll off the tongue. Their all-originals set list made them a difficult booking, and profits did not materialize. In 1971, the quartet poured what little personal surplus they had into a full day of recording at Cavern Studios, tracking enough material for a full length album. Bulbous Creation wouldn’t stay together long enough to save up for a custom pressing. The deeply individualistic Parkinson left to perform his songs as he thought appropriate, as a solo act. He preferred coffee shops to concert halls, and would stick to his craft another 20 years before hanging it up. Horstmann followed suit. Wine and Lewis soldiered on, adding a few components and then shortening their name to the more sensible Creation on the path to a more progressive sound. The Bulbous Creation LP might’ve been doomed to oblivion but for the efforts of Rich Haupt, who issued the seven-song LP in 1995 on his Rockadelic imprint. When Paul Parkinson died of leukemia in 2001, a lone copy turned up amongst his possessions, proof enough that someone, somewhere, was listening.

File Under: Psych
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Bunalim: s/t (Pharaway Sound) LP
Turkish band Bunalim (Turkish for “Depression”) is a true legend: They were the absolute wildest and crudest band from the Anatolian rock scene. Under the wing of Cem Karaça, who was their manager and producer, they released a few singles which are all collected here. Fierce Turkish folk-flavored psychedelic fuzz-rock circa 1970-1972. Remastered sound, including an insert with liner notes and pictures.

File Under: Psych, Turkey
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John Carpenter, Cody Carpenter & Daniel Davies: Halloween Kills (Sacred Bones) LP
Orange vinyl! It’s just five notes plucked out on a piano, so sparsely arranged that it feels like barely more than a sketch, so simple that an untrained player can easily pick it up, but it’s one of cinema’s greatest musical accomplishments. By now, John Carpenter’s hypnotic theme to his 1978 horror masterpiece Halloween has embodied slasher-stalker anxiety for generations of filmgoers, and woven itself so into pop culture that it’s become musical shorthand for the entire horror genre. And like the seemingly unkillable Michael Meyers, it’s back once again. In 2018, Carpenter returned to the franchise his iconic creation spawned for the first time since 1982’s Halloween III: Season of the Witch, erasing the 40 years of sequels and reboots that happened under other filmmakers, and returning the story to his original vision. While directing duties for the new Halloween and its sequels have been turned over to David Gordon Green, Carpenter has stayed on to provide them with their unmistakable sonic identity, as integral to Halloween as Michael Meyers’ death’s-face mask and glimmering butcher knife. Carpenter has been composing and recording his own scores since he created the soundtrack to his first film, 1974’s Dark Star, on a EMS VCS 3 modular synthesizer. While originally a cost-cutting measure, he continued scoring most of his films even after he started making multiplex staples in the 80s and 90s, with the soundtracks to the Halloween series, They Live, and Escape from New York becoming classics in their own right. Over the past two decades, Carpenter’s directed only one feature (The Ward in 2010), but during that time he’s come to be recognized as much for his musical vision as his filmography. His boldly assertive compositions and pioneering use of synthesizers have inspired musicians in cinema and far beyond. His influence has been felt from the underground to pop radio, and played a foundational role in the modern synthwave movement. Since 2015, Carpenter’s released three albums of original music on Sacred Bones, created alongside Cody Carpenter and Daniel Davies, with remixes provided by some of his more notable fans. Like the film itself, Carpenter’s score to the second installment of the new Halloween trilogy, Halloween Kills, stays true to the spirit of what made the 1978 original great while bringing it firmly into the present. The music is unmistakably Carpenter: the sinister vintage synth tones, the breath-stealing sense of menace that he conjures with just a few dissonant notes. But with a broader sonic palette, new digital techniques at his disposal, and a deeper sense of musicality, the Halloween Kills score is the work of a master artist who nearly 50 years into his career continues to push his creative limits and find new ways to thrill and terrify his fans.

File Under: OST
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Coldplay: Music of the Spheres (Parlophone) LP
Coldplay’s ninth studio album, Music of the Spheres was produced by hitmaker Max Martin and features twelve tracks, five of which are represented by emojis. The British pop-rock giants follow-up to 2019’s Everyday Life is introduced by the cosmic lead single “Higher Power” and experimental 10-minute closer “Coloratura,” an exhilarating, space-bound epic that includes namechecks for Galileo, Oumuamua and Betelgeuse. The band hints at further sci-fi themes with the note, “Everyone is an alien somewhere.” Colored vinyl LP.

File Under: Rock, Pop
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Dame Area: La Soluzione E Una (BFE) LP
The Barcelona’s duo explores their more industrial (as in early industrial, not industrial noise) and minimal synth facets. Tribal elements are kept to just a couple of tracks. Metallic percussion, throbbing synths and arpeggios living together under the same roof. This release has it all: rhythm, experimentation and melody. FFO: Throbbing Gristle, Diseño Corbusier, Chris and Cosey, Liasons Dangerouses, Einstürzende Neubauten, Soft Moon, Cabaret Voltaire, Essaie Pas, DAF. All music by Dame Area. Recorded at Màgia Roja HQ 2018-2019. Mixed at la Isla with Pablo Miranda.

File Under: Industrial
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Fennesz/Sakamoto: Cendre (Touch) 2×10″
Issued for the first time on vinyl, this classic album from 2007 was the first full-length pairing of these two maestros, before releasing Flumina in 2013 (TONE 046CD). Ryuichi Sakamoto and Christian Fennesz blend the unstructured and imaginative qualities of improvisation with the satisfying sculpture of composition. Sakamoto’s piano, his style reminiscent of Debussy and Satie, perfectly complements Fennesz with his powerful blend of shimmering guitar and passionate electronics. Cendre was recorded between 2004 and 2006, Fennesz would send Sakamoto a guitar or electronic track and Sakamoto would compose his piano piece. Vice versa — Sakamoto initiating a track with a piano composition and Fennesz responding. Meanwhile they met for live shows, or communicated via digital means to compare notes, swap ideas and develop themes. The cyclical process continued right up until they met up for the final mix in New York City February of 2006. Together they have combined to create 11 tracks of satisfying and challenging possibilities…

File Under: Electronic, Ambient
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Myriam Gendron: Ma Delire – Songs of Love Lost & Found (Feeding Tube) CS
“It has been a while since the release Myriam’s acclaimed 2014 debut album, Not So Deep as a Well (FTR 146-4LP). The intervening years have brought a smattering of live performances, a bouquet of children, Trump’s Pandemic, and much more . . . Different concepts for a new album were broached, but the seed of Ma Délire was planted when Myriam recalled a paper she written in university. It was about Leonard Cohen’s recording of “The Lost Canadian (Un canadien errant)” from Recent Songs. Ostensibly a cover of an old Quebecois ballad, Cohen stripped away the specificity of the lyrics, tying the song’s titular figure to the archetype of ‘The Wandering Jew’. The theme of this paper returned to Myriam when she had a residency at the Old Mill in Le Bic, QC in August 2016. Benoit Chaput had turned her on to the traditional tune ‘Au Coeur de ma Délire,’ from a 1971 album by Dominique Tremblay and Philippe Gagnon. The song was so haunting, she decided to record it right there in the Mill’s boat repair workshop. That is the very recording used here . . . This started Myriam musing about how the end of the Catholic hegemony in Quebec had the unanticipated consequence of making people think less of traditional Quebecois folk music, because so much of it was soaked in the blood of the lamb. It made sense this music should be explored and updated despite its dogmatic origins which Cohen had proved could be effectively expunged . . . Just as the world was shutting down, Myriam was awarded a grant which allowed her the time and space to fully investigate and develop this material. She had spent years sifting through traditional music from Quebec, France and the U.S., highlighting parts of songs and ideas she liked, discarding some she found abhorrent, and merging the good bits with her own writing or other cannibalized shards. At some juncture she flashed on this work’s common thread — its thematic roots were always in one type of romantic longing or another. And so, this album came together during the dark days of the General Lockdown. Mixing vocal tracks with instrumentals, singing in both French and English, using a syncretic blend of original, modern and traditional lyrics, Ma Délire fearlessly wanders through a universe of its own invention, daring us to open our minds wide enough to take it all in. Myriam initially recorded with just guitar and vocals. But when she began working with the sound engineer Tonio Morin-Vargas, he had some insightful suggestions about additional instrumentation that might broaden the album’s sound without confounding it. Myriam had already planned to ask her friends, Bill Nace and Chris Corsano, to add some things, so the whole shebang evolved as organically as most great records do…” –Byron Coley, 2021

File Under: Folk
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Nikki Giovanni: Truth Is On Its Way (Modern Harmonic) LP
First reissue of this powerful blend of funk, soul, & poetry. Pressed on color vinyl and packaged in striking new artwork with liner notes by Camae Ayewa (Moor Mother). “Listen, the great Nikki Giovanni was protected. Inside the church, you can hear it. In the dusty silence, you can hear it. In the electric texture of the crowd, the buzz of the instruments, you can hear it. What you hear and feel is safe in the belly of the blues. Her voice loved like hands on the ivory keys of the church organ deep inside the spell of gospel. Nikki Giovanni is a poet at the pulpit righteous with spirit and energy. A poet in the choir hypnotized with the sound of the past, present and future. Nikki Giovanni inspires a new language rising out of the desolate and uncertain seventies.” – Camae Ayewa (Moor Mother, Irreversible Entanglements)

File Under: Funk, Soul
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Julius Hemphill: Dogon A.D. (International Phonograph) LP
“Considered by many as a true jazz classic, Julius Hemphill’s Dogon A.D. is listed by the New York Times as one of the 100 most essential jazz recordings. A fundamental statement of a new era in jazz music, Hemphill’s performance here avoids the loud, instinctual blowing so many other jazz musicians defaulted to in the early 70s, and instead provides lean instrumentation, blues, funk, and avant-garde chamber jazz. Long out of print it’s now reissued on 200 gram vinyl with the bonus track ‘Hard Blues’! Remastered from original master tapes for vastly improved sound quality over previous vinyl pressings. Limited edition of 1,000. Julius Hemphill – alto sax, flute, Baikida E.J. Carroll – trumpet, Abdul Wadud – cello, Philip Wilson – drums.”

File Under: Jazz
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Jon Hopkins: Opalescent (Just Music) LP
Opalescent was originally released in 2001 when Jon was 20 and just signed to ambient label Just Music, yet today it still sounds so distinctive, musically and emotionally complex. It is in the contradictions between beauty and bass, gentleness and volume, ecstasy and elegy, that Opalescent derives its enduring otherness.

File Under: Electronic
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ICP Tentet: Tetterettet (Our Swimmer) LP
Reissue, originally released in 1977. Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or ICP) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP’s legacy on improvised and free music is impossible to overstate. The ICP Tentet’s Tetterettet is made up of recordings from 14-17 of September, 1977, cut and spliced together by pianist/composer Misha Mengelberg in a style similar to Teo Macero’s work with Miles Davis. The first side is taken up entirely by Mengelberg’s multi-part title track that breaks in and out of different tempos, with a loose arrangement style owing more than a bit to Charles Mingus’s finest work on Black Saint or Ah Um. Traversing across decades and styles from free-jazz funereal marches, to carnivalesque excursions, broken piano rolls, and ear-splitting skronk, ICP Tentet show remarkable skill and chops in both their compositional craft and improvisational symbiosis. There’s a playful undercurrent here that finds its home in some previously uncharted land between Mingus and Spike Jones. Featuring numerous ICP regulars along with the brilliant Alan Silva on bass, and a return to the fold of the amazing saxophonist John Tchicai, Tetterettet is one of the best of ICP’s larger group recordings; humorous, unnerving, and ultimately, quite beautiful. This limited-edition reissue marks the first time this album has been in print on vinyl since its initial release.

