…..news letter #962 – drops…..

Alright! Not only have we received a BUNCH of RSD exclusives this week, we’ve also received a bunch of just great stuff in general. Everything is up on the site now for your click ‘n buy pleasures. 

As always, big thanks to everyone who’s been hitting up our webstore and placing orders! It’s getting competitive around 5pm when we post up fresh used stock. If you haven’t hit up the WEBSTORE, MAYBE YOU SHOULD! If you can’t figure out the site, or don’t like to use computers, you can always call the store and we can do an order over the phone. I’ll be at the shop 11-4 week days. Stay safe!

Oh ya… if you don’t follow us on Instagram, WHY NOT?! And now you know.

CHECK OUT OUR WEBSTORE!!! 
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As you know, maybe, Saturday, August 29th is the first of three Record Store Day Drops. They’ve split the list up and spread it out. However, they haven’t killed the demand for these titles. Being that we are closed, and that drawing a big line isn’t really something we’re looking to do, SO we’re staying online. All our RSD exclusives will be available to purchase at 1pm on Aug 29th, THIS SATURDAY we’ll bag ’em and tag ’em for you to pick up at your convenience. Check our RSD page on our site for more details and a peak at what we’re going to have available, more items being added daily until the big day!

The response to Remote Record Store Day has been good! We have seen a lot of new accounts set up in advance on the website and many titles appear to have a lot of interest. So get set up and ready to purchase at 1pm on Saturday. Things should play out one of two ways… real smooth like, or a total gong show with server crashes and double payments and overselling. I expect the former, but in the case of the latter, I’ll be super impressed with the support and demand for a safe, distanced RSD, I’ll have a beer, and sort through things in chronological order of payment times and sort it all out. 

As usual, some items, our orders have been cut, in some cases to a merger one copy, if any, I wish it wasn’t this way, but that sadly isn’t how RSD seems to work, so, sorry if you don’t get what you’re looking for. Some things may still be coming, if I have confirmed quantities, I will put it up for pre-purchase on the site with a note that it is en route. 


…..rsd picks…..

Fluence: s/t (Etat Unis) LP
Fluence is the brainchild and first release of sound artist / provocateur Pascal Comelade. Recorded in Montpellier, France in 1974-1975, the project consists of exploratory electronic pieces in the Fripp & Eno vernacular with a Kosmische tinge. “A Few Reasons To Stay / A Few Reasons To Split,” a title inspired by Swiss conceptual artist Urs Lüthi, features Comelade’s kaleidoscopic arpeggios and Richard Pinhas’ howling guitar, which variously resembles a dreamlike cello and ghostly human moans. “Barcelona Tango’s” off-kilter exotica with pocket trumpet and looping drum beats foreshadows Comelade’s later work, which would create a stir in some avant-garde circles for his use of unorthodox instruments (plastic saxophone, toy piano, etc.). On the side-long “Schizo,” Comelade’s electric organ with probing, Terry Riley-esque swooshes collides with Gabriel Ibanez’s thick, reedy buzz—together forming a truly magical soundscape. These incendiary performances ably join the ranks of other dreamily cosmic, impressionistic guitar-and-synth masterworks like No Pussyfooting and The Serpent (In Quicksilver) as well as Conny Veit’s work with Popol Vuh. Originally released in 1975, Fluence offers a remarkable emotional and textural range—richly experimental and deeply progressive—that sounds at once timeless and strikingly contemporary. This first-time standalone reissue is limited to 750 numbered copies.

File Under: Ambient, Experimental, RSD
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Buffy Sainte-Marie: Illuminations (Craft) LP
50th anniversary release of this seminal electronic album, featuring the psychedelic classic “God is Alive, Magic is Afoot.”  Cut from the analog master, pressed on 180-gram opaque yellow vinyl at QRP and housed in a tip-on jacket.
Side A: 1. “God Is Alive, Magic Is Afoot” 2. “Mary” 3. “Better to Find Out For Yourself” 4. “The Vampire” 5. “Adam” 6. “The Dream Tree”
Side B: 1. “Suffer the Little Children” 2. “The Angel” 3. “With You, Honey” 4. “Guess Who I Saw in Paris” 5. “He’s A Keeper of the Fire” 6. “Poppies”

File Under: Experimental, Electronic, Folk, RSD
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…..picks of the week…..

