Well, thanks all for coming out to our big sale and RSD last week. The turnout was bonkers considering the weather. Well done Edmonton, way to laugh in the face of winter. Anywho, this week’s list has a bunch of fine things that were in late last week and what not. Loads to look at and listen to…
…..picks of the week…..
Various: Native North America Volume 1 (Light in the Attic) 3LP/2CD
“Largely unheard, criminally undocumented, but at their core, utterly revolutionary, the recordings of the diverse North American Aboriginal community will finally take their rightful place in our collective history in the form of Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966-1985. An anthology of music that was once near-extinct and off-the-grid is now available for all to hear, in what is, without a doubt, Light In The Attic’s most ambitious and historically significant project in the label’s 12-year journey. Native North America (Vol. 1) features music from the Indigenous peoples of Canada and the northern United States, recorded in the turbulent decades between 1966 to 1985. It represents the fusion of shifting global popular culture and a reawakening of Aboriginal spirituality and expression. The majority of this material has been widely unavailable for decades, hindered by lack of distribution or industry support and by limited mass media coverage, until now. You’ll hear Arctic garage rock from the Nunavik region of northern Quebec, melancholy Yup’ik folk from Alaska, and hushed country blues from the Wagmatcook First Nation reserve in Nova Scotia. You’ll hear echoes of Neil Young, Velvet Underground, Leonard Cohen, Creedence Clearwater Revival, Johnny Cash, and more among the songs, but injected with Native consciousness, storytelling, poetry, history, and ceremony. The stories behind the music presented on Native North America (Vol. 1) range from standard rock-and-roll dreams to transcendental epiphanies. They have been collected with love and respect by Vancouver-based record archaeologist and curator Kevin ‘Sipreano’ Howes in a 15-year quest to unearth the history that falls between the notes of this unique music. Tirelessly, Howes scoured obscure, remote areas for the original vinyl recordings and the artists who made them, going so far as to send messages in Inuktitut over community radio airwaves in hopes that these lost cultural heroes would resurface. Considering the financially motivated destruction of our environment, the conservative political landscape, and corporate bottom-line dominance, it’s bittersweet to report that the revolutionary songs featured on Native North America hold as much meaning today as when they were originally recorded. 34 tracks newly re-mastered. Deluxe 2xCD set features a hard-cover 120 page book with comprehensive liner notes, artist interviews, unseen archival photos, and lyrics (with translations).”
File Under: Folk, Rock, CanCon
:zoviet*france: and Fossil Aerosol Mining Project: Patina Pooling (Alt.Vinyl) 2LP
Over a year in the making, the intercontinental collaboration between :zoviet*france: and the Fossil Aerosol Mining Project is finally available via alt.vinyl. “Patina Pooling” is a limited edition double album, pressed on 180g vinyl, housed in a weathered and laser etched steel sleeve, and packaged with artifacts collected during the 1980s from a burnt-out American warehouse. The call and response of residue and hybrid. ” “:zoviet*france: long ago left behind the sense of techgnostic ritual and industrial jam band tactics that characterised some of their first releases. And yet some sounds here – rustlings, gurglings, heaving drones, and juddering attacks – recall their very earliest work… The textures are more precisely articulated, more carefully arranged, but texture remains the thing, and the unease evoked has more than a family resemblance to that of 1982’s Garista or 1984’s Eostre. Their US collaborators on this record are kindred spirits, and the half-buried fragments of disinterred tapes they weave in and out of :zoviet*france:’s electroacoustic weft adds depth and dirt in equal measure. It’s a spooky archaeology beneath an already radical geography.” Ltd edition of 350.
File Under: Electronic, Ambient, Field Recording
Javier Bergia: Eclipse (Emotional Rescue) LP
Upon starting the label nearly 3 years ago, the band Finas Africae were very much in the label’s mind as the perfect band to reissue. With a collection of amazing music that was criminally unknown at that moment, a compilation seemed the perfect remedy. However, running a label is far more time-consuming than most would imagine and with the early releases in the pipeline, the idea slipped. The amazing collection of Finas Africae works on the sublime EM Records in 2013 was one of the reissues of the year and rightly got a lot of press and attention. Therefore, with such a high standard to follow, our minds turned to releasing the individual members of the band’s own original music. First then is a collection of Javier Bergia. Singer, song writer, guitar player and producer all in one, Javier has had a career stretching over 30 years in Spanish (or Andulasian) folk. While underpinned by many of the songs on his classic and highly sought after Tagomago album, Eclipse includes other songs from his early career as well as a series of unreleased instrumental pieces that give the album an ebb and flow that his individual solo releases failed to achieve. Javier’s playing and vocals are so distinct that it would be hard to imagine the music collected here spreads over 25 years of his music career, so close and warm is the production that it is hard to tell which songs are from which era. The first then in a series of releases celebrating such music, next will see Javier working with fellow Finas Africae member, Luis Delgado, with a first time vinyl reissue of their classic La Flor De Piedra LP under the name Ishihonana.
File Under: Folk, Soft Rock, Spanish
Blown Out: Drifting Way Out Between Suns (Riot Season) LP
Newcastle power-trio Blown Out issue their debut album Drifting Way Out Between Suns. Comprised of members of Bong, Drunk In Hell, Haikai No Ku, 11Paranoias, Khünnt and Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Drifting Way Out Between Suns offers up 40+ minutes of sonic bass lines, steady free-form tempos, and totally crushing, waster-infused, head-change guitar leads. The trio evoke the psychedelic jam music of San Francisco’s glory days — effects-laden guitar jamming that goes nowhere and everywhere, held down by a hypnotic groove that never misses a beat, no matter how long they play without pause. The blues-rock roots of the jamming makes for a calming experience, after the head-fuck you’ll experience waiting for them. Also featured are sonically-heavy, rolling-thunder bass lines, shaped by total head-change, waster-infused guitar freak-outs, gelled together with steady freeform rhythms. You have to learn to die before you die. You give up, surrender to the void, to nothingness. Limited edition of 400. Pressed on grape-colored vinyl. Vinyl-only release with download code.