File Under: Free Jazz
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Khruangbin: Mordechai Remixes (Dead Oceans) LP
Khruangbin are no slouches when it comes to the remix. They’ve been reworked before, in 2016, with the highly collectible EP on Boogiefuturo. But this time, they’re taking it a step further with an album dedicated to the art. Entering the tight-knit world of a Khruangbin song can be a little daunting. They have created this entire universe in which the trio seem to function telepathically in the way the music is composed, arranged and played. To mess with their delicate eco-system can invoke feelings similar to that of an unwanted guest crashing a good-time party. “We write our music to be interpreted; this is another wonderful interpretation of the music,” reassure Khruangbin. “There is something very vulnerable about letting others work on your music. But through the correspondence with the different artists, we gained a bigger connection to the songs themselves.” The choice of remixers for this album is neither arbitrary nor accidental. They’re not names picked randomly out of a hat or chosen via a throw of the dice. All have some connection to the band, sometimes personal friendships, musical connections, or simply mutual musical appreciation. Harvey Sutherland and Ginger Roots have both toured with the band, Kadhja Bonet and Ron Trent had their own mutual fan club going on, Knxwledge sampled “White Gloves” on a recent mixtape, Natasha Diggs and Soul Clap’s Eli’s are recent buddy-ups, and Quantic is a mutual friend of Bonobo (crucial in the KB origin story). Some of these remixes were specifically made so you can dance your ass off while getting down to the Khruangbin sound, while some might better be appreciated horizontally with headphones on. The choice is yours. But all were made with love and respect for Khruangbin. “A good remix deconstructs, recontextualizes, or simply extends a good time,” say the band.

File Under: Funk, Psych, Remix
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Giovanni Lami, Hannibal Chew III, Bardo Todol: Stories of the Dotted Indian Whale (Sucata) 3xCS
A three-part journey into an imaginary Indian sub-continent from three artists working on the fringes of field recordings. Stories of the Dotted Indian Whale features Italian artist Giovanni Lami, Hannibal Chew III aka Gonçalo F Cardoso, and Argentinean noise prankster Bardo Todol. First part from Italian sound artist Giovanni Lami, entitled Soap Wolf Giovanni presents a collection of ghost recordings from several places in India. Second part from Hannibal Chew III is a collection of re-assembled recordings and in situ jams made in Arambol, Jaipur, Pushkar, Varanasi, Thar Desert, Pondicherry & Auroville between 2009-2019. Re-assembled in 2020. The third and final part from Bardo Todol contains abrasive tape and digital field recordings manipulation made by Pablo Pico in Nepal, Kolkata, Varanasi and New Delhi in 2012. A new weird collection of re-interpreted field recordings from artists connecting the dots between musique concrete, naive improvisation and field recordings processing. Artwork by Pablo Picco.

File Under: Field Recordings, Electronic
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Michael Masley: Cymbalom Solos (Morning Trip) LP
“There are constellations within the grooves of Cymbalom Solos. Innumerable points of light, rendered audible in glowing, radiant sound. There are entire worlds too – undiscovered, yet familiar — both terrestrial and celestial. There are moments of quiet comfort and exultant discovery. And all of it conjured by one man with a handful of ancient and invented instruments, recorded mostly-live, with precious few overdubs. Michael Masley has been a fixture of Berkley, California, since he arrived from Michigan in 1982. Even today, he remains a common sight, working as a street performer — catching the attention of passers-by as he summons otherworldly overtones from a coterie of arcane instruments. This is how he met fellow east-coast transplant and musical voyager, Barry Cleveland, in 1983. Cleveland was enraptured by the sound of Masley’s wildly innovative bowhammer cymbalom. The cymbalom is an ancient instrument, similar to a zither or hammered-dulcimer — originating in Eastern Europe in 1874, but with primitive early examples dating back as early as 3500 BC. Yet Masley’s approach to the instrument was wholly original. Masley replaced the two traditional cymbalom hammers, with bowhammers — an invention wherein he fitted each of his fingers with its own combination hammer/bow device, which allowed him to both strike the strings, and bow them like a violin. Outfitted with his bowhammers, Masley was able to wrest startlingly new sounds from a centuries-old instrument. In 1985, after performing together for a couple years, Cleveland produced Masley’s first solo endeavor, Cymbalom Solos. With the help of Cleveland’s timely production, Masley’s technique reached its zenith. His complex and beautiful compositions combined elements of Eastern-European classical, new minimalism, and Celtic/folk music, yet the end result falls squarely within the world of new age kosmiche. Music of the spheres, conjured by earthbound strings. Masley estimates that he sold tens-of-thousands of cassette copies of Cymbalom Solos over his years of performing. And now, Morning Trip is distinctly proud to offer it on vinyl for the first time ever — an album of startling, imaginative beauty, by a brilliant American folk artist.”

File Under: Ambient, New Age, Minimalism
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Mcclellan, Randall: Healing Music of Rana Vol. 1 (Aguirre) LP
Originally released on cassette in 1983, now released on vinyl for the first time. Exceptional recordings by this new age maestro. Only recently re-discovered by his friend JD Emmanuel and the band Sun Araw. Randall McClellan was a founding member of the electronic music studio at the Eastman School of Music in 1967 where he later received a Ph.D. in Composition, Theory and Musicology. A growing interest in North Indian music and vocal technique prompted him to develop his personal compositional practice into an active platform for inducing altered states of mind. He constructed his concerts to be spaces for harmonization of mind and body through a musical practice informed by his esoteric studies of ancient mystery schools and sacred geometry, believing these to be primarily teachings on intentional resonance. These performances were given between 1977 and 1983 in semi-darkened spaces that allowed listeners to relax on carpeting while being enveloped by sound. Each improvisation lasts from twenty-five to forty-five minutes. An entire performance is up to three hours and is designed to provide an environment of meditative sound. They gained in popularity and were soon attended by larger audiences. His final live performance took place at New York City’s Alternative Museum in October, 1983. The “Music of Rana” Environmental Series uses synthesizers, drone box, tamboura, voice and tape delay to create an environment of continuously evolving multi-layered melody. Described as subtle, graceful and of other worlds. The name RANA, meaning “Sunbreath”, has its origin in ancient philosophical concepts that recognized vibration as the fundamental creative force and central principle of the many esoteric mystery schools of the ancient world. It is now evident that the use of music for its ability to alter mind states and for its effectiveness as a therapeutic aid was music’s original purpose and an important concept of these mystery schools. In the broadest sense, the practice of music for its healing ability may well stand as our oldest continuous musical tradition. This album is the first volume in the series, previously issued as a cassette in 1983, and part of the cassette box set published by Sun Ark in 2013. This music is based on principles outlined in Randall’s book, The Healing Forces of Music: History, Theory and Practice. These compositions are selected for their meditational and healing abilities. RIYL: Joanna Brouk, JD Emmanuel, Pauline-Anna Strom. Edition of 500.

File Under: Ambient, New Age
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Mcclellan, Randall: Healing Music of Rana Vol. 3 (Aguirre) LP
Originally released on cassette in 1983, now released on vinyl for the first time. Exceptional recordings by this new age maestro. Only recently re-discovered by his friend JD Emmanuel and the band Sun Araw. Randall McClellan was a founding member of the electronic music studio at the Eastman School of Music in 1967 where he later received a Ph.D. in Composition, Theory and Musicology. A growing interest in North Indian music and vocal technique prompted him to develop his personal compositional practice into an active platform for inducing altered states of mind. He constructed his concerts to be spaces for harmonization of mind and body through a musical practice informed by his esoteric studies of ancient mystery schools and sacred geometry, believing these to be primarily teachings on intentional resonance. These performances were given between 1977 and 1983 in semi-darkened spaces that allowed listeners to relax on carpeting while being enveloped by sound. Each improvisation lasts from twenty-five to forty-five minutes. An entire performance is up to three hours and is designed to provide an environment of meditative sound. They gained in popularity and were soon attended by larger audiences. His final live performance took place at New York City’s Alternative Museum in October, 1983. The “Music of Rana” Environmental Series uses synthesizers, drone box, tamboura, voice and tape delay to create an environment of continuously evolving multi-layered melody. Described as subtle, graceful and of other worlds. The name RANA, meaning “Sunbreath”, has its origin in ancient philosophical concepts that recognized vibration as the fundamental creative force and central principle of the many esoteric mystery schools of the ancient world. It is now evident that the use of music for its ability to alter mind states and for its effectiveness as a therapeutic aid was music’s original purpose and an important concept of these mystery schools. In the broadest sense, the practice of music for its healing ability may well stand as our oldest continuous musical tradition. This album is the third volume in the series, previously issued as a cassette in 1983, and part of the cassette box set published by Sun Ark in 2013. This music is based on principles outlined in Randall’s book, The Healing Forces of Music: History, Theory and Practice. These compositions are selected for their meditational and healing abilities. RIYL: Joanna Brouk, JD Emmanuel, Pauline-Anna Strom. Edition of 500.

File Under: Ambient, New Age
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Mengelberg/Brotzmann/Parker/Bennink/Rutherford/Bailey: Groupcomposing (Our Swimmer) LP
Reissue, originally released in 1978. Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or ICP) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP’s legacy on improvised and free music is impossible to overstate. A live performance from May of 1970 in Rotterdam, Groupcomposing features a North Sea-crossing ICP lineup of British free improv luminaries Derek Bailey on guitar, Evan Parker on saxophone, and Paul Rutherford on trombone, along with ICP mainstays Han Bennink, his brother Peter, Misha Mengelberg, and Peter Brötzmann. The first side, “Groupcomposing, Part 1” is a nearly all-out assault with the reeds trio and Rutherford’s trombone blasting nigh-continuously for the album’s first side, culminating in a blistering Peter Bennink bagpipes solo. “Part 2” acts at first as the comedown, beginning with a playful piano and percussion back-and-forth before meandering a dark, brooding, path of trill horns to the album’s eventual, tense conclusion. Recorded just a few years into the ICP’s long tenure, it is hard to think of a release more representative of the label’s musical principles — or, more broadly, of the power of free group improvisation — than the aptly-named Groupcomposing. This limited reissue marks the first time the album has been in print on vinyl in over forty years.

File Under: Free Jazz
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Marissa Nadler: Path of the Clouds (Sacred Bones) LP
The Path of the Clouds, Marissa Nadler’s ninth solo album, is the most stylistically adventurous, lyrically transfixing, and melodically sophisticated collection of songs in her already rich discography. Gripped by wanderlust while suddenly housebound at the start of the pandemic in 2020, Nadler escaped into writing, and came back with a stunning set of songs about metamorphosis, love, mysticism, and murder. Blurring the line between reality and fantasy and moving freely between past and present, these 11 deeply personal, self-produced songs find Nadler exploring new landscapes, both sonic and emotional. While she’s always been a brilliant guitarist, Nadler challenged herself to expand her palette for The Path of the Clouds, experimenting with synthetic textures that make the album feel untethered from time and space. A majestic grandeur sweeps through songs such as “Elegy,” shooting the listener into the stratosphere as synths swirl and entwine with Nadler’s celestial mezzo-soprano. Nadler also learned to play piano during the pandemic’s isolation, and she composed many of the songs on the album on keys rather than guitar, which further contributed to their exploratory feel. These songs are unmistakably Marissa Nadler’s, but they sound free to go places she’s never gone before. Nadler tracked the skeletons of the songs at home and then sent them to some choice collaborators, including experimental harpist Mary Lattimore and Simon Raymonde, the Cocteau Twins bassist and her Lost Horizons collaborator. Multi-instrumentalist Milky Burgess, having recently worked on the soundtrack to the film Mandy, adds intricate melodic power throughout the album. Jesse Chandler, Nadler’s piano teacher (as well as a member of Mercury Rev and Midlake), plays winding woodwinds and plaintive piano to luminous effect. Fellow singer-songwriter Emma Ruth Rundle contributes a slinky guitar solo on “Turned Into Air,” while Black Mountain’s Amber Webber steps in as a vocal foil to Nadler, a ghostly apparition in the distance of “Elegy.”