Belybury Poly: The Gone Away (Ghost Box) LP
Inspired by far-fetched fairy folklore, The Gone Away is the new album by Belbury Poly, the recording name of Ghost Box Records co-founder Jim Jupp. Vintage electronics, music room instrumentation and polyrhythmic  sequences conjure up folk-ish, kosmiche melodies. “Evocative and unsettlingly familiar, it sets a darker and more serene tone than the last full-length Poly album, New Ways Out. Belbury Poly’s sound palette is still in evidence however; mellow analogue synths, rustic pipes and rusty strings. Gone are the usual supporting session musicians, with Jupp performing all parts himself. The album came together slowly over the course of three years while Jupp collaborated on various side projects and was finally completed a few days before the global lockdown commenced. The Gone Away’s 11 tracks are inspired by British fairy folklore, especially its recurrent themes of things that always seem on the point of leaving or vanishing. Also there’s the notion of things that can’t be seen head on but are only glimpsed from the corner of the eye. A scorned and neglected corner of folklore, beguiling and bonkers in equal measure. Of course, this being a Ghost Box record, these themes are received through the prism of old TV soundtracks, and the credulous beliefs and childhood obsessions of a pre-digital age. “I’ve always had this subject matter in the back of my mind for Belbury Poly, but I wanted to focus in on it more this time round. When I say I’ve been recording music about fairies, after the inevitable silence, there’s usually an awkward response somewhere between ridicule and revulsion. I guess that’s because the tiny winged fairies from 19th century children’s stories have won out over the weirder and wilder versions from folklore. There’s a wealth of folk tales and even contemporary accounts of the subject, but unlike ghosts, aliens and half-baked new age spirituality it’s usually only spoken of in the context of childhood or of mental health issues. Look at it directly and it’s not there at all, but the stories persist.”

File Under: Electronic
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Museum of No Art: s/t (Séance Centre) LP
What is in the Museum Of No Art? Not paintings, but visions. Not sculptures, but empty spaces full of potential. It is within this inverted gallery that Mona Steinwidder traces fabulous forms with voice, sampler, synthesizer, clarinet and effects. Under the moniker Museum Of No Art, she has created an album that floats in a hazy lacuna between realities, rooted in propulsive and deep bass resonance, but also footloose, playfully deconstructing language and mixing in layers of echoing synthetic and organic tones. The fascinating result of these unfettered experiments resonate as an imaginary cadavre-exquis played by DJ Screw, Arthur Russell, Hiroshi Yoshimura, MJ Lallo, Poppy Nogood, and Laurie Anderson. With a background in fine art and music, over the years Steinwidder has created and released music under the pseudonym Mohna, as part of the experimental pop band Me Succeeds, and collaborates with composer Alexander Schubert and electronic dance music producer Christian Löffler. Recently, shifting her focus more on improvisation and experimental music, she moved to Vienna for six months to concentrate on experimenting with synthesizers, samplers and voice. Her intention was to build a “playground” that would leave space for improvisation and allow for a meditative and intuitive process. This solo exploration allowed her to return home with a new way to play. “I like this idea of an open and light structure that can grow and transform and leaves space in all directions. Something without a clear beginning and ending. A rough, short note. Today I’m in the mood to sing, but tomorrow I might be in the mood to just float on an ocean of synths or to play a solo on my clarinet. I am a never-ending process and I am many. The Museum Of No Art album is a collection of days and moods, images and circumstances I experienced and immediately recorded in the last year.” Limited edition of 200 LPs with risograph printed artwork.