File Under: Psych, Rock
Faust: Just Us (Bureau B) LP+CD
Faust for all. The Krautrock legends lay down the musical foundations for everyone else to make something of their own. “j US t” — pronounced “Just Us” — is the new album from legendary Hamburg band, Faust. Founding members Jean-Hervé Peron and Zappi Diermaier have laid down 12 musical foundations, inviting the whole world to use them as a base on which to build their own music. The tracks presented by Peron and Diermaier are clearly, intrinsically typical of Faust in their own right, yet offer enough space for completely different works to develop. Which is exactly what they hope will happen. While Diermaier largely remains true to his habitual handiwork — drums and percussion –Peron, as we might expect, incorporates all manner of unusual sonic sources alongside his bass, various string instruments and piano, even using a sewing machine as a metronome. Tracks like “nur nous” and “ich bin ein pavian” show that Faust have lost none of their predilection for avant-garde Dadaism and improvisation. Peron and Diermaier actually surprise us with folkloristic excursions (“cavaquinho,” “gammes”). In short, there is something for everyone to work with here. Peron and Diermaier await the results with bated breath. Faust will follow the same principle on the accompanying tour by inviting local artists to collaborate with them on stage. The history of the band: “There is no group more mythical than Faust.” Thus wrote English musician and eccentric Julian Cope. Which says it all really, neither the habitus nor the music of the Hamburg group was easy to grasp. While some lauded Faust as the best thing that ever happened to rock, others dismissed them as shameless dilettantes. Their collage of Dadaism, avant garde rock and free improvisation radically divided opinion. When the first LP was unleashed on the world in 1971, Faust were very much the prophet in their own land, as the saying goes: few were interested in listening to their music — in Germany. Not so across the Channel: this is where Faust’s career really kickstarted. These monoliths of avant-garde rock sold 100,000 copies of their album The Faust Tapes. More than 40 years after their debut, Faust have come up with another archetypical album: inspiring, innovative, unpredictable, crossing boundaries, anarchic — Faustian!
File Under: Krautrock
Hartmut Geerken & John Tchicai: Hindukush Serenade (Holidays) LP
Remembering his old friend John Tchicai and the days when these live recordings were made, Hartmut Geerken says, “When John came to visit us in Afghanistan and in Greece, where we lived in the ’70s and ’80s, my wife, Sigi, had to extend his bed always with fruit boxes. His height didn’t fit into a normal-sized bed as well as his musical dimensions were too far out to fit into the mainstream taste of the masses. It was wonderful to hike with him in the Hindukush mountains up the Salang Pass. Afghanistan was a very peaceful and hospitable country before the westerners destroyed this unique paradise.” Every time Hartmut Geerken unveils one of the many tapes he recorded and archived in his extraordinary life, it’s an incredible gift. Listening to these tunes almost 40 years after they were recorded, especially in the moment when John Tchicai stops playing and start his wild high-pitched singing, will really make you feel dizzy. Recorded live on May 12, 1977 at the Goethe-Institut Afghanistan in Kabul. Edition of 250 copies; cover printed with an old Heidelberg printing press on Favini Crush Olive paper. Cover drawing by Hartmut Geerken.
File Under: Free Jazz, Improv
Grateful Dead: Two From the Vault (Future Days) 4LP
Following on the heels of Light In The Attic’s vinyl release of One From The Vault comes the next in the trilogy of From The Vault releases by the Grateful Dead. These releases are distinguished from the more abundant Dick’s Picks series in that Dick’s Picks are “direct from the soundboard” recordings, while the From The Vault series were professionally recorded on multi-track tape and then mixed down later for release. Recorded live at the Shrine Auditorium (Los Angeles) in 1968, this is the worldwide vinyl debut release of this legendary show featuring the 6 piece line-up of Pigpen, Garcia, Weir, Lesh, Kruetzmann, & Hart.
File Under: Jam Bands, Dead, Darkstar
Lenis Guess: The Story of… (Tramp) LP
Multi-talented singer, songwriter, producer, arranger, and label owner Lenis Guess was undoubtedly one of the most celebrated musicians known for his contribution to “the norfolk sound”. He first started releasing 45s on Frank Guida’s many labels before setting up his own D.P.G. label. After D.P.G. closed its doors, Guess, together with his new partner Dorsey “Brock” Brockington, opened up their own recording studio, Brockington & Guess, at 633 w 35th street, Norfolk, Virginia. 45s were steadily released but a substantial amount of material never saw the light of day. This collection will give you an impression of the artistry of Lenis Guess, pioneer of “the norfolk sound”.
File Under: Soul, Funk
Jon Hassell & Brian Eno: Fourth World Vol. 1: Possible Musics (Glitter Beat) LP/CD
Originally released in 1980, Jon Hassell and Brian Eno’s collaborative album Fourth World Music Vol. I: Possible Musics is a sound document whose ongoing influence seems beyond dispute. Not only is the album a defining moment in the development of what Eno coined as “ambient music” but it also facilitated the introduction of Hassell’s “future primitive” trumpet stylings and visionary “Fourth World” musical theories to the broader public. These vectors continue to enrich contemporary audio culture. Eno’s ambient strategies are now fixed in the DNA of electronic music and the cross-cultural legacy of Hassell’s “Fourth World” concept is apparent not only in the marketplace genre “World Music” but also more persuasively in the accelerating number of digitally-driven, borderless musical fusions we now experience. By the time that Eno and Hassell met, Hassell’s experiments with a “Fourth World” musical vocabulary were well underway and in fact it was because of these experiments, particularly Hassell’s debut album Vernal Equinox that Brian Eno purposefully sought him out. Within a couple of months of Hassell’s performance at The Kitchen the duo entered Celestial Sound in New York City and began work on what would become Fourth World Music Vol. I: Possible Musics. Hassell invited previous collaborators like the Brazilian percussionist Nana Vasconcelos and the Senegalese drummer Ayibe Dieng to join the sessions. Most of the tracks carry a Hassell/Eno writing credit, though the 20-minute “Charm (Over ‘Burundi Cloud’)” was a carryover from Hassell’s concert repertoire. Hassell has made it clear in several interviews over the years that the album’s shared billing was at least partly inaccurate and that Eno’s contribution was mainly as a producer. More spiky, angular and steeped in rhythm and exoticism than most of Eno’s records and more drone-based, reflective and sonorous than most of Hassell’s outings, Possible Musics — whatever the actual division of labor in sound and concept — is a seminal highlight in both of their discographies. A meeting of two of the late 20th century’s most restless and prescient musicians, the album sounds as beguiling, indeterminate and otherworldly today as it did 34 years ago when it was originally released. The impact of Possible Musics on the contemporary music conversation was almost immediate. Just ten days after it was mastered, Brian Eno and David Byrne convened in Los Angeles to continue experiments inspired in part by Hassell’s musical theories. The resultant album would be called My Life in the Bush of Ghosts. All parties involved agree that Ghosts was originally conceived as a trio project that included Hassell but the idea fell apart over disagreements about logistics and musical direction. Hassell still remains bitter about what he considers the projects un-credited appropriation of his musical signatures. From there it was a short jump forward to the chart-topping, Afro-futurism of The Talking Heads Remain in Light, an album that Eno co-produced and Hassell guested on. “Fourth World” strategies have echoed, and can still be heard echoing in the music of Peter Gabriel, Nils Petter Molvaer, Björk, David Sylvian, David Byrne, Ryuichi Sakamoto, Damon Albarn, DJ Spooky, Jah Wobble, Matmos, 23 Skidoo, Goat, Bill Laswell, Mark Ernestus, Adrian Sherwood, and of course, the ongoing projects of Eno and Hassell themselves. Glitterbeat is proud and honored to re-release and re-introduce this compelling, groundbreaking album.