File Under: Indie Rock, Folk
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Bruno Nicolai: Rendez Vous (Sounds from the Screen) LP
Licensed in 1975 by Gemelli, Rendez Vous is a holy grail in Bruno Nicolai’s long-running career as a composer. The orchestra director and musical editor has been active for at least 30 years and his majestic opus is a must for any avantgarde freak or obsessive moviegoer. While studying piano and composition at the Santa Cecilia Conservatory in Rome, he befriended Ennio Morricone and formed a long working relationship with Nicolai eventually conducting for and co-scoring films with Morricone. Nicolai also scored a number of giallo exploitation films and wrote many scores for director Jesús Franco. His work was featured in the Quentin Tarantino films Kill Bill: Volume 2 (2004) and Once Upon a Time in Hollywood (2019). Tension! Pretty much what this whole record is all about. An imaginary soundtrack that turned out to be an in-demand obscure library, Rendez Vous shows off the many skills of the composer and his alumni. Morricone is possibly playing muted trumpet in several episodes — “Diffidenza” and “Subdolamente” –absorbing thrilling experiences similar to the Maestro soundtracks for Dario Argento’s early movies (it’s not the case that Nicolai was the conductor for several adventures in movie sound theater such as L’Uccello Dalle Piume Di Cristallo, Il Gatto A Nove Code or 4 Mosche Di Velluto Grigio). Rendez Vous is now ranked among the most adventurous of Nicolai’s soundtracks, a unique combination of classic contemporary arrangements and superb jazz noir sketches.

File Under: Library, OST
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Notorious B.I.G.: Ready to Die (Rhino) LP
The Notorious B.I.G. took the music world by storm with his 1994 Bad Boy Records debut album Ready To Die, which has gone on to become one of the most beloved and enduring hip-hop albums of all time. Ready To Die was the only album issued during Biggie’s lifetime as he was murdered days before the 1997 release of his second and final full-length, Life After Death. Featuring the classic tracks “Juicy,” “Big Poppa,” and “One More Chance,” Ready To Die single-handedly revitalized the East Coast hip hop scene after longstanding commercial dominance by the West Coast and has gone onto 6x Platinum sales and counting. A cinematic storyteller with an effortless flow, the authenticity of Biggie’s rhymes were in the details and a foreboding sense of doom which was all too real. Ready To Die is one of the highest rated hip hop albums on Rolling Stone’s list of the ‘500 Greatest Albums of All Time’: “B.I.G. (a.k.a. Biggie Smalls) took the gritty life experience of his hard-knock Brooklyn youth and crammed it into Ready to Die, hip-hop’s greatest debut. “Big Poppa” is the hit sex jam, “Juicy” made you laugh as you danced, and on “Things Done Changed” and “Everyday Struggle,” he relates gangsta tales in a voice as thick as his waistline.”

File Under: Hip Hop
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Nudity: Is God’s Creation (Feeding Tube) LP
Cardinal Fuzz and Feeding Tube Records bring to you for your listening pleasure Nudity Is God’s Creation. A retrospective release of recordings dating from 2005 to 2010 of orgasmic interstellar mayhem. Reissued and for the first time available domestically in the USA In 2004, a commune named Nudity, formed by four travelers from the astral plane, appeared in Olympia, Washington. The founding members were Dave Harvey (guitar) and Jon Quitty Quittner (bass, though Josh Haynes of the mighty guitar fuzz scorchers Feral Ohms plays bass on the majority of the tracks featured here), both of whom were former guitarists of Tight Bros From Way Back When and Eryn Ross (drums) from Growling. A couple of self-distributed CDrs and a 12″ on Discourage were a visual akin to colored liquid sloshing around on a transparency machine and were a pure drip feed for psych/kraut and Jap rock fiends around the world as Julian Cope and Terrascope raved about them. Alas for whatever reason no full-length LP arrived from the original line-up — something that at last has been rectified as now all these tracks have been brought together (along with some unreleased gems and a couple of live bonus download tracks). The sonic ear candy contained within the four sides of vinyl presented here go from Detroit fuzz blazing face melters to acid trippin’ head swirling raga’s via The Flower Travelin’ Band and Hawkwind. Nudity were the masters and for those that missed out the first time this double album was released — don’t make the same mistake a second time. Terrascope gushed about Nudity: “This is seriously fucking good; one of those quite literally extra-ordinary LPs that come along every once in a while which you just know instinctively are going to be dug out and played, sniffed and caressed for years.”

File Under: Psych
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Ora Clementi: Sylva Sylvarum (Black Truffle) LP
Black Truffle present Sylva Sylvarum, an epic new work from Ora Clementi, the collaborative project of crys cole and James Rushford. Primarily conceived and recorded over several months together in Melbourne, Sylva Sylvarum is a stunning step forward from the mumbled, creaking sound world of the duo’s debut, Cover You Will Softer Me (PP 011LP, 2014). From the opening “Peach of Immortality”, which takes an unpredictable journey from layers of chiming bells, vocal harmonies and lush synth pads to a desolate landscape of half-animal, half-digital wooshes and cries, it is immediately clear that cole and Rushford are working here with an entirely unique sound palette. Throughout the record’s four sides, you hear a large array of carefully detailed synthesizer sounds (many of them recorded at the remarkable Melbourne Electronic Sound Studio), sparse drum machine hits, wind instruments and field recordings of animals, often with a twistedly late ’80s/early ’90s flavor that at various points calls up new age references, Robert Ashley’s later operas or the thinned-out textures of early digital GRM. Threaded through this distinctive array of sounds are the two musicians’ voices, sometimes singing, sometimes speaking through varying degrees of manipulation. A guiding thread through the pair’s collaboration, beginning with their initial experiments with lip-readings, the presence of these two voices — cole’s crisp and sibilant, Rushford’s rich and low — reinforces the sense that the music is immersed in itself, less performed by two people than occurring between them. On Sylva Sylvarum, these voices first come to the forefront on the third piece, “Dialogue Between a Grandmaster of the Knights Hospitaller and a Genoese Sea Captain”, where in unison they intone fragments of a description of an imaginary space taken from a 17th century utopian text. The two voices resurface periodically thereafter, most stunningly in the unexpected turn into cushiony dream pop on “Magic Mountain”. Like the album’s title, these textual elements are drawn from various literary descriptions of utopias, a theme that also informed the pair’s musical approachThe uncanny sweep of the album’s fifteen pieces is expansive enough to take in stretches of crackling austerity, warped microtonal keyboard etudes and moments of stunning beauty, the latter most strikingly when cole and Rushford are joined by Callum G’Froerer on trumpet and Joe O’Connor on trombone for a series of dream-like moments moving from growling overtones to poignant lyricism. Mint green vinyl; gatefold sleeve. Artwork by Sabrina Ratté. Mixed and mastered by Joe Talia at Good Mixture, Berlin.

File Under: Ambient, Experimental
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OST: Dracula vs Frankenstein (Real Gone) LP
As head of Publicity at Hemisphere Pictures and then founder of Independent-International Pictures Corp., Sam Sherman is truly one of the godfathers of the drive-in/grindhouse/horror/B-movie genre. We at Real Gone Music have teamed with Sam to release his favorite scores from his long and illustrious career in film production, each sporting rare publicity stills and a personal note from the man himself. Composer William Lava made his reputation scoring 1930s Westerns and serials for Republic Pictures including The Three Mesquiteers (with John Wayne) and Daredevils of the Red Circle. But for Dracula Vs. Frankenstein, Lava who was a friend of producer Sam Sherman and his favorite composer let his atonal freak flag fly, employing eerie glissandos and ominous rhythms to conjure suspense and dread. Special bonus: Independent-International Pictures’ amazing radio spot promoting the movie. Also comes with a full-color LP-sized insert featuring the cover illustration for its 50th anniversary in a pumpkin orange pressing limited to 1000 copies!

File Under: OST
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OST: Mad Doctor of Blood Island (Real Gone) LP
As head of Publicity at Hemisphere Pictures and then founder of Independent-International Pictures Corp., Sam Sherman is truly one of the godfathers of the drive-in/grindhouse/horror/B-movie genre. We at Real Gone Music have teamed with Sam to release his favorite scores from his long and illustrious career in film production, each sporting rare publicity stills and a personal note from the man himself. Filipino composer Tito Arevalo’s score to the 1969 film Mad Doctor of Blood Island was so good that it was used twice more, once in Beast of Blood, the 1970 finale to Hemisphere Pictures’ Blood Island franchise, and again in Brain of Blood, which producer Sherman made with director Al Adamson in 1971! But this was the original and the best, utilizing a full orchestra to inspired effect, particularly on the ‘Dance’ sequences, which virtually invent the genre ‘horror exotica.’ Not only have we added as a bonus the truly unhinged radio spot that advertised Mad Doctor of Blood Island, but also the record closes with the ‘Oath of Green Blood Intro’ to the film, which advised audiences to drink the green ‘blood’ potion that was distributed as a gimmick before screenings of the movie. Also includes an LP-Ssized insert featuring the lurid front cover illustration pressed in green ‘Chlorophyll Blood’ vinyl limited to 1000 copies!

File Under: OST
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Jin Hye Park: Before I Die (Ninja Tune) LP
박 Park (surname) 혜진 Hye Jin (first name) – a rapper, singer, DJ and producer from Seoul and now based in LA – quickly gained a reputation for dreamlike minimal house and techno productions and flawless DJ sets, winning her fans across the globe. Collaborating with the likes of Nosaj Thing, Blood Orange, Galcher Lustwerk and, more recently, Clams Casino & Take A Daytrip, gaining over 35 million cumulative streams across DSP platforms, receiving features in publications like Pitchfork, Vogue, Rolling Stone and Billboard, and playing shows at venues like Elsewhere in Brooklyn and Berghain in Berlin, 박혜진 Park Hye Jin has proven to be a breakout artist in the global electronic music scene. With her debut album Before I Die, 박혜진 Park Hye Jin is poised to establish herself as one of the new key players in electronic music throughout 2021 and beyond.

File Under: Electronic
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Parquet Courts: Sympathy for Life (Rough Trade) LP
Green vinyl, or deluxe with book! On Sympathy For Life, Parquet Courts’ thought-provoking rock is dancing to a new tune. The album finds the Brooklyn band at both their most instinctive and electronic, spinning their bewitching, psychedelic storytelling into fresh territory, yet maintaining their unique identity. Built largely from improvised jams, inspired by New York clubs, Primal Scream and Pink Floyd and produced in league with Rodaidh McDonald (The xx, Hot Chip, David Byrne) and John Parish (PJ Harvey, Aldous Harding, Dry Cleaning), Sympathy For Life was always destined to be dancey. Unlike its globally adored predecessor, 2018’s Wide Awake!, the focus fell on grooves rather than rhythm. “Wide Awake! was a record you could put on at a party,” says co-frontman Austin Brown. “Sympathy For Life is influenced by the party itself.”