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

Atramentus: Stygian (20 Buck Spin) LP
ON LIMITED MILKY CLEAR W/ ROYAL BLUE / SEA BLUE / HIGHLIGHTER YELLOW SPLATTER VINYL!!! From the frozen northlands, Atramentus unveil the icebound agony of the monolithic Stygian. Birthed on a cold winter night in 2012 and during an autumnal sunset in 2013, the cursed tale remained dormant for years, only recently being put to tape so the nameless knight’s saga could be told. Granted immortality through the gift of the God’s sword, the nameless knight eventually witnesses the death of the sun and the end of all life on Earth. Surviving the great deluge, he is left to wander amongst the ruins of a now frozen earth under a sunless sky for eternity, alone and unable to die even by the scorching-cold blizzard winds around him, enduring perpetual physical torture while haunted by the memories of his past life and everyone he once knew buried under miles of ice. Each of the three epic songs contained within differ widely to reflect the changing of autumn to perpetual winter. While adorned in the language of extreme funeral doom and dark ambient soundscape, Atramentus owe further debt to epic doom metal in sound and aesthetic and black metal’s anguished ferocity. But always the arc of Atramentus remains bound to the tumultuous melancholy and guttural immensity of extreme doom.

File Under: Metal
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Beliz: Memories (BeauMonde) LP
A journey to far outlands: this is exactly what one can feel when listening to Béliz. Entitled Mémoires, the album from the band Béliz, explores new territories where the Guadeloupean musical tradition meets the harmonic universe of the harp. Béliz is the dialogue between the world of classical harpist Anne Bacqueyrisse, percussionist Olivier Maurières and multi-instrumentalist and singer Edmony Krater, fervent supporter of the Gwo Ka, the ancestral musical tradition coming from Guadeloupe. Founder of the band Zepiss, once a member of Robert Oumaou’s collective Gwakasonné, Edmony Krater has always had the will to open the Ka to other cultures and to incorporate new sounds. Indeed, with Ti Jan Pou Vélo, his tribute album in the memory of Marcel Lollia known as Vélo (one of the greatest drummers of Guadeloupe), released in 1987, Edmony Krater brilliantly mixed jazz-fusion, Occitan folklore, synthesizers with the distinctive Ka rhythms. The meeting of Anne Bacqueyrisse, Olivier Maurières and Edmony Krater at the Music Academy of Montauban, gave birth to Béliz. In 2009 the group of three musicians-teachers, under the impulse of one of their pupils, decided to record in studio their project, Mémoires. Béliz, with its innovative and singular artistic approach, is a true invitation to travel. The title Arawak É Karayib is a vibrant tribute to the native west indian people. Gwadloup – an acoustic version of the song already featured on the album Ti Jan Pou Vélo – is an ode to Edmony’s beloved island. Natibel, an hymn to Nature – another cover from the Zepiss band – makes sense here in a minimalist version. A true fusional object, Béliz moves us to new horizons, both imaginary and poetic.

File Under: Africa, Fusion, Jazz, Minimal
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Bully: Sugaregg (Sub Pop) LP
Sugaregg roars from the speakers and jumpstarts both heart and mind. Like My Bloody Valentine after three double espressos, opener “Add It On” zooms heavenward within seconds, epitomizing band leader Alicia Bognanno’s newfound clarity of purpose, while the bass-driven melodies and propulsive beats of “Where to Start” and “Let You” are the musical equivalents of the sun piercing through a perpetually cloudy sky. A very old saying goes that no one saves us but ourselves. Recognizing and breaking free from the patterns impeding our forward progress can be transformative. Indeed, the third Bully album may not ever have come to fruition had Bognanno not navigated every kind of upheaval imaginable and completely overhauled her working process along the way. The artist admits that finding the proper treatment for bipolar 2 disorder radically altered her mindset, freeing her from a cycle of paranoia and insecurity about her work. “Being able to finally navigate that opened the door for me to write about it,” she says, pointing to the sweet, swirly “Like Fire” and slower, more contemplative songs such as “Prism” and “Come Down” as having been born of this new headspace. Even small changes like listening to music instead of the news first thing in the morning “made me want to write and bring that pleasure to other people. An unexpected foray into the film world also helped set the table for Sugaregg when Bognanno was asked to write songs for the 2019 movie Her Smell, starring Elisabeth Moss as the frontwoman of the fictional rock band Something She. The experience was cathartic, infusing Bognanno with new energy for songwriting, and she dove into making the new album. Having engineered both previous Bully albums herself, Bognanno freed herself to focus on the songs by handing production and engineering duties to Grammy-winning producer John Congleton, and who worked with her on Sugaregg at Pachyderm Studios in Cannon Falls in Bognanno’s home state of Minnesota. With contributions from longtime touring drummer Wesley Mitchell and bassist Zach Dawes (Sharon Van Etten and Lana Del Rey), and two additional songs recorded at Palace Studios in Toronto with Graham Walsh (Alvvays, METZ, !!!), Sugaregg was finally complete. Ultimately, Sugaregg is a testament that profound change can yield profound results – in this case, the most expressive and powerful music of Bognanno’s career. “This is me longing to see the bigger picture, motivated and eager for contentment in the best way,” she says. “I hope the happy go lucky/fuck-it-all attitude shines through some of these songs because I really did feel like I was reentering a place I hadn’t been to in a while and was excited to be back there.”