File Under: Ambient, Jazz, Electronic, Classics
Frank Hunter: White Goddess (Captain High) LP
Reissued for the first time and in stereo. Trombonist and conductor Frank Hunter’s White Goddess from 1959 is one of the most fascinating and captivating exotica records ever released during the pinnacle phase of the genre. Next to this it is also one of the rarest in its original form so this reissue has been overdue. As the genre-defining piece of music it is, White Goddess stands miles above the average pathetic exotica sounds, with a rather haunting and mystical atmosphere that projects pictures of the dark side of the jungle into your mind. Wordless female chants, multiple layers of grooves, rich and colorful melodies plus a lush instrumentation with even such rare instruments as the ondioline electric piano, a hybrid between Theremin and shawm, are responsible for the imaginative approach of the music you experience when you give a spin to White Goddess. Feel your mind being stained with colors yet unseen, even by your inner eye. This is indeed an unearthly, trippy, yet utterly relaxed musical journey.
File Under: Exotica
Omar Khorshid & His Group: Live in Australia 1981 (Sublime Frequencies) LP
This is the first live concert recording ever issued of legendary Egyptian guitarist Omar Khorshid and his group. It features tracks recorded during his 1981 tour of Australia, including live versions of songs that grace his various LPs recorded for Lebanese and Egyptian labels during the 1970s with one phenomenal tune, “Al Rabieh,” being exclusive here as never before issued in any form. The sound is surprisingly great for a live cassette recording and the band is as sharp and monumental as ever, with stunning instrumental performances throughout, including an extended improvisational rhythmic exchange between percussionist Ibrahim Tawfiek and Omar’s electric guitar on the epic track “Sidi Mansour.” This record is loaded with Khorshid’s signature microtonal Arabesque surf guitar elegance darting atop the backing band’s brilliant accompaniment, and the tones of organist Fouad Rohaiem sound raw and abrasive, as though it were still 1973. The album has even more nostalgic (and tragic) significance as these shows would be his last; a car accident claiming Omar’s life within 72 hours of flying back to Cairo from Australia. Mohamed Amine, Khorshid’s lifelong friend and member of his group from 1975-1981, recorded these tracks and provided the photographs that embellish the beautiful gatefold jacket that accompanies this LP. Collected and researched by Khorshid historian Hany Zaki in Cairo, this unbelievable treasure is now available for the world to behold. Limited edition LP release in a full-color gatefold jacket with exquisite photos from Mohamed Amine’s personal archive and informative liner notes by Hany Zaki.
File Under: Egyptian, Arabic, Surf, Guitar Gods
Konstrukt/Marshall Allen/Huseyin Ertunc/Barlas Tan Ozemek: Vibrations of the Day (Holidays) 2LP
The finest free jazz from Istanbul meets the alto saxophonist who travelled the spaceways side by side with Sun Ra and His Arkestra, and that’s quite a thing indeed. konstruKt, the Turkish revelation of the last few years, becomes a sextet ganging up with guitarist Barlas Tan Özemek and drummer Hüseyin Ertunç to create a percussion-based environment where all the elements cautiously contribute to a collective meditation and where two saxophones are free to dance into a dreamy parade. Recorded in 2010 and self-released in a limited CD edition, this expanded ensemble trip to the other world finally gets its deserved double-LP limited edition. 250 copies made, gatefold sleeve printed using gold ink with an old Heidelberg printing press on Arjowiggins Pop’Set Ultra Red paper. Cover drawing by Canedicoda
File Under: Free Jazz, Sun Ra
Lawrence: A Day in the Music (Mule Musiq) LP
This is the brand-new ambient and beyond album by Hamburg DJ/producer Lawrence, dedicated to his long-lasting relation with Toshiya Kawasaki, man of action behind labels like Mule Musiq, Endless Flight and Mule Electronic, and the artist Stefan Marx. Besides co-running the label Dial and the Mathew Gallery in Berlin, Lawrence is constantly releasing music on his own labels and befriended platforms like Smallville Records. Furthermore, he regularly contributes to Kawasaki’s imprints Mule Musiq and Electronic. The music he shares on his latest album isn’t linked to a special place or event. He mostly produced it on his DJ trips around the globe, including Toshiya’s homeland, Japan. Back in his cozy backyard studio in Hamburg, he finished all the pieces and mixed them down with a lot of joy. In terms of style, this album is ambient and opens the genre wide open with its very own musical and emotive language. A track like “Nowhere Is a Place” spreads smoothly-twisted spectral vibes with blurring sounds that could easily originate from alienated instruments like a damaru or a conch horn. Sometimes soft, sizzling noise slides under gentle, balanced ambient air, as in the track “The Visit.” In other arrangements, he lets the chords dance with cute, smacking electronic glimpses or odd, slow-motion melodies, reminiscent of the work of Hans-Joachim Roedelius and his love for the gentle swing. For Lawrence, this album is “a triple buddy record,” as not only is his emotional content included in the finished product, but also his friends, Stefan Marx — who is in charge of the artwork — and Mule Musiq-head Toshiya Kawasaki, who was also profoundly involved in the outcome. The genesis of A Day in the Life resides in its emotional content — it is a weightless one where all feelings are stored supremely in what you can hear, see, and hold in your hand.