File Under: Indie Rock, Punk
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Pelt: Reticence/Resistance (Three Lobed) LP
For almost thirty years and over the course of countless releases, the American band Pelt has traversed non-idiomatic improv, Eastern-tinged psychoacoustic drones. The group once counted among its ranks the late guitarist Jack Rose, whose spirit continues to imbue Pelt’s music with a sound that is as forward-thinking as it is refreshingly unpretentious. “Reticence Resistance” was recorded in London over two nights in 2017 and is focused on piano, harmonium, fiddle, percussion, banjo, harmonium, bowls, and bells. The pieces as mesmerizing, harmoniously advancing and receding, at first almost imperceptibly, recalling Coltrane’s improvisations circa “India” as much as it does ocean currents and lapping waves. Pelt clearly possess a firm grasp of the American folk vernacular, and similarly honor this history without resorting to pastiche or cliché – “Reticence Resistance” is a crucial document of Ever Weird America, and quite possibly the band’s finest work to date.

File Under: Experimental, Drone
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Pukwana/Bennink/Mengelberg: Yi Yole (Our Swimmer) LP
Reissue, originally released in 1979. Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or ICP) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP’s legacy on improvised and free music is impossible to overstate. Yi Yole — recorded in 1978 — was the first time the legendary South African saxophonist Dudu Pukwana had worked with the ICP. An innovator in the genre of Cape Jazz with the Blue Notes — which also featured Chris McGregor, Louis Moholo, and Johnny Dyani — who fled the apartheid regime for London in 1964, Pukwana’s style is the perfect complement to ICP co-founders Han Bennink and Misha Mengelberg, who round out the trio here. Relaxed and somewhat understated for the ICP catalog, Yi Yole is the one and only time these leaders in European free improvisation would record together in a trio setting. This limited reissue marks the first time the album has been in print on vinyl since its initial release.

File Under: Free Jazz
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Steve Roach: Structures from Silence (Telephone Explosion) LP
Justifiably one of the greatest ambient albums of all time. It hasn’t aged one bit since 1984. Essential. A longstanding leader in contemporary electronic music, composer and multi-instrumentalist Steve Roach (born 1955 in La Mesa, California) drew on the beauty and power of the earth’s landscapes to create lush, meditative soundscapes influential on the emergence of ambient and trance. A onetime professional motorbike racer born in California in 1955, Roach — inspired by the music of Tangerine Dream, Klaus Schulze, and Vangelis — taught himself to play synthesizer at the age of 20; debuting in 1982 with the album Now, his early work was quite reminiscent of his inspirations, but with 1984’s Structures From Silence his music began taking enormous strides, the album’s expansive and mysterious atmosphere inspired directly by the natural beauty of the southwestern U.S.

File Under: Ambient, New Age, Essential Grooves
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Sepultura: Sepulnation (BMG) BOX
Formed in 1984, Sepultura are arguably Brazil’s biggest music export having enjoyed huge global success throughout their career to date. This five album box set represents the second phase of the band’s career when vocalist Derrick Green joined the band on vocals after the departure of founding member Max Cavalera, although four out of the five of these records still feature his brother Iggor on drums. Spanning the years 1998 to 2009, Sepulnation contains the albums; Against, Nation, Roorback, Dante XXI and A-Lex, all of which are half speed cut, remastered and back on 180g vinyl for the first time in a decade.

File Under: Metal
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White Stripes: White Blood Cells (Third Man) LP
The record that kick-started the garage-rock revival, The White Stripes’ White Blood Cells serves as the band’s commercial breakthrough, going gold and yielding the Top 20 modern rock hits “Fell In Love With A Girl” and “Dead Leaves And The Dirty Ground.” While the band retains the characteristic elements of its previous two albums, the duo evolves, turning in more tuneful material pregnant with dynamic hooks, scorching riffs, and more pronounced vocals. Signs of the co-ed pair’s genius abound, whether on the acoustic-flavored ditty “Hotel Yorba” or the inside-out perspective of the moody “The Union Forever.” New wrinkles appear in the band’s sound, yet urgent vibes and modern updates of traditional blues resonate. Several songs find the White Stripes turning away from fun albeit simplistic punk stomps in favor of more complex, emotional, and involved arrangements steeped in aura and melody. No wonder White Blood Cells is on many best of the decade lists. As for the sonics, now better than ever, remastered from the original analog source? The White Stripes’ use of analog and low-fidelity equipment in the recording process partnered with a DIY approach created a simplicity of composition, arrangement and performance that sets them apart from their contemporaries. This music was meant to be experienced in analog. Get your copy today!

File Under: Rock
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Hozan Yamamoto &  Yu Imai: Akuma Ga Kitarite Fue Wo Fuku (Mr. Bongo) LP
We’ve got a bit of an obsession with Hozan Yamamoto here at Mr Bongo! A legend of Japanese jazz, he is rightly regarded as a true master and was recognised as a “living national treasure” by the Japanese government in 2002. Over five decades he pushed the genre into new directions, absorbing fusion, funk, spiritual jazz and many other sounds, resulting in a discography studded with gems of rare beauty. Exploring his back catalogue has taken us on an engrossing journey that now sees us reissuing another work from this ground-breaking musician. Though not translating perfectly into English ‘Akuma Ga Kitarite Fue Wo Fuku’, (kitarite has not been a modern expression in Japanese) roughly means ‘The Devil Comes Playing The Flute’ / ‘The Devil Is Coming While Blowing The Whistle’ or ‘Devils Flute’. It is the original soundtrack to Kôsei Saitô’s 1979 mystery and suspense movie, ‘Devil’s Flute’. The film is based on a story by the famous author, Seishi Yokomizo, and is centred around a much-loved fictional Japanese detective, Kosuke Kindaichi. A Japanese Sherlock Holmes that has been popular for generations. Hozan Yamamoto was invited to compose the soundtrack directly by the producer of the film, Haruki Kadokawa. Mr Kadokawa also hired keyboard player and producer Yu Imai as an assistant producer on the project, resulting in a stunning cosmic, breaks and beats-laden, funk, disco soundtrack extravaganza. When it comes to the soundtrack and the technology of the time, Hozan Yamamoto and Yu Imai got inventive, tripped out, funked up, and experimented, creating a quirky soundtrack masterpiece that needed to be heard more outside of Japan. Differing from the more traditional Japanese music orientation of some of his other albums such as ‘Beautiful Bamboo-Flute’ (also released on Mr Bongo) the album showcases a number of genres, from lush atmospheric incidental music to disco and funk grooves, experimental nuggets, drum and flute workouts, to neo-classical and more. A special record that showcases the further depths of this wonderful musician’s talents.

File Under: Jazz
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…..restocks…..

Badbadnotgood: Talk Memory (XL) LP
Buena Vista Social Club: s/t (World Circuit) LP
Frank Black: Cult of Ray (Demon) LP
Carcass: Torn Arteries (Nuclear Blast) LP
Congos: Heart of the Congos (VP) LP
Ryo Fukui: Mellow Dream (WRWTFWW) LP
Ryo Fukui: Scenery (WRWTFWW) LP
Scott Gailey: Polysensuality (Séance Centre) LP
Jerusalem in My Heart: Qalaq (Constellation) LP
King Crimson: Larks Tongues in Aspic (Panegyric) LP
Delvon Lamarr Organ Trio: I Told You So (Colemine) LP
Delvon Lamarr Organ Trio: Live at KEXP! (Colemine) LP
Liars: Apple Drop (Mute) LP
MF Doom: Mm… Food (Rhymesayers) LP
Minor Threat: s/t (Dischord) LP
Mdou Moctar: Afrique Victime (Matador) LP
Museum of No Art: s/t (Séance Centre) LP
Ngozi Family: Day of Judgement (Now Again) LP
Rush: 2112 (Mercury) LP
Superchunk: Here’s To Shutting Up (Merge) LP
Hiroshi Suzuki: Cat (We Release Jazz) LP
Neil Young: Carnegie Hall 1970 (Reprise) LP
Various: Sounds of Pamoja (Nyege Nyege Tapes) LP

…..news letter #1021 – frost…..

Busy week around here, as is every week after a long weekend. Fortunately the holiday didn’t really mess up our shipments so there’s lots of new stuff in this week, now up on the site. Don’t think there will be a used batch today, just too much on my plate today. 

As for the new restrictions, they don’t really effect us. According to our business association’s clarification of the new restrictions, we are already doing what is required of us, limited capacity and mandatory masks. The vaccine exemption does not apply to retail stores. So mask up and keep your visit brief if it’s busy so no one has to wait outside.

– in-store shopping/pick ups – 11 – 6 pm Monday – Friday, 11 am – 4 pm Saturday
(if you don’t want to come into the store for a pick up, call and/or use the back door)
– Max 4people in the store at a time
– Wear a mask(if you don’t have one, we’ll have some)
– Sanitizeyour hands(we’ll have some)

…..picks of the week…..

Neos: Three Teens Hellbent on Speed (Supreme Echo) LP
Orange vinyl! Short sonic blasts of teen angst at breakneck velocity – Canada’s NEOS, from Victoria, BC, were pioneers of hyper-speed-punk at the dawn of hardcore. With profound lyrics, humour, bizarre arrangements, and general insanity, NEOS inspired thrash metal, grindcore, noisecore, and hardcore punk itself. The complete NEOS collection (1981–83) includes both rare EPs, outtakes, demos, and live cuts: 51 songs in 48 minutes from original sources, meticulously remastered. 24-pg booklet with 22,000-word bio by Steve Bailey (guitar/vocals), lyrics, 75+ photos, posters, art and more. 1100 copies, orange vinyl. “Possibly the fastest thrash garage punk ever recorded” – Jeff Bale, MRR #1, 1982. “Unrelenting energy, sometimes uncontrollable, always frantic, manic thrusts of clamorous fury and power” – Pushead, MRR #4, 1983. “Amazing, original, manic, tight, intelligent (and I could go on and on)” – Tim Yohannan, MRR #4, 1983.