File Under: Punk
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Chicago Underground Quartet: Good Days (Astral Spirits) LP
The first record as CHICAGO UNDERGROUND QUARTET in 19 years, since the self titled record on Thrill Jockey in 2001! Features original Chicago Underground Quartet members ROB MAZUREK, JEFF PARKER & CHAD TAYLOR with JOSH JOHNSON (of Parker’s NEW BREED band) as the new fourth member.

File Under: Jazz
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Coil: Astral Disaster Sessions Un/finished Music Vol 2 (Prescription) LP
These rare recordings were recorded as part of the legendary Prescription label subscription-only album series in the late 1990’s that resulted in the “Astral Disaster” album. Halloween 1998: Coil were invited to record at Sun Dial’s studios beneath the London Bridge Hop Exchange—a studio first know as Samurai Studios, originally built and owned by Iron Maiden. The premises in Victorian times had been a debtors prison, with three underground levels—and the original chains, manacles and wrought iron prison doors. This caught the attention of John Balance, who was very keen to record there. With Gary Ramon’s help, Coil developed a number of tracks, some of which resulted in the “Astral Disaster” album.

File Under: Industrial, Ambient
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Crazy Doberman: Hypnagogic Relapse and Other Penumbral Phenomena (Digital Regress) LP
“Penumbra, from the Latin paene (almost) and umbra (shadow), refers to the partially luminescent fringe of an opaque object, like the streetlight outlining the sole of a shoe hurtling towards your eye. Hypnagogic, from the Greek hupnos (sleep) and agōgos (leading), refers to the drowsy state before sleep. Crazy Doberman here comprises seventeen players from the greater Europe of the Midwest. Basement glyphs. Who’s on the lease? And what’s under the rug. The owner pays them to keep away the beast of busco. They do spontaneity, welcoming simultaneity, montaged in post. Further spool’t month to month, basking in the stroboscope.” —Sam Lefebvre

File Under: Electronic, Jazz, Experimental
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Degrees of Freedom: s/t (Degrees of Freedom) LP
Absolute new wave perfection created by Degrees of Freedom in the shadows of the 1980’s Montréal disco scene. In the past few years, the sultry synth ballad “August is an Angel” has spread its wings, touching a new generation of disciples, giving the band an international following that eluded them when they started out. Due to the recent demand the group has self-released a reissue of the album, made from the master reels, with artwork that preserves the mystic wing-ding runes from the original. Essential Canadiana! ‘Hailing from Montréal, Canada, Degrees of Freedom built a loyal following based on dynamic live performances in such popular Montréal venues as Club Soda and Station 10. The band’s first available studio recordings appeared on the compilation albums Listen – A Faze Compilation of Montreal Music (1985) and Listen 2 (1986), released on VOT Records. In 1988, the band issued its sole S/T album. Since 2015, Degrees of Freedom have undergone a resurgence, their music rediscovered by a new generation of Synth-pop and New Wave enthusiasts. Responding to an unanticipated explosion of international demand, the band quickly sold out the remaining stock of original discs, and has twice re-issued limited editions (2017 – red vinyl) and 2019 (black vinyl).’