File Under: Ambient, Downtempo, Electronic
Larry Levan: The Legend of Dance Music Volume 1 (SalSoul) 3LP
Larry Levan’s Paradise Garage! This contains some stone cold Garage anthems, including tracks from Loleatta Holloway, First Chance, The Salsoul Orchestra, and Inner Life. Presented in triple LP format to remind us all of the power in these timeless record.
File Under: Funk, Soul, Disco
Maurice Louca: Benhayyi Al-Baghbaghan (Nawa) LP
Salute the Parrot signals a departure for Maurice Louca from his first solo album Garraya — in which he composed electronic music unaccompanied — into the realms of acoustic orchestrations, both composed and improvised. Featuring guest performances by Alan Bishop (Sun City Girls, Alvarius B.), Sam Shalabi (Land Of Kush, Shalabi Effect), Tamer Abu Ghazaleh (Alif), Khaled Yassine (Anouar Brahem/Alif) and vocals by Egyptian Mahraganat MCs Amr 7a7a and Alaa 50, to name a few. Those who may have heard live iterations of Salute the Parrot at Louca’s jaw-dropping shows across the Arab world and Europe over the last couple of years, will encounter a much more complex and hard-hitting work of many influences. From psychedelic to Egyptian Shaabi, Louca shatters the confines of musical and cultural labeling with a work that is truly unique. The album’s new live and acoustic elements, coupled with limited pre-recorded material, present ample space for improvisation and fluidity within its composition. Its eight tracks offer a unique record of this new vision, and prepare the ground for future live performances of Salute the Parrot, which will never sound totally the same. For the design of the album artwork, Louca collaborated with Egyptian visual artist Maha Maamoun, whose videos and photographs address the form and function of images that are found in mainstream culture, to act as a lens through which familiar images are seen in novel and insightful ways. Salute the Parrot’s artwork aptly conveys the abstract and microcosmic character of Louca’s sound in three subtle variations, one for each of the album’s formats.
File Under: Arabic, Electronic, Experimental
William Onyeabor: Box 2 (Luaka Bop) 4LP Box
The second of two William Onyeabor vinyl box sets from Luaka Bop features four of the albums the elusive Nigerian synth-funk pioneer self-released between 1977 and 1985 – remastered and officially available for the first time. His music represents the epitome of the golden era of Nigerian funk, before he gave up a life in music to become a devout Christian. Luaka Bop released the critically acclaimed compilation Who is William Onyeabor? in October of 2013, and has since seen the release of the documentary Fantastic Man, which was fabricated around the myth of the musician and attempts to unearth the man behind the music. It is also now a full blown live show touring the world, paying tribute to the music of Onyeabor featuring a supergroup of Damon Albarn, David Byrne, Kele Okereke from Bloc Party, Alexis Taylor from Hot Chip, the Lijadu Sisters, Money Mark, Pat Mahoney and Sinkane. To this day, William Onyeabor has not spoken about his music in one single interview.
File Under: Afrobeat, Electro, Goodtimes
OST: Breaking Bad Volume 2 (Spacelab 9) LP
Released for the first time on vinyl, Breaking Bad: Original Score Vol.2 includes selections from across the series with a focus on the fifth and final season, hand-picked by composer Dave Porter to correspond to the most pivotal moments of the show.
File Under: OST, TV, Meth
OST: District 9 (Spacelab 9) LP
Released for the first time on vinyl, the deluxe expanded album includes the eleven tracks from the original 30-minute album, plus, for the first time in any format, an additional eight bonus tracks comprising 25 minutes of previously unreleased original score. From its sublime, droning rhythms to its frenetic tribal beats, the score by composer Clinton Shorter (2 Guns, Pompeii) provided the perfect backdrop to compliment the on-screen drama, now cemented in time as a fan favorite and cult classic.
File Under: OST, SciFi
OST: Shredder Orpheus (Traction) LP+DVD
Orpheus’ journey to the underworld is reworked as a post-apocalyptic skate rock-opera in this 1989 cult classic. The mortal world faces imminent destruction when Hades unleashes an evil television signal that sublimates and kills its viewers. Shredder Orpheus features many Seattle performance luminaries including poet/performance artist Steven Jesse Bernstein (Sub Pop), and Robert McGinley in the title role. The 17 music cues weave together a blend of Barker’s hypnotic synthesizer compositions with blistering skate rock tunes featuring guitar work by Dennis Rea and precision percussion and bass by Rieflin and Amy Denio.
File Under: OST, Skateboarding
Raspberry Bulbs: Privacy (Blackest Ever Black) LP
Raspberry Bulbs is the invention of visual artist and musician Marco del Rio, who, under the guise of He Who Crushes Teeth, co-founded Bone Awl — one of the most distinguished black metal projects ever to come out of the U.S. Raspberry Bulbs’ debut album, Nature Tries Again, emerged in 2011. Hitherto a solo endeavor, RB expanded to a five-piece in the wake of Nature’s release, and sought to make a definitive break from black metal’s musical signifiers, if not its underlying themes of alienation and abjection — a path of self-discovery that culminated in the bruised, dynamic visions of their sophomore LP, Deformed Worship. Privacy arrives barely a year after its predecessor, but it’s a markedly more developed and far-reaching album. Songs of excoriating intensity once again form the basis of the work — the no-frills 4-track recording capturing all the violence and nuance of del Rio’s vocals, of the dual guitar rapport, and the machine-gun rhythm section — but this time they’re interspersed with eerie electronic miniatures, instrumental pieces that suggest unseen worlds, malign energies, forces beyond our comprehension and control. This aura of the uncanny is no accident. Though it’s practically impossible to describe Raspberry Bulbs’ music without mentioning punk or metal, the band’s most important influences are literary: in particular Lovecraft, Machen, Chambers’ et al. Includes mp3 download.
File Under: Rock, Punk, Hardcore
Slasher Dave: Tomb of Horror (Bellyache) LP
Creeping out of the rotting crypts, Slasher Dave returns with yet another album of unrelenting horror soundtrack lunacy. Emerging from the murky depths of the John Carpenter inspired debut album, Spookhouse, a brand new chapter of terror takes form. This time, drawing influence from Fabio Frizzi and Italian movie soundtracks, in the festering spirit of Dr. Butcher M.D., Cannibal Ferox, and Fulci classicks like Zombie and The Beyond. Elements of Goblin can also be discerned shrieking from the decrepit caskets of the rotting dead.