File Under: Punk
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North Americans & Friends: Going Steady (Third Man) LP
“Originally released in 2018 in extremely limited numbers, Going Steady features North Americans main man Patrick McDermott playing acoustic guitar and Moog alongside contributions from Meg Duffy, Juliana Barwick, Hayden Pedigo, Dylan Baldi, and Joel Williams – creating a gorgeous dusky instrumental album of cosmic pastoral sounds. “Each song on Going Steady glimmers and shines, and taken in it’s entirety is like a beautiful sunset transforming into a star-filled evening. This album has soundtracked countless late-night conversations on my front porch in Tennessee, as well as the next morning’s coffee and sunrise. It is the American Songbook read, ingested and transformed into something completely new for our post-everything world. “Featuring ground-breaking artwork from underground artist, Brian Blomerth, Going Steady is an album to stimulate all of your senses, a gorgeous and centering listen and a much-needed album in any collection of freak-folk or acoustic American albums.” – Ben Swank

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

10000 Russos: Superinertia (Fuzz Club) LP
Portuguese experimental trio 10 000 Russos are gearing up for the release of their fifth album ‘Superinertia’, which is due out September 10th on Fuzz Club Records. Following on from 2019’s ‘Kompromat’ LP and tour dates around the UK, Europe and Mexico in support, the Porto-based band describe ‘Superinertia’ as a record addressing the “state of inertia that humans live in the West nowadays. It isn’t a record about the past or future. It’s about now.” For all that ‘Superinertia’ might take aim at a world without motion, however, the same cannot be said of 10 000 Russos themselves. On the one hand, since their 2013 debut LP and the three that have followed on Fuzz Club since (2015’s self-titled, 2017’s ‘Distress Distress’ and ‘Kompromat’), 10 000 Russos’ music has always been about as kinetic as it gets: a truly unrelenting and motorik sonic force. On the other hand, ‘Superinertia’ also sees the band itself move into whole new musical territories – aided especially by the recent addition of synth player Nils Meisel to the line-up (who replaces former bassist André Couto.) “The synths really opened up the sound of the band and gave more routes for the music to journey down. The most important thing on this album was to not repeat ourselves. A new arc in our sound is coming to life”, drummer and vocalist João Pimenta explains. On said arc, the Russos sound is expanded to include moments that invoke Ry Cooder’s ‘Paris, Texas’ soundtrack (‘Mexicali/Calexico’), dancey outbursts that transport you to the 90s Summer of Love (‘Super Inertia’), the closest thing Russos have ever done to a pop song (‘A House Full of Garbage’) and even a touch of banjo (albeit one that sounds like a country band on amphetamines playing over a feedback-blasted Stooges beat.)

File Under: Psych
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Badbadnotgood: Talk Memory (XL) LP
Canadian ensemble BadBadNotGood made their name by crossing genre. This seamless movement between style hit hard when they took hip hop into jazz and vice versa. Their latest album – and first with XL recordings – demonstrates them going back to their instrumental beginnings. Instead of looking at the now, they reflected the history and innovation of those that influenced them. To paraphrase Lamont Dozier, this is an album about going back to their roots. Talk Memory pays homage to the musicians, composers and influences that first informed their work. One of the central driving forces behind their latest album was to capture some of the focus, energy and improvisation which is at the heart of their live shows. As they noted, a song is a living breathing thing that naturally changes and evolves as it is played in different settings. This is an album that plays with that thinking. After years of touring, the band paused, refreshed and looked at their history and experiences before starting out on their current instrumental project. A sense of reflection and renewed communication is at the heart of their current approach to making music, and the spark that led to the album’s pensive title Talk Memory. Instead of recording and then developing the tracks on tour, the band decided to slow down and rethink their creative process. By the time they entered the studio and recorded the improvised performances, they had already clearly approached the process of writing and composition. The approach was more intentional, had a longer gestation period and was created over two years. The speed of their compositions, performance and sound has shifted in fresh ways. Instead of improvising and growing their tracks on tour, that process happened in the studio. The band demonstrates a sense of emotional and poetic progress, not just technique and virtuosity. They consider themselves constant students, always listening and striving for new directions. Those new paths range from moments of cinematic pacing to distorted improvisation. The album is a kind of aural odyssey, with all the sense of psychedelic narrative that entails. It is about drawing on the energy of collaboration as it happens. The band recorded their latest work in analog studios, as an intentional way to stay present and experience without drawing from the internet for research or references. The project is deeply cross generational, as BadBadNotGood brought attention to the lineage of artists that came before them and explored the privilege of being able to bring their experience and skill to their music. The album includes contributions from a breadth of multi-instrumentalists including Arthur Verocai, Laraaji, Terrace Martin, Brandee Younger, and Karriem Riggins, with the album mix coming from Russell Elevado.

File Under: Jazz, Hip Hop
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Cadence Weapon: Parallel World (Self Release) LP
Silver vinyl! Cadence Weapon’s Parallel World touches on themes of systemic racism, structural inequality, police profiling, gentrification, the internet’s pervasive effects on our lives and the surveillance state that disproportionately punishes Black people. Using elements of trap, drill, grime and acid house, Parallel World is the soundtrack for the dystopian future we’ve somehow found ourselves in. Featuring production from Jacques Greene, Jimmy Edgar, Martyn Bootyspoon, Casey MQ, Korea Town Acid, Strict Face, Little Snake, DNNY PHNTM and AudioOpera.

File Under: Hip Hop, Electronic
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John Coltrane: A Love Supreme: Live in Seattle (Impulse) LP
After nearly six decades, a private recording of a rare, nightclub performance by John Coltrane of his magnum opus, A Love Supreme, is available for the first time on vinyl 2LP courtesy of Impulse! Records. Recorded in late 1965 on the culminating evening of a historic week-long run at The Penthouse in Seattle, A Love Supreme: Live In Seattle is a musical revelation of historic importance, capturing Coltrane as he began to expand his classic quartet – adding Pharoah Sanders on second saxophone and Donald Garrett on second bass – and catapulting him into the intense, spiritually focused final phase of his career. The significance of A Love Supreme: Live In Seattle is heightened by the fact that Coltrane seldom performed his four-part suite after originally recording it in the studio in 1964. Composed and created as a public declaration of his personal spiritual beliefs and universalist sentiment, it became a best-seller and received a Grammy nod the next year. For more than six decades, it seemed the only recorded public performance of A Love Supreme took place at a French festival at Juan-Les-Pins in July 1965 and was released almost twenty years ago. The tape reels containing this performance from October 1965 sat in the private collection of Seattle saxophonist and educator Joe Brazil, heard by a few fortunate musicians and friends – and largely unknown until now. The music on A Love Supreme: Live In Seattle was recorded with a two-microphone set-up onstage, connected to an Ampex reel-to-reel machine, and the only copies of the tapes were well cared for, yielding a remarkably clear and distortion-free recording. “What’s remarkable is that tapes from this era often suffer over the years from heat or moisture damage, or simply being stacked horizontally,” writes engineer Kevin Reeves who produced this release. “However, these tapes are in excellent condition… and the results are among the best amateur recordings of John Coltrane we’ve had the pleasure to work on.” A Love Supreme: Live In Seattle now expands the story of both a great musician and a timeless piece of music!

File Under: Jazz
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Deux Filles: Shadow Farming (Glass Modern) LP
In 1982-83, Deux Filles appeared to be a pair of young French girls Claudine Coule & Gemini Forque, brought together by tragic circumstances to make a heady, pastoral avant-garde post punk woven with sampled dialogue and occasionally their own vocals. In truth it was former child actor, fledgling teenage pop idol and soon to be film soundtrack composer Simon Fisher Turner, and Colin Lloyd Tucker, both members of an early incarnation of The The, who took the concept as far as dressing as girls for the album sleeves and even playing a gig in full disguise. The music itself is utterly enchanting; a sublimely realised take on Eno-esque ambient, Gallic pop and European style progressive rock. 2 Side Long Suites ‘Intuition’ and ‘Sweet Animal Suite’, on Deep Blue Vinyl in a Deluxe Gatefold Sleeve.

File Under: Electronic, Ambient
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DJ Shadow: Endtroducing – Half-Speed Master (Mercury) LP
Celebrate the 25th anniversary of DJ Shadow’s landmark debut Endtroducing… with a half-speed mastered vinyl 2LP reissue! Endtroducing… is one of those albums that defied categorization. When it was released in 1996, it tore up the hip-hop rulebook, straddled electronica, ambient and trip hop, and introduced its creator as one of the most forward-thinking minds in music. As the album cover made perfectly clear, Endtroducing… was a create-digger’s paradise: a voyage of discovery that refuses to age, and which continues to reveal new facets to fans that have lived with it for the last two and a half decades. Initially released on James Lavelle’s Mo’ Wax label, Endtroducing… was immediately embraced by hardcore hip-hop addicts and electronica devotees alike, and its legacy secured via a slew of superlative reviews. In treating everything as source material, Shadow created a postmodern masterpiece that remains unsurpassable. “As a music lover, my favorite records always have some hallmarks of an era, but also sound as if they could have been made almost any time within a 20 year time span,” DJ Shadow reflects. “I’ve always felt that as someone who buys a lot of records and sits there and studies them and kind of vibes off them, I also feel like once you put something out into the world, it can be discovered later. That happened so much with Endtroducing – 10 or 15 years down the road, people were discovering it.” “What resonated about Endtroducing when it was released in 1996, and what makes it still resonate today, is the way in which it loosens itself from the mooring of the known and sails off into an uncharted territory that seems to exist both in and out of time. Davis is not only a master sampler and turntablist supreme, he is also a serious archeologist with a world-thirsty passion for seeking out, uncovering and then ripping apart the discarded graces of some other generation, that pile of broken dreams, and sewing them back together into a tapestry of chronic bleakness and beauty.” – Eliot Wilder

File Under: Hip Hop
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Ducks Ltd: Modern Fiction (Royal Mountain) LP
Toronto’s Ducks Ltd. (formerly Ducks Unlimited), the bright jangle-pop duo of Tom McGreevy (lead vocal, guitar, bass, keyboards) and Evan Lewis (guitar, bass, drum programming), accomplish the impossible. The pair craft songs that play to very specific inspirations without drowning underneath them – immediately evidenced on their critically acclaimed EP, Get Bleak, and sharpened on Modern Fiction, their debut LP. “The Servants, The Clean, The Chills, The Bats, Television Personalities, Felt,” Evan rattles off. “Look Blue Go Purple is one I reference a lot with our production.” Echoes of ‘80s indie-pop abound, but they never overwhelm. This is not a nostalgic record, after all, nor is it a derivative one. Instead, across 10 cheery-sounding songs, Ducks Ltd. explore contemporary society in decline, examining large scale human disaster through personal turmoil (hence the title, taken from a university course called Gnosticism and Nihilism in Modern Fiction, influenced by Graham Greene novels. Bookish indie fans, look no further.) Writing the album was intimate. Tom drafted the nucleus of a song on an unplugged electric guitar and brought it over to Evan’s apartment, where the pair sat in his bedroom, placing percussive beats from a drum machine under nascent melodies, passing a bass back and forth, adding organs and bridges where necessary. “It’s computer music trying extremely hard not to sound like computer music,” Tom jokes. Fearful that limited and expensive studio time would kneecap the project creatively, eroding their charming naivete, the pair re-recorded the album in a storage space owned by Evan’s boss. Ornamentation through collaboration followed: there’s Aaron Goldstein on pedal steel in the Go-Betweens’ “Cattle and Cane”-channeling interlude “Patience Wearing Thin,” Eliza Niemi on cello (“18 Cigarettes,” a song loosely inspired by a 1997 Oasis performance of “Don’t Go Away”), and backing harmonies from Carpark labelmates The Beths (on an ode to friendship at a distance, “How Lonely Are You?,” “Always There,” and on the sped-up Syd Barrett stylings of “Under The Rolling Moon”). While in his native Australia due to covid-19, Evan worked closely with producer James Cecil (The Goon Sax, Architecture in Helsinki) on Modern Fiction’s finishing touches – at one point, in the mountains of the Macedon Ranges in Victoria, recorded a string quartet (featured on “Fit to Burst,” “Always There,” “Sullen Leering Hope,” “‘Twere Ever Thus,” “Grand Final Day.”) It’s danceable, depressive fun, with some relief: in “Always There” and “Sullen Leering Hope,” Modern Fiction’s faithful heart. “There’s a tendency in my writing, because of my world view, to be very bleak.” Tom explains. “A quality I don’t always see in myself and really appreciate in others is the courage to go on.” And yet, the record manages resiliency – enough for pop fans to fall in love with.