File Under: Pseudo-OST, Goblin, Carpenter
Sloath: Deep Mountain (Riot Season) LP
Limited edition 400 only vinyl LP. For fans of Melvins, Harvey Milk, Bardo Pond, Mainliner, etc. Upon releasing their now sold-out self-titled debut album in 2010, Sloath have finally delivered Deep Mountain. In place of the wide, white spaces of the debut, shorter tunes slam corkscrew riffage home with a newfound rhythmic propulsion. Behind the filthy power chords (redolent at times of Harvey Milk or Melvins), the overblown scut of Les Rallizes Dénudés or Mainliner, and the state-altering sonics a la Bardo Pond, a mud-scuffed classic rock sensibility informs the songs and their structures. Having submitted to the influence of Creedence, ZZ Top and the Groundhogs, Deep Mountain is no doom-rock trawl — with the exception of blissful, glacial centerpiece “The Toucher,” the songs here are for the party or the road trip. Some history: 2007: Five veterans of Brighton’s rock scene gather with the intention of playing slower, louder and heavier than any of them have previously. Initial songs are developed with the aid of weapons-grade skunk, Polish beer and a heady cocktail of cheap rum and apple tango. Tunes built from super-distorted power chords and crushing, throbbing, squalling drone stretch at times past the half-hour mark. Early gigs are marked by deafened, blissed-out audiences, blown amplifiers and mid-set fist fights with venue managers. 2010: debut album finally released on Riot Season, featuring three monolithic slabs of psych-sludge, but the band has already moved on, having written and discarded a whole LP’s worth of new material, before holing up in their practice space to record six brand-new numbers for album number two. The songs are shorter and faster, unlike the mixing process, which due to various members’ life-stuff takes four years to complete. In the interim, various comings and goings leave the band stripped back to a four-piece, working on yet another batch of new material in twice-yearly spurts of activity. 2014: New songs are debuted at a couple of riotous February gigs before the band scatters once more to the four corners of the globe. LP #2 Deep Mountain is finally completed and handed in to Riot Season. Touring plans are laid and delayed… Thus far Sloath have shared stages with Acid Mothers Temple, Decapante, Kogumaza, Om, Part Chimp, Bardo Pond, The Unit Ama and White Mice. They intend to hit the road in support of Deep Mountain.
File Under: Psych, Metal, Riffs
Sote: Architectonic (Morphine) LP
Morphine continues to take us there, this time with Iranian producer, Sote, with a full album. Architectonic focuses on studies in techno patterns and aesthetics from a maximalist musical perspective, without employing orthodox beats. The focal rhythmic element is achieved with programmed pitched sounds via FM, Physical Modeling and Additive synthesis methods in a modular environment. These aural components that withstand spectral and formant filters, as well as other signal processing units, form harmonies and melodies that interchangeably act as the structural groove. The outcome is occasionally polyrhythmic, aiming for a common-time feel and vice versa. Interwoven patterns and complex ornaments within a pliant grid form a diametric functionality of loop-based trance-inducing music, and require active listening. This is a paradoxical ode to noise and techno progressing further.
File Under: Electronic, Techno
Stars: No One is Lost (ATO) LP
The follow-up to 2012’s The North, Stars new ATO Records release No One is Lost is comprised of 11 original songs and was co-produced with Liam O’Neil (Metric, The Stills). For No One Is Lost, Stars craved autonomy, and serendipitously inherited the Mile End rehearsal space above the now defunct, Royal Phoenix nightclub in Montreal. Stars built a functional studio out of the former space of then-disbanding Handsome Furs (and site of Arcade Fire’s first rehearsals); Mile End became a home away from home. Then the nightclub (and life) crept in, resulting in Stars’ most urgent record to date. Drummer Pat McGee explains, “The sub-bass throb coming from the club below our studio was undeniably and unavoidably influential. It motivated us to out-throb the throb.” “This record’s called ‘No One Is Lost’ because that is a fucking lie,” adds lead singer/songwriter Torquil Campbell. “We are all lost, we are all going to lose this game and, as you get older, you lose people more and more. I just wanted to close my eyes and jump and hope that was true. Life is loss, love is loss. And loving people is about accepting that you’re going to have to say goodbye to them. And that’s why it’s fucking brave. That’s Stars ethos: this life is very heartbreaking and sad… so let’s get completely fucking arseholed and listen to some Dionne Warwick.” Lead track, “From The Night” revels in the chances you take and the loves you make or break on any given evening. Campbell explains, “I always find it so moving and beautiful to watch people have their nights out. There’s something so heartbreaking about it. People have jobs that they have to get up for, jobs they hate, and they live for the weekend; they live for these moments. And they put everything they have into it.” No One Is Lost translates all that anxiety into pure ecstasy, from the laser-cut new-waved precision of Millan’s “This Is the Last Time” to the soaring, Mozzerific chorus of Campbell’s “Trap Door,” to the dreamy duet “Look Away.” And the titanic title track – the sound of a dancefloor being swallowed whole by an ocean of sweat and swapped spit – feels like the moment Stars entire 15-year journey has been leading up to, a euphoric house banger that distills all the hope, fear, joy, sadness, and sex in the band’s songbook into a pair of unshakeable mantras: “put your hands up because everybody dies/put your hands up if you know you’re going to lose.”
File Under: Indie, Pop
Andy Stott: Faith in Strangers (Modern Love) LP/CD
Faith in Strangers was written and recorded between January 2013 and June 2014, and was edited and sequenced in late July of 2014. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it’s a largely analog variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener “Time Away” featuring euphonium played by Kim Holly Thorpe and last track “Missing,” a contribution by Stott’s occasional vocal collaborator Alison Skidmore, who also appeared on 2012’s Luxury Problems. Between these two points Faith in Strangers heads off from the sparse and infected “Violence” to the broken, downcast pop of “On Oath” and the motorik, driving melancholy of “Science & Industry” — three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity. Things take a sharp turn with “No Surrender”– a sparkling analog jam making way for a tough, smudged rhythmic assault, while “How It Was” refracts sweaty warehouse signatures and “Damage” finds the sweet spot between RZA’s classic “Ghost Dog” and Terror Danjah at his most brutal. “Faith in Strangers” is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott’s mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott’s career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light, lingering on in the mind like nothing else.
File Under: Electronic, Techno, Ambient
Torn Hawk: Let’s Cry and Do Push Ups at the Same Time (Mexican Summer) LP
Let’s Cry And Do Pushups At The Same Time is the most recent statement from Torn Hawk aka producer and video artist Luke Wyatt. It’s difficult to neatly categorize Wyatt’s genre-refracting productions. The nuts & bolts are built from live guitar, drum machines, junky synths, and layers of samples which are smeared into a cohesive whole. Wyatt’s guitar moves between the meditations of Manuel Göttsching, the jangle-grid of The Chameleons and the saturation of Medicine. Throw in the melodrama of a sax on a Don Henley hit, and you get a better idea of Torn Hawk’s playfully sincere sensibility. “Torn Hawk, the alias of Luke Wyatt, makes visceral and toxic music somehow feel sunkissed and melodic. His beats can sound as though they were programmed by William Burroughs, garbled and diced to the point of mesmerism.” – Pitchfork
File Under: Electronic, Ambient, Synth Pop
Tyler The Creator: Bastard (Fanclub) LP
Tyler’s self produced debut mixtape from 2009, which was ranked #32 on Pitchfork Media’s list of the TOP 50 albums of 2010. 15 tracks on double heavyweight vinyl in full picture sleeve. An essential slab of wax for all Odd Future fans! Limited edition one time pressing.
File Under: Hip Hop, Odd Future
Unrelated Segments: The Story of My Life (Guerssen) LP
Double LP of ’60s punk, garage, moody sounds and proto-hard-rock of the highest order. Complete recordings (1966-1975) of this legendary band from Michigan, including their three killer 45s plus unreleased recordings and alternate takes. Includes master tape sound and an insert with photos and liner notes. Unrelated Segments created some of the most celebrated garage-punk anthems of all time. Tracks like “Cry, Cry, Cry” with its teenage-angst vocals and out of control fuzztone guitar break, “The Story of My Life” with that bizarre and ultra-punk bass line or the moody-punker “It’s Gonna Rain” have been included on countless garage comps (Back from the Grave, Acid Dreams, Nuggets, etc.) and have been covered by numerous bands who worship them as ’60s punk gods. Sadly, the band never got the chance to record a full album. After three outstanding 45s, they recorded a projected fourth single that never saw the light of day, just when the band had changed its name to U.S. and had started playing in a heavier vein, similar to early MC5. Soon after, the band split up and some of their members formed psych-rock band Lost Nation. On this collection, along with their official 45s and alternate takes/rehearsals, you’ll find the unreleased 45 from 1969 plus some demos recorded by an unnamed post-Unrelated Segments/Lost Nation band in 1972. An amazing find which shows the band playing pure Detroit high-energy hard rock.
File Under: Garage, Punk
Unsettled Society: 17 Diamond Studded Cadillacs (Guerssen) LP
Complete recordings (1969-1974) of legendary U.S. acid-punk band Unsettled Society, famous for appearing on the seminal psych compilation Endless Journey back in the ’80s. But Unsettled Society have been a total mystery until now. The band came from the New York suburbs and were famous locally for their powerful stage shows, full of strobe and psychedelic flashing lights. In 1969 they released their first 45 for the Charm label: “17 Diamond Studded Cadillacs,” which is pure acid-psych, lo-fi basement insanity. It was coupled with “Passion Seeds,” a killer moody, atmospheric psych ballad. Between 1972 and 1974 they released two more 45s in a fantastic heavy psych vein, the last one recorded under the Thunder Head name. All of them are included here with sound taken from the original tapes. Includes a fold-out insert with lots of amazing unseen photos and detailed liner notes by Charm Records boss Pete Huntley.
File Under: Psych, Acid Punk
Voyag3r: Doom Fortress (Bellyache) LP
Doom Fortress is the debut full length album from Detroit’s Voyag3r (pronounced Voyager Three). Voyag3r are a synth based instrumental rock band that draws inspiration from sci-fi, horror, and action soundtrack music from the 70’s & 80’s. Voyag3r have set out to create dynamic, epic, moody and atmospheric sounds intended to inspire. This experimental rock sound is like a movie-less score or the soundtrack to a far away mysterious journey. Voyag3r forge their sound with a multitude of analog synthesizers, acoustic drums and electric guitar.
File Under: Electronic, Pseudo OST, Synth
Various: A Distant Invitation (Sublime Frequencies) LP
A hallucinogenic splatter-drift audio meltdown through the streets and back alleys of Southeast Asia recorded and assembled by Seattle-based multi-sword-wielding artist Jesse Paul Miller (Factums/Secret Records/Liver & Bacon/Big Tribal Balls). This limited edition LP includes street and folk music, situational ambience, radio excerpts, and psychedelic atmospheres from Burma, Cambodia, India, Indonesia, Malaysia, and Thailand. “We heard them from a distance, bells in the back alleys of Surakarta … Then, one day, two weeks later, we walked around a corner and there they were, a troupe of roving gamelan musicians and a monkey with a mask … If one wanders the streets of Southeast Asia, they will undoubtedly hear a variety of fascinating sounds; those created by street musicians, sellers in markets, horns from temples and mosques, woven with insect songs, birds, dogs, motorcycles. Intended to engage and entertain a host of spirits and gods, festivals and processions are frequent in certain regions. They can be extremely vibrant and overwhelmingly powerful energy situations. In rituals, the use of random multiple layers or instrumental vibrations can be intended to confuse or scare off bad spirits, and this can be very disorienting for the living listener also. Street musicians combine older instruments with electrical delivery systems in the form of genius portable battery-operated-waist-pack mini-horns connected to keyboards, karaoke machines, and folk instruments — sometimes with effects. These musicians sit roadside; in some places they hop on buses between stops. In markets and along roadsides, sellers manipulate their voices to advertise using delay effects. Food cart proprietors use an incredible array of sonic methods to attract customers. They tap on objects, use steam whistles; sing like birds, use bits of Western jingles (and much more). Buddhist, Hindu, and Muslim broadcasts can be heard blasting through loudspeakers. With the addition of amplification, there is usually some form of distortion inherent to the speaker systems, often magically enhancing the voices, mixing in with the urban or rural soundtrack. The sonic tapestry of any space can reveal poetic insights. There is the perspective that all audio events in an environment, regardless of their form, can be heard musically. The vitality and depth of human expression, whether awe-inspiring or minute in all of its multitudinous manifestations, is for now, intact in Southeast Asia, and very much alive.” –Jesse Paul Miller; This limited edition LP comes in a full-color tip-on jacket with a two-sided insert including photos by Linda Peschong & detailed liner notes and personal impressions by sound artist & compiler Jesse Paul Miller.