File Under: Indie Rock
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Flying Lotus: Yasuke OST (Warp) LP
Flying Lotus follows the release of his sweeping epic Flamagra and his Producer of the Year Grammy nomination for Thundercat’s It Is What It Is, with an expansive original soundtrack for Netflix’s new anime series, Yasuke. Lotus is the executive producer and composer of Yasuke, which retells the story of feudal Japan’s first African samurai who served with Oda Nobunaga. The series is directed by LeSean Thomas, stars Lakeith Stanfield and features Takeshi Koike as its lead designer. Lotus’ score for Yasuke is an unforgettable titan in his musical canon, drawing enhanced influence from prior instrumental and vocal works alike, while looking towards the future uncompromisingly. The music lies heavily steeped within the legacy of jazz and electronic instrumentation, with select feature appearances by longtime friends and collaborators: Thundercat, Denzel Curry and Niki Randa.

File Under: Hip Hop, OST
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Grateful Dead: Live at the Fox Theatre, St. Louis, MO 12/10/71 (Rhino) BOX
One of the shortest-lived iterations of the Grateful Dead was the band that existed December 1971 through March 1972. Jerry, Bob, Phil, Bill, Pigpen, and Keith formed a formidable version of the Dead that only played a few shows together before Donna Jean joined as vocalist, and before Pigpen would depart the stage for good in June 1972. What this sextet lacked in quantity of shows it made up for with creativeness, power, and inspiration. When Pigpen rejoined the Dead on December 1, 1971, after a few months off during which Keith had joined as piano player, the band was now an unstoppably powerful live juggernaut it hadn’t been since the height of the Primal Dead era in late 1968-1969. Widely considered one of the best shows from the Pigpen-Keith era of the Grateful Dead, December 10, 1971 in St. Louis has it all: Pigpen singing lead on four songs including an 18 minute version of “Good Lovin'” and a very rare performance of “Run Rudolph Run”; a deep dive into the Dead’s psychedelic recent past with a monster version of “The Other One”; plus plenty of the new material from earlier in 1971 like “Bertha,” “Loser,” “Sugaree,” and “Playing In The Band.” They also hit upon much of the music that would appear the following year on Europe ’72, such as “Jack Straw,” “Tennessee Jed,” “Mr. Charlie,” and “One More Saturday Night.” And no Dead show of this vintage would be complete without the “hits”: “Truckin’,” “Sugar Magnolia,” and “Casey Jones” all make appearances. This is truly one of the deepest, most dynamic, exciting, and accessible live shows in the entire Grateful Dead canon. Complete, previously unreleased performance presented as a 180g vinyl 5LP box set with 10th side custom etching. Plangent Processes tape restoration and speed correction, with mastering by Jeffrey Norman, Produced for release by David Lemieux.

FIle Under: Rock
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Helado Negro: Far In (4AD) LP
When Roberto Carlos Lange, the musician known as Helado Negro, began writing Far In immediately following the release of his acclaimed 2019 This is How You Smile, he could not have predicted that we would soon need to learn how to stay at home and be the stars of our domestic dance floors with intimates and online communities. The titular pair in “Gemini and Leo” stay indoors to discover each other anew with music recalling Lange’s youth growing up in South Florida listening to 80s club songs, and their return sampled in 90s hip hop. Visions past and future meet in a euphoria of uptempo drums, Jen Wasner’s (Flock of Dimes) funky bass line, and Opal Hoyt’s (Zenizen) galactic swirl of warm and steely synths and bright backing vocals. What was a prophesying rehearsal for the musician, we can hope will soon be our fresh start, a choice to bring that energy home, or go out to meet it.

File Under: Indie Rock
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Karrion: Forsaken World (Supreme Echo) LP
Karrion were forerunners of Vancouver, BC’s early extreme metal scene, featuring guitarist and main songwriter Shawn Pitts previously of Delta speed metal group Witches Hammer. Karrion hit the scene strong and headlined nearly every show they played, commanding the audience with Duncan Stuart’s scorching vocals over a relentless set of original songs. The group’s four song self titled and three song “Free In Death” demos are both carefully remastered for this release, packed in a striking heavy gloss sleeve featuring the remarkable artwork of Estelle Ward, and an 8 page booklet with flyers, photographs & their story. Vicious and extraordinary Canadian speed / death / thrash intensity!! 500 copies.

File Under: Metal
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Omar Khorshid: With Love (Wewantsound) LP
Wewantsounds present the first vinyl reissue Omar Khorshid’s cult instrumental album from 1978 originally released in Lebanon. The album features Khorshid’s trademark twangy electric guitar sound over Arabic melodies enhanced by fascinating fuzzed-up arrangements and early synthesizer sounds. Wewantsounds’ series of Arabic music reissues are curated by Lebanese-born Arabic music expert Mario Choueiry from Institut du Monde Arabe in Paris. The album has been newly remastered and comes with the original Voice of Lebanon LP artwork. One of the greatest guitar players of the Arab world accompanying such stars as Oum Kalthoum, Abdel Halim Hafez, and Farid El Atrache, Omar Khorshid was born in Cairo in 1945. After studying music from an early age, he joined the Egyptian pop group Les Petits Chats in 1966 and played with them for a couple of years. After seeing the group playing, Abdel Halim Hafez then recruited Khorshid for his band which led him to subsequently play for Egyptian diva Oum Khalthoum and a few other Egyptian pop stars. Following the political troubles faced by Egypt in the early ’70s, Khorshid decided to move to Lebanon in 1973 and started recording under his own name for a few Beirut-based labels. In 1977, he was invited by Egyptian President Anwar El-Sadat to perform at the White House for the celebration of the Camp David Egypt-Israel Peace Treaty. In 1978, Khorshid moved out again — to Syria this time — for a about a year before returning to his homeland of Egypt to concentrate on live performances and on his nascent film career. Unfortunately, Khorshid efforts were cut short and he didn’t have time to fulfil his ambitions tragically dying in a motorbike crash in May 1981, aged just 36. With Love released by the Beirut-based Voice of Lebanon label in 1978 is a testament to Omar Khorshid’s greatness and encapsulate the unique sound of his guitar playing over modern arrangements establishing him as one of Arabic music’s true innovator. Featuring reworkings of such favorites as Mohamed Abdel Wahab’s “Ahwak”, Farid El-Atrache’s “Hebbina Hebbina” (a Brian Eno favorite), and the Rahbani Brothers’ “Rahbaniyat”, the album is a fascinating example of modern Arabic music that aimed at fusing traditional influences with the more contemporary ones, and has become highly sought-after by lovers of this Middle Eastern sounds around the world.

File Under: Middle East, Guitar
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Makoto Kubota & The Sunset Gang: Hawaii Champroo (Wewantsound) LP
Wewantsounds announce an ambitious Makoto Kubota reissue program with his three albums recorded with The Sunset Gang between 1973 and 1977. The albums feature Haruomi Hosono (who also co-produced Hawaii Champroo) and also includes Minako Yoshida, Taeko Ohnuki and Tatsuo Hayachi to name a few. Makoto Kubota has been one of Japan’s true musical innovators and following his involvement with Les Rallizes Dénudés in the early ’70s, he developed a unique sound bringing American, Hawaiian and Okinawan music influences to his own Japanese folk music mix. Recorded in Honolulu in 1975. Recorded in 1975 at the famed Sounds of Hawaii studio in Honolulu, Hawaii Champroo was co-produced by Haruomi Hosono and marks the start of Kubota’s keen interest in Hawaiian and Okinawan music (Champroo is derived from Chanpurū, the traditional Okinawan stir-fry dish). A companion album to Hosono’s own Tropical Dandy and Bon Voyage Co. albums (on which Kubota plays), the album was at the forefront of a tropical musical movement started in Japan in the mid-70s. The core Sunset Gang consists of Kubota on Guitar, Takashi Onzo on bass, Yosuke Fujita on guitars and mandolin, Keni Inoue on lead guitar and Hiroki Komazawa on pedal steel guitar. They are joined on the album by Hosono on drums and Teriyuki Kokubu on piano. Having travelled to the United States in the early ’70s, Makoto Kubota had fallen in love with American music and had brought back many influences from his sojourn on the East and West coast. these are evident from the tracks covered by the band on Hawaii Champroo, including Jesse Fuller’s “San Francisco Blues”, The Rooftop Singers’ “Walk Right In” (an old Gus Cannon ragtime) or The Texas Playboys’ classic “Steel Guitar Rag”. Hawaii Champroo also features originals such as the funky “Shanghai Gaeri” and a nod to the Hula Hawaiian dance “Moonlight Hula”. One of the highlights of the album is the classic “Haisai Ozisan”, the Okinawan 1972 cult classic by Shoukichi Kina which has become a standard in Japan. All in all, Hawaii Champroo is a timeless classic and one of the key Japanese albums from the ’70s. This is the first time the albums are released outside of Japan. Newly remastered by Makoto Kubota. Comes with original artwork, OBI and the original Japanese inserts.

File Under: Japan, Pop
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Makoto Kubota & The Sunset Gang: Sunset Gang (Wewantsound) LP
Wewantsounds continue its Makoto Kubota retrospective with the reissue of Sunset Gang recorded in 1973 for Showboat. The album, co-produced by Kinji Yoshino (Haruomi Hosono, Akiko Yano, Sachiko Kanenobu) and featuring Hosono, Minako Yoshida and Taeko Ohnuki, was released as Kubota had just recorded his classic first solo album, Machibouke. It marks the start of the group’s unique sound mixing Japanese music with R&B, blues and New Orleans influences, a sound that would have a lasting impression on the Japanese music scene. Makoto Kubota’s trip to the US’ East and West Coast at the dawn of the ’70s had been ear-opening. After a few years playing with Les Rallizes Dénudés, he had travelled there to soak up the music and the cultural revolution that was happening all around the country. Upon his return and after recording his solo album Machibouke for the Express label, he set to record a second album with likeminded musician to emulate the sound he had witnessed during his US trip. Kubota gathered fellow musicians in the studio with producer Kinji Yoshino, alongside a few guests including Haruomi Hosono, Tatsuo Hayashi and Takashi Matsumoto from Happy End/Tin Pan Alley galaxy to record nine tracks inspired by R&B, soul, blues, and tropical influences. From the bluesy “Kawa Wo Kudatte” and “Sunset Sunset” to the Southern groove of “Louisiana Mama” and the Grateful Dead-like feel of “Bang Bang Bang/Yukake Blues”, the album is a superb mix of laidback music and an homage to American roots music. The album marks the start of a musical odyssey Kubota and his musicians would develop further in subsequent albums by the Gang. This is the first time the album is released outside of Japan, remastered by Makoto Kubota himself and featuring original artwork with OBI and four-page insert.

File Under: Japan, Pop
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Malevolence: Apparitions (Supreme Echo) LP
Classic Canadian thrash metal. Malevolence from Victoria, BC held their fists high amidst Western Canada’s metal scene for a full decade with their distinct brand of Bay Area-influenced thrash. “Apparitions” comprises their full 9-song session recorded by Len Osanic in 1992 at the legendary Fiasco Bros. studio and originally issued as two high-quality, cassette-only demos. Remastered from original analog reels by Brad Boatright at Audiosiege. 12-page full-color booklet with photos, art, and bio. On vinyl for the first time. 500 copies. “Overall this is some of the best purest thrash offerings I’ve heard in some time.” – Drew Masters, M.E.A.T. Magazine. “In my opinion, Malevolence is the best metal band in Canada. No joke.” – Jason Schreurs, Coercion Magazine.

File Under: Metal
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Manic Street Preachers: Ultra Vivid Lament (Sony) LP
‘The Ultra Vivid Lament’ is the 14th studio album from Manic Street Preachers. It is both reflection and reaction; a record that gazes in isolation across a cluttered room, fogged by often painful memories, to focus on an open window framing a gleaming vista of land melting into sea and endless sky. Musically, ‘The Ultra Vivid Lament’ is inspired by a formative years record box (ABBA, post-Eno Roxy, the Bunnymen, Fables-era REM, Lodger) though the end result could only be the unique union of James Dean Bradfield, Nicky Wire and Sean Moore, collectively one of the UK’s most consistently brilliant rock’n’roll bands for over three decades.

File Under: Pop
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Mission of Christ: Silence in Grave (Supreme Echo) LP
Mission Of Christ were the band that united the punks and metal-heads in Victoria, BC. Young skater kids riding into the collision between metal and punk — those wild days of early crossover. Albums such as COC “Animosity”, early Metal Church, Accused “Martha Splatterhead”, Sacrilege UK, Trouble, Venom and Slayer were all on heavy rotation. Each band sounded different and many were hard to classify. MOC received multiple record label offers (Metal Blade, Alchemy, Manic Ears), gigged often, released two demos and a split 7” — but failed to fulfill any album agreement. This deluxe 10 song, 180 gram 12” LP comprises of the 7 song “Silence In Grave” demo ’87, three songs from “Demo ’89”, plus a bonus 7” flexi EP featuring 4 songs from their ’86 rehearsal demo. Remixed by critically acclaimed engineer Kurt Ballou and remastered by Brad Boatright and Audu Obaje for wider dynamics while maintaining vintage authenticity. MOC featured a member of the Neos and also future Black Mountain leader Stephen McBean. Includes a generous 16 page booklet with interview, flyers, art, photographs & lyrics. Canadian speedmetal / thrashcore legends!

File Under: Metal
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Kevin Morby: A Night at the Little Los Angeles (Dead Oceans) LP
“I am pleased to announce A Night At The Little Los Angeles, the 4-track demo version of my album Sundowner. Recorded at home and in my back shed – aka The Little Los Angeles – in Kansas during the summer and winter of 2017 and 2018, this is the sound of me alone in a room with a 4-track to catch my songs as they – quite literally – fell out of my mouth. When I later went into a proper studio to make what would become Sundowner, my goal was to capture the essence of these initial recordings, and here you will now have access to the very essence I was chasing. I am excited to, for the first time, share this side of my songwriting process with the public. Many of my favorite recordings have been made inside of an artist’s home with little to no regard of the outside world, but instead deep in their own that they are building in real time. And with that – I’d like to invite you into my own little world here and now and ask you to please step inside and spend A Night At The Little Los Angeles.” – Kevin Morby

File Under: Indie Rock
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Neos: Fight with d0nald (Supreme Echo) 7″*
Victoria’s pioneers of hyperactive speed-punk, critically acclaimed as one of the very first of their kind. As lead-up to our soon to be released “Three Teens Hellbent On Speed” discography LP, Supreme Echo presents this 25th anniversary reissue from the original John Golden stampers. Blistering fast, raw and wild Canadian hardcore insanity recorded 1982-83. 18 songs, including “Sleeve” which is the only recording to reappear on their upcoming LP, maintaining this EP as a rather unique collection. Housed in its original multi-panel fold-over cover which folds out into a 14” x 21” collage poster.

File Under: Punk
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NOFX: Ribbed (Epitaph) LP
Anniversary red/black splatter edition! Once again we went back to Westbeach with Brett. This record took 12 days. For some reason we were playing a lot of chess during the recording. I swear every 20 minutes me and Brett would play a game of speed chess, and then mix another song. This record was important. It was the first NOFX record that people actually liked. I think we finally got our sound. We took a little Bad Religion, DI, RKL, and came up with the nofx sound. Now when we went on tour, people showed up and enjoyed themselves. It was weird. No one really liked us very much before. So right when we started getting popular, our guitarist Steve quit to join a rock band. Oh well, that’s when we got El Hefe. This record sold 8000 copies the first year. That was a lot. Flipside liked this one. -NOFX

File Under: Punk
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Orquesta Akokan: 16 Rayos (Daptone) LP
Orquesta Akokán is ready to unleash 16 Rayos on the world’s dance floors, via Daptone Records. Recorded in Havana’s famed Egrem Studios, the group displays a cohesion forged by an intense performing and touring cycle. The musical conversation that began in the Areito studios three years earlier blossomed into an easy, intimate dialogue between good friends – allowing full, fearless musical expression and risk-taking outside of their comfort zones.
Building upon Perez Prado’s dissonant, near avant-garde vision of the mambo, and highlighting the Lucumí subtext of Cuban rhythms and styles, the band continues to explore, develop and expand the island’s rich rhythmic palette and repertoire – pushing the conventions of what is considered “mambo” – and drawing deeply from folkloric and religious traditions seldom heard in popular music. 16 Rayos is here to shine its musical rays on us, warm our hearts, and irresistibly move our bodies.

File Under: Latin, Funk
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George Otsuka Quintet: Sea Breeze (Le Tres Jazz Club) LP
Le Tres Jazz Club present a reissue of George Otsuka Quintet’s Sea Breeze, originally released in 1971. George Otsuka, sadly passed away in March 2020, was one of Japan’s most renowned jazz drummers. After three records with the George Otsuka Trio in the late part of the ’60s, Sea Breeze was released in 1971 on the Union label, his first record in quintet formation and a superb album which showcases the thrilling talent of this band. Included the brilliant jazz-funk track “Sea Breeze” and the astonishing cover of “Fool on the Hill”. Personnel: George Otsuka – drums; Shunzo Ohno – trumpet, flugelhorn; Takao Uematsu – tenor sax, soprano sax; Takashi Mizuhashi – bass; Hideo Ichikawa – electric piano. Gatefold sleeve.

File Under: Japan, Jazz
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Pandora: Space Amazon (Supreme Echo) LP+7″
New York City’s mysterious lost & found hard rock / protopunk-metal masterpiece from 1974 — Pandora echoed of stardom with dynamic rhythms, fuzz-drenched guitar dexterity, and flamboyant, vigorous rockstar vocals. A world class group with members of Plum Nelly, Black Widow, David Johansen, Twisted Sister, and The Demons. 10 songs engineered by Joe Battaglia (Granicus) meticulously remastered by Audu Obaje. Detailed 16pg booklet with bio / photos. “majestic Who-like power chords, Zeppelinesque panache, plaster-cracking castrato vocals and poetic Spiders from Mars lyrics” – Doug Sheppard / Ugly Things. “solid, spangled raunch far truer to the spirit of the era than the Kiss reunion tour was, with a garage spunk that’s more white-punks-on-hope than 8-track flashback” – David Fricke / Rolling Stone Magazine. Fully authorized and on vinyl for the first time. LP + EP. 700 copies.

File Under: Metal, Hard Rock
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Porcupine Tree: Stupid Dream (Transmission) LP
“Porcupine Tree’s First Album For K-Scope/Snapper Starts Out With A Definite Bang — “Even Less,” With Some Of The Quartet’s Biggest, Blasting Rock Epic Music Yet, Yet Also Shot Through With The Gentler, Acoustic Side That Makes Porcupine Tree So Intimate And Lovely. The Net Result Easily Calls Yes To Mind, But Steven Wilson’s Not So High-Pitched As Jon Anderson And Richard Barbieri Completely Avoids Rick Wakeman’s Extreme Idiocies — Prog That Knows When Less Is More. With That As A Fine Signal For The Album As A Whole, Stupid Dream Takes It From There — Wilson As A Songwriter And Singer Both Sounds Recharged And More Ambitious, While The Group Collectively Pours It On. The Loud Passages Feel Truly Sky-Smashing, The Calmer Ones Perfectly Close, And The Overall Sense Of Build And Drama — “A Smart Kid” Is A Fine Example — Spot-On. Strings From The East Of England Orchestra And Guest Work On Wilson’s Sometime Bass Communion Partner Theo Travis Add Even Lusher Atmospheres Without Swamping The Tunes. As Always, The Group Isn’t Afraid To Experiment Where Others Merely Re-Create — Check Out The Funky Breaks Colin Edwin And Chris Maitland Lay Down On “Slave Called Shiver,” Not To Mention Wilson’s Catchy Piano Figure And Barbieri’s Hammond Organ Fills. Lyrically, Wilson Comes Up With Some Of His Best Work Yet. “Piano Lessons” Looks Back On Past Musical Learning And A Doubtful Teacher As A Spur To Trying Harder, While “Pure Narcotic” Offers Up A Romantic Scenario And Tip Of The Hat To Radiohead All At Once: “You Keep Me Hating/You Keep Me Listening To The Bends.” There’s Actually A Musical Hint Or Two Of The Oxford Quintet As Well — The Acoustic Guitar/Drum Intro To “This Is No Rehearsal” Is A Good Example — But Leave It To Porcupine Tree To Drop In Some Fully Plugged In Thrash Metal, As Well.” – Ned Raggett, All Music Guide

File Under: Rock, Prog, Metal
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Private School: Lost in Action (Supreme Echo) 7″
A coveted and sought after punk artifact from Vancouver’s first wave, featuring the greatly missed guitarist Dave Gregg prior to his joining DOA. Private School’s entire studio repertoire from original 1/4” stereo reels professionally remastered & reissued as a double EP on 7” vinyl with a bonus 7” yellow flexi, totalling 7 songs. Punk Rock, early Hardcore, and even psych sax surprises! Members also went onto play in DOA, Magic Dragon, The Flames, and Warsaw (CAN). 12 page booklet with flyers, photographs & their story. 500 copies. First 100 with button.

File Under: Punk
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Sufjan Stevens: Convocations (Asthmatic Kitty) BOX
Convocations, the new instrumental album from Sufjan Stevens, moves like a two-and-a-half-hour electronic/ambient mass for our present age of anxiety and dread; its 49 tracks work through the stages of grief and gladness with emotional mood music that is dreamy, dissonant, vertiginous, rhythmic, repetitive, urgent, and calm – that is, all the things we undergo when we inevitably live through isolation, uncertainty, and loss. Its five sonic cycles (Meditations, Lamentations, Revelations, Celebrations, and Incantations) replicate different stages of mourning, healing and catharsis, working both to soothe our unease while savoring a renewed sense of awe and wonder for being alive in these unprecedented times. Stevens initiated Convocations in response to (and as an homage to) the life and death of his father, who died in September last year, two days following the release of The Ascension. It is, then, ultimately an album about death, and an album that reflects a year in which we have all lost so much. That said, this is not a personal record, but a universal one. Convocations is built on a shared experience that seeks to be honest about how complicated grief can be in these difficult times – the pain and separation, the anxiety, the unknown, the absolute joy of memory. This is also an album made in lockdown, when we were all cloistered in whatever space we had. Convocations arrives just as we begin to emerge from a year whose losses we will calculate for a lifetime. It is, then, right on time, as we begin to process our grief and try to carry on with it.