File Under: Ethnic, Field Recording, Asia
Various: Funky Chicken: Belgian Grooves from the 70s (Sdban) 2x2LP/2CD
The best Belgian dance tracks from the beginning of the ’70s. Dire times, they were, full of poverty and hardship. To make a living out of popular music was a near-impossibility in a small country like Belgium. This precarious situation, though, proved to be a blessing in disguise for creative minds. When it’s hard to get your hands on some money, trying out as many things as you can seems the logical thing to do. On the other hand, if there’s hardly any money to be gained anyway, you may just as well play what you bloody well like. That’s what Belgians like to do anyway. Moreover, living in a country where virtually every musical wave passes through also inspires. In the early ’70s, those waves were (Afro-)funk, soul, and Latin. The situation as a whole was a favorable one for some visionary musical entrepreneurs. Jean and Roland Kluger created a musical dynasty, American-style, with successful acts like Chakachas and Two Man Sound. Their rival, Marcel De Keukeleire, scored worldwide hits with Amadeo, Chocolat’s, and “The Birdy Song.” Relying on zealous energy and a shamelessly commercial logic, every effort was aimed at success, so they jumped on as many international bandwagons as they could and tried out their own variants on the local market. Nearly every style in the post-war scene is represented here: Hein Huysmans’ jazz-funk, the jazzy prog-rock of Cos, or the fusion of Open Sky Unit. And of course there’s Marc Moulin, a name that needs little or no introduction. This is the missing link between the variety orchestras of the ’60s and the electronic triumphs of Telex in the late ’70s and early ’80s. These tracks offer the same sense of adventure and slightly surreal pigheadedness that are also present in the best Belgian contributions to dance music. Think Front 242, Technotronic, or Soulwax/2manydjs. This is the ground they built upon. Artists include: Chakachas, Mad Unity, Rene Costy, Alex Scorier, Open Sky Unit, Plus, Andre Brasseur, Chicken Curry & His Pop Percussion Orchestra, Placebo, Les Hélions, Black Blood, S.S.O. (feat. Douglas Lucas & The Sugar Sisters ), Nico Gomez & His Afro Percussion Inc., Chocolat’s, Amadeo, El Chicles, The Mol Percussion Band, Cos, Rene Costy & His Orchestra, The Rapture, Doug Lucas, Hein Huysmans Kwintet, Leo Cavallo, and Super Funk Special.
File Under: Funk, 70s, Belgian
Various: Funky Side of Goldband & Anla Records (Tramp) LP
Goldband Records played a key role in documenting and shaping of musical traditions, tastes, and trends, both regionally and internationally since 1944. The focus of the Goldband catalog is certainly set on Country & Western, Swamp Pop, and Cajun music. However, from the 1960s until the early 1970s Goldband, and it’s sub-label ANLA Records, released many high-quality Soul and Rhythm & Blues recordings. Simply put, Shuler had an ear for talent. He always believed in “…giving a man a chance; otherwise, how would you discover what somebody could do?” That was the guiding philosophy and the secret to the success of Goldband Records. Born March 27, 1913 in Wrightsboro, Texas, Eddie Shuler moved to Lake Charles in 1942 to work as a dragline operator. He found additional part-time work in a music store, leading him into a career in the music business. He then joined the country, western swing, and Cajun group The Hackberry Ramblers. Having sharpened his musical skills, he left the group to form his own band, The Reveliers. By the early 1950s, Shuler acquired the Goldband complex in north Lake Charles. It would be a combination record store (Eddie’s Music House), television repair shop (Eddie’s Quick Service T.V.), and recording studio for over a half-century thereafter. Being the one and only recording studio in town, it did not take long for other artists in the area to migrate in Shuler’s direction. A grassroots operation, Shuler was head of distribution and promotion. He distributed the recordings from the back of his car to record stores and to jukebox operators. Knowing that getting airplay was the key to increasing sales he created multiple labels which assured him better chances with the radio. One of those auxiliary labels was ANLA which featured Soul and R&B artists from South Louisiana and East Texas, including Clifton White, Charles Greene, and the Original Soul Senders. Around the same time, future Zydeco celebrity “Count” Rockin’ Sidney joined Goldband for almost a dozen releases. At the time of Eddie Shuler’s passing on July 23, 2005, he was the head of the nation’s longest running independent record label, Goldband, which is still based in Lake Charles, Louisiana.
File Under: Funk, Soul
Various: Music from Planet Earth Vol 2 (Stag-o-Lee) 10″
It’s a perennial starting point for conspiracy theories, the perfect excuse for lost homework or any kind of irrational behavior. Alien intervention solves everything. Things from other planets are a sustainable reason for many unanswerable questions and, across the music industry in the late ’50s and early ’60s, in the wake of a slew of space-based exploitation movies, a series of 45s and suitably unearthly concept albums emerged to capitalize on this burgeoning, bizarre and mysterious idea. Everyone was viewing far off planets with wonder, amazement and the occasional well-directed sound effect. No-one really knew what aliens could do, so the potential for music to accompany whatever they did was limitless. Over 50 years after these sides were released in a fit of futuristic creativity, we’re still asking about the potential of water on Mars, puzzling on the rings of Saturn and wondering if anything really did happen at Roswell. “Aliens stole my dog!” screams the headline in the National Enquirer. Of course they did.” –Dave Henderson, MOJO magazine, 2014; Features tracks from Cees & His Skyliners, Kenny Hollywood, Danny Wheeler, Dr. Samuel J. Hoffman, Carl & The Spindletoppers, Russ Garcia, Joe & Rose Lee Maphis, Rusty Wellington, Attilio Mineo, Jean-Jacques Perrey, and Sun Ra.
File Under: Rock & Roll, Experimental
Various: Township Jive & Kwela Jazz Volume 3 (Ubuntu) LP
Soul Safari started as a blog to showcase the music of Africa with a strong emphasis on South Africa. Now in its sixth year, Soul Safari is proud to present the third volume of the compilation Township Jive & Kwela Jazz, a collection of rare gems originally released as shellac 78s in the period 1960-1965 in South Africa. On this third volume, the selection features the gorgeous close harmony vocal groups singing in the tradition of American R&B and doo-wop, but always with that typical South African swing and sung in the Zulu or Xhosa languages. DJ Eddy de Clercq, who initiated this compilation, also selected a few tunes that stand for the transition from early jive to mbaqanga, a most democratic vocal style characterized by the typical “groaning,” a form of call-and-answer between the male leader (groaner) and female singers. Mbaqanga would follow up jive as the popular vocal music from 1965 onwards. Kwela jazz knew many variations in which the original instrument, the penny whistle was traded in for accordion, violin, even a melodica, an instrument that also became widely popular in Jamaica. Similarities with uptempo ska can be heard in tunes by Kid Ma Wrong Wrong and Bra Sello, featured on this compilation. Again, an exciting selection of rare recordings from the heyday of South African jive & kwela. True musical treasures from a long-gone past.
File Under: African, Jive, Kwela
Various: The Travelling Archive (Sublime Frequencies) LP
The Travelling Archive is a journey through the folk music of Bengal. It is run by Calcutta-based Bengali singer, writer and researcher, Moushumi Bhowmik, and sound recordist and sound designer, Sukanta Majumdar. They have been making field recordings of songs and stories across Bangladesh and eastern India, even the Bengali diaspora in East London, since 2003; documenting and disseminating their research through archives, presentation-performances, art works, and their own independent record label and web site. Moushumi and Sukanta get out there, travel all over, become friends and live with the musicians, record them in their homes and villages, on their rivers, in their tea shops and work fields. Bengal, which includes Calcutta, India, Dhaka, Bangladesh, and more than 250 million people, is an amazingly diverse yet unique region, home to some of the largest cities in the world and plenty of uncategorizable and diverse folk music, including those wandering minstrels, the Bauls. The music and instrumentation presented on this LP features solo voice and chorus vocals, harmonium, dotara (four-string fretless lute), ektara (traditional one-string drone instrument), dugi (small kettle drum), bamboo flute, violin, and even an empty popcorn tub played like a drum. This is a diverse and magnificent sampling of what remains a massive archive of folk music from this region and Sublime Frequencies hopes to continue to release additional volumes in the future. Produced for Sublime Frequencies by Robert Millis, this limited edition LP comes in a tip-on heavy jacket with insert containing liner notes and photos.
File Under: Ethnic, Folk, Bengal
Various: While No One Was Looking (Bloodshot) 3LP
To celebrate Bloodshot’s 20th anniversary, we have assembled this deluxe 38-track package (to be released on 2-CD and Gatefold 3-LP) Retrospectives and “Best Of” compilations aren’t really our style, so we reached out to a few artists and floated the idea of covering songs from our ample catalog because we thought it would be cool to hear what might happen. The speed, sonic breadth, ingenuity, and diversity of responses we received took us all by surprise. We heard from old friends, new friends, friends we didn’t know we had, and even a few heroes of ours. As different as all their back stories are, the weird and winding paths that brought these artists to us come from all over the sonic spectrum. Here, 38 songs from the Bloodshot catalog re-emerge in oft-head-craning styles from gritty punk to back porch folk, dark bedroom new wave to straight-up honky tonk, lush power pop and new emo. Featuring artists like Superchunk, Blitzen Trapper, Frank Turner, Chuck Ragan, Andrew Bird, William Elliott Whitmore, Mike Watt (and 31 more) covering the likes of Ryan Adams, Neko Case, Justin Townes Earle, Alejandro Escovedo, Wayne Hancock and many other Bloodshot favorites. While No One Was Looking is a totally satisfying sonic thrill ride from start to finish!
File Under: Rock, Indie
Animal Collective: Strawberry Jam (Domino) LP
Caribou: Our Love (Merge) LP
Dead Weather: Horehound (Warner) LP
Bo Diddley: s/t (Dol) LP
Eric B & Rakim: Paid in Full (Fanclub) LP
Flipper: Generic Flipper (4 Men With Beards) LP
Futuro Antico: s/t (Black Sweat) LP
Futuro Antico: Dai Primativi All’Elettronica (Black Sweat) LP
Geto Boys: We Can’t Be Stopped (Fanclub) LP
Dr. Hoffman/Les Baxter: First Electronic Chill Out Record (Black Sweat) LP
Howlin’ Wolf: Album (Get On Down) LP
Jay-Z & The Roots: Unplugged (Fanclub) LP
Leyland Kirby: Death of Rave (History Always Favors the Winner) LP
Kraftwerk: Computer World (Fanclub) LP
Leadbelly: Take This Hammer (Dol) LP
John Legend & The Roots: Wake Up (Fanclub) LP
Sven Libaek: Solar Flares (Votary) LP
Love: Black Beauty (High Moon) LP
Magnolia Electric Co: Fading Trails (Secretly Canadian) LP
My Bloody Valentine: Loveless (Creation) 2LP
OST: Django Unchained (Mercury) LP
OST: Tron (Audio Fidelity) LP
Pink Floyd: Live at Pompeii (Fanclub) LP
Queens of the Stone Age: Rated R (Interscope) LP
Queens of the Stone Age: Lullabies to Paralyze (Music on Vinyl) LP
Ty Segall: Manipulator (Drag City) LP
Sensation’s Fix: Music is Painting in the Air (RERVNG) LP
Nina Simone: Sings the Blues (4 Men With Beards) LP
Songs: Ohia: Didn’t It Rain (Secretly Canadian) DLX 2LP
The Stranger: Watching Dead… (Modern Love) LP
War On Drugs: Lost in the Dream (Secretly Canadian) LP
Weeknd: House of Ballons (Fanclub) LP
Ween: Live at Stubbs (Fanclub) LP
White Stripes: Elephant (Third Man) LP
Various: Local Customs: Cavern Sound (Numero) LP
Various: Trainspotting OST (Fanclub) LP