File Under: Indie Rock
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Strand of Oaks: In Heaven (Thirty Tigers) LP
To say In Heaven is about conquering grief would be oversimplifying everything Tim Showalter has achieved on the eighth studio album from Strand of Oaks. A stunning, hopeful reflection on love, loss, and enlightenment, In Heaven is a triumph in music making, and a preeminent addition to the Strand of Oaks discography. In Heaven was recorded in October 2020 with Kevin Ratterman at Invisible Creature in Los Angeles. Carl Broemel (My Morning Jacket) is featured on guitar throughout the record, while James Iha (The Smashing Pumpkins) contributed vocals and guitar for “Easter.” Bo Koster (My Morning Jacket, Roger Waters) provided keyboards, Cedric LeMoyne (Alanis Morrissette, Remy Zero) bass, Scott Moore violin, and Ratterman monstrous drums. Showalter also played a lot of synth on this record, which he hasn’t done since 2014’s Heal. With clean sounds, Jeff Lynne-esque acoustics, and sophisticated songwriting, he approached In Heaven in a more poised and pop-leaning way than his past releases. In Heaven is Strand of Oaks’ eighth studio album and first with Nashville based Thirty Tigers.

File Under: Indie Rock
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Superchunk: Here’s to Shutting Up (Merge) LP
Merge Records reissues Superchunk’s long-out-of-print 2001 studio album Here’s to Shutting Up as a vinyl LP + CD-set to commemorate its 20th anniversary. In addition to the original album on vinyl is Bestial Warning, a bonus CD of 13 previously unreleased demos. The vinyl packaging features a printed vellum overwrap. “We recorded Here’s to Shutting Up in the Cabbagetown neighborhood of Atlanta at Zero Return, the studio built by Brian and Rob (aka Birdstuff and Coco the Electronic Monkey Wizard) of Man or Astro-man? Brian Paulson came with us to produce it. The studio itself was amazing. We also slept there in a dorm-like setting and stayed up too late. We had some great guest players on the record including the first appearance of a pedal steel on a Superchunk album, played by John Neff of Athens band Japancakes. Local Chris Lopez (The Rock*A*Teens) came over to sing backup vocals on “Art Class (Song for Yayoi Kusama).” I asked him to sing harmonies on the chorus and he was like, “Harmonies? Oh, I can’t sing harmonies.” I still don’t believe him. “To write the songs for Here’s to Shutting Up, we gathered in Jim’s garage (he lived way out in the woods) a couple times a week for what seemed like months. We started from actual scratch with no demos or concepts, just playing instrumental music with our usual gear plus a Casio. Sometimes one of us would play the keys instead of our normal instrument, or Jon would hop on guitar and we’d use the Casio drum machine for the beat. We ended up with a LOT of ideas and plenty of good names for them – “Frank’s Bath,” “There’s Something About Marvin,” and “Bestial Warning” to name a few. We recorded practice onto MiniDisc or cassette, and I would ride around listening to these demos and thinking of words. “The subject matter, in retrospect, has a lot to do with touring and travel (“Out on the Wing,” “What Do You Look Forward To?”), coming home (“Rainy Streets,” “Act Surprised”), the 2000 election (“Florida’s on Fire”), and late-stage capitalism (“Late-Century Dream,” “The Animal Has Left Its Shell”). Once we wrangled the songs into recognizable and playable shapes, we re-created them in acoustic form and recorded these “demos” at my house so we wouldn’t forget how they went and so we could learn how to play them. Some have the whole band, some are me learning Jim’s and Laura’s parts from the practice tapes and playing them on acoustic guitar.” – Mac McCaughan

File Under: Indie Rock
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Lucinda Williams: Bob’s Back Pages (Thirty Tigers) LP
Revered singer/songwriter Lucinda Williams is working to help independent music venues during this time with the announcement of Lu’s Jukebox. Scheduled as a six-episode series of mostly full-band, HD video performances in-studio, Lu’s Jukebox will feature a themed set of songs by other artists curated by the multi-Grammy award winner. Largely full-band performances recorded live at Ray Kennedy’s Room & Board Studio in Nashville, TN, Lucinda has poured her heart and soul into each of these episodes. From hand-selecting the songs to giving it her all in the studio, this series has been a journey you won’t want to miss. While the first two installments found Williams tackling Tom Petty and southern soul, Lu’s Jukebox Vol. 3 features eleven nuanced numbers from the great Bob Dylan catalog including “It Takes A Lot To Laugh,” “Not Dark Yet,” “Blind Willie McTell,” “Idiot Wind,” “Make You Feel My Love” and more. “We’ve actually wanted to do a cover series for a long time now, but never had the time with my touring schedule,” says Williams. “I guess the silver lining in all of this has been to be able to really get inside the songs of some of my favorite artists – see what makes them tick. My hope for this project is that we’ll be able to help as many venues as we can. They’re our homes, as artists. We have to take care of them, for the sake of live music to come.”

File Under: Country
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Lucinda Williams: Funny How Time Slips Away (Thirty Tigers) LP
Revered singer/songwriter Lucinda Williams is working to help independent music venues during this time with the announcement of Lu’s Jukebox. Scheduled as a six-episode series of mostly full-band, HD video performances in-studio, Lu’s Jukebox will feature a themed set of songs by other artists curated by the multi-Grammy award winner. Largely full-band performances recorded live at Ray Kennedy’s Room & Board Studio in Nashville, TN, Lucinda has poured her heart and soul into each of these episodes. From hand-selecting the songs to giving it her all in the studio, this series has been a journey you won’t want to miss. While the first three installments found Williams tackling Tom Petty, southern soul and Bob Dylan, Lu’s Jukebox Vol. 4 includes a selection of 60’s country classics like “Apartment #9,” “Together Again,” “Make The World Go Away,” “Long Black Limousine,” “Fist City,” “Gentle On My Mind” and “Funny How Time Slips Away” among others. “We’ve actually wanted to do a cover series for a long time now, but never had the time with my touring schedule,” says Williams. “I guess the silver lining in all of this has been to be able to really get inside the songs of some of my favorite artists – see what makes them tick. My hope for this project is that we’ll be able to help as many venues as we can. They’re our homes, as artists. We have to take care of them, for the sake of live music to come.”

File Under: Country
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Wye Oak: Civilian + Cut All the Wires (Merge) LP
Ten years after its release, Wye Oak’s Civilian remains a raw, sinewy punch of a record – bleak and intense and lonely and self-assured all at once. It marked both the ascension and death of Wye Oak, or at least a version of it. Now, a decade later, Civilian + Cut All the Wires: 2009 – 2011 delves back into that pivotal record and adds a lost album of 12 unreleased tracks and demos to Civilian’s universe. Sonic paradoxes abound: The mellow “Sinking Ship” is preceded by the wall-of-sound grunginess that roars through “Half a Double Man.” A pared-down acoustic Daytrotter live session of “Two Small Deaths” dovetails into the jangling “Holy Holy” demo. The closing lyrics over the frenetic, screeching feedback of “Electricity” lend the anniversary release its title: “There’s nothing about you that I don’t adore / Show me these rooms and I’ll show you the way to the door / Walk me through / I’ll cut all the wires and spend my life with you.”  On the occasion of its 10th anniversary, Stereogum described Civilian as “an album of hellos and goodbyes at the same time, introducing us to everything Wye Oak could be, before setting the stage for the other Wye Oaks we’d soon get to know, and the all the others we’ve still yet to meet.”

File Under: Indie Rock
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Akiko Yano: Ai Ga Nakucha Ne (Wewantsounds) LP
Gatefold sleeve; includes 24-page booklet. Wewantsounds reissue Akiko Yano’s cult classic Ai Ga Nakucha Ne, recorded in 1982 and co-produced by Ryuichi Sakamoto. Ai Ga Nakucha Ne (“there must be love” in Japanese) is Akiko Yano’s sixth studio album and follows Tadaima in 1981. It continues exploring the electro-pop sound of its predecessor, hot on the heels of her touring with Yellow Magic Orchestra between 1979 and 1980. For this album, Akiko decided to try something new; she enrolled English musicians Mick Karn, Steve Jansen and David Sylvian from Japan and booked the Air Studios in London under the supervision of engineer Steve Nye. Over a couple of weeks, the musicians created a fascinating soundscape full of catchy pop tunes, sung in both Japanese and English. Reminiscing about the studio sessions, Steve Jansen notes “Our music’s different but we maybe had a similar process of working. It was a great environment because the studio was a great place to work. It was very insular. There were four studios and there were always groups working in there 24/7.” The eleven tracks featured on Ai Ga Nakucha Ne, mostly composed by Akiko — are a great collection of catchy tunes featuring her distinctive vocals and accompanied by the Japan musicians. As Akiko explains about the creative process, “I didn’t think to imitate or to make another Tin Drum. But I had Steve Jansen and Mick Karn, these excellent musicians. They were eager to understand the songs, then they put in everything they had. I knew the material was different from what they usually played in Japan. But it was a great experience working with them.” There are many highlights on the album, from the pop edge of “Aisuru Hito Yo” to the avant groove of “Another Wedding Song”, each song is memorable and the album ends with the superb “Good Night” sung by Akiko and David Sylvian. The original 1982 LP release included a 24-page booklet featuring many photos by Pennie Smith and Japanese photographer Bishin Jumonji. The booklet is reproduced in its entirety here and the album on top of contributions by Mac DeMarco, a longtime fan of the album. Also includes a dual interview with Akiko Yano and Steve Jansen by journalist Paul Bowler. Audio remastered from the original tapes by Mitsuo Koike.

File Under: Japan, Pop
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Various: Sacred Soul of North Carolina (Bible & Tire) LP
Eleven groups in eight days. A marathon recording session in a makeshift storefront studio in a 100-year-old building in the tiny Eastern North Carolina town of Fountain. Once the idea for the project was in place, Alice Vines of the Glorifying Vines Sisters started calling local musicians. It didn’t take her long to line up almost a dozen groups to come lift their voices and represent the region’s unique Sacred Soul traditions. Housed in gatefold jackets. Limited edition of 250 copies.

File Under: Soul, Gospel
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…..restocks…..

A Tribe Called Quest: Midnight Marauders (Jive) LP
Arcade Fire: Suburbs (Sonovox) LP
Arctic Monkeys: AM (Domino) LP
Bauhaus: Crackle: Best of (4AD) LP
Big Red Machine: How Long Do You Think It’s Gonna Last? (Jagjaguwar) LP
Booker T & the MG’s: Complete Stax Singles Vol. 2 (1968-1974) LP
Leon Bridges: Gold-Diggers Sound (Columbia) LP
Dead Kennedys: Give Me Convenience or Give Me Death (Audio Platter) LP
Alabaster DePlume: To Cy & Lee (International Anthem) LP
Full of Hell: Garden of Burning Apparitions (Relapse) LP
Jose Gonzalez: Local Valley (Mute) LP
Grizzly Bear: Yellow House (Warp) LP
Idles: Joy As An Act of Resistance (Partisan) LP
King Crimson: Red (Panegyric) LP
Julian Lage: Squint (Blue Note) LP
Low: Hey What (Sub Pop) LP
Mac McCaughan: The Sound of Yourself (Merge) LP
Menahan Street Band: The Exciting Sounds of (Daptone) LP
MGMT: Oracular Spectacular (Columbia) LP
National: Trouble Will Find Me (4AD) LP
William Onyeabor: Who Is…. (Luaka Bop) LP
OST: Bob’s Burgers Music Album Vol. 2 (Sub Pop) LP
Porcupine Tree: Octane Twisted (Transmission) BOX
Rugged Nuggets: Odds & Ends (Colemine) LP
Squid: Bright Green Field (Warp) LP
Stooges: Fun House (Rhino) LP
Joe Strummer: Assembly (Dark Horse) LP
Tangerine Dream: Alpha Centauri (Tiger Bay) LP
Tool: Undertow (Zoo) LP
Voivod: The Outer Limits (Real Gone) LP