File Under: Electronic, Synth Pop
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Eros: Go For It (Mixed Signals) 12″
Eros’ Go For It is a fearlessly original take on Paradise Garage disco, mixed in a way that feels equally Mad Professor and Walter Gibbons.  The story of Eros begins in a high school in Vauxhall, New Jersey in the mid 70s when four kids began a friendship based around their mutual love of soul, funk, rock, disco, and bands like Earth, Wind & Fire and Funkadelic. Assanouan G’Bado, Fletcher Gaines, Bobby Jones and Mike Freeman started off jamming after school, playing occasional gigs in New York and honing in on an original sound. When the group graduated, Assanouan and Bobby went off to the service and Fletcher went to university.  Eros reunited in the late 70’s and began taking things more seriously, producing a set of songs with the intention of getting a deal with Motown. The morning after recording a full album’s worth of material, the group flew to Detroit hoping to sign a record deal. The legendary label was interested in the songs, but made them an offer that didn’t feel right for the group. The songs were shelved and Fletcher and Bobby moved on to new ventures.  Mike and Assanouan pursued a self-released single on their own DAP records, reinterpreting two of their Motown demos with drum machines and overdubs to fill in for their two missing bandmates. Go For It was their individual take on disco, and the new 1985 remake took the AOR-oriented demo version, and transformed it into a transcendent dance floor illusion, that, in an alternate universe, would have turned dancers at the Paradise Garage upside down. Similar to Stephen Encinas’ un-classic, the song mutates deftly at the half-way point, opening up into a stripped-down and dubbed-out denouement, adorned in cascading electronics and the soaring vocals of Barbara Green.   Go For It is the first of two releases from Eros on Mixed Signals, and pairs the group’s expanded electronic remake with the original Motown version, rescued from the last surviving demo cassette. Stay tuned for the unreleased demo album Motown missed out on, slated to come out later this year.

File Under: Disco, Electronic, House
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First Minute of a New Day: s/t (Séance Centre) LP
Lars Bartkuhn and Jan Hennig (better known by his artist name Kabuki) have been friends for 20 years, but it wasn’t until late 2017 that they started collaborating musically. Both veterans in their respective corners of club culture (Kabuki in Jungle, Bartkuhn in House), their experiments together saw them drift away from beat-centric, floor-filling music, and land on the deep-listening side of soundsystem culture. These sessions saw both producers combine their individual strengths — Kabuki as an engineer, sound designer and modular synth wiz, Bartkuhn as a classically trained musician, composer and guitar player — into something that carries their sonic fingerprints, yet achieves something greater than the sum of its parts. Impressed with the results of these sessions they decided to name their project The First Minute of a New Day, and focussed on mixing and editing down the sessions with an album in mind. The duo also enlisted fellow sound-traveler Laraaji, who jammed long-distance, layering his characteristic phased zither over one of their sketches, which became “July 14th”. All of the tracks on their self-titled LP are named after the day of the initial session, proclaiming their improvisatory genesis. The resulting recordings have the looseness and heady structure of jazz sessions, but with deeply felt electronic production, like something born from Can’s Inner Space Studio or touched by the magical hands of Conny Plank. The deep mix of electronic jazz, new age and ambient, combined with the deft abilities of the players, makes the album feel like a decidedly modern addition to the ECM or Windham Hill canon.

File Under: Ambient
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Goldfrapp: Supernature (Mute) LP
Mute / BMG present the next installment in their Goldfrapp vinyl reissue series, the long out of print Supernature! Featuring the compelling singles “Ooh La La,” “Number 1,” “Ride A White Horse” and “Fly Me Away,” the 2005 album stands as Goldfrapp’s most successful to date, reaching No. 2 on the UK Charts and earning a Grammy nomination in 2007. Supernature was hailed by The Guardian as “a brash, beautiful celebration of love and dancing” while Rolling Stone declared that it was “toxic and delicious” and “will make you do bad things – and like it.” Available on colored vinyl LP with an exclusive art print of the original artwork designed by Mat Maitland.

File Under: Pop
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Guided By Voices: Mirrored Aztec (GBV Inc) LP
When we last heard from Guided By Voices, they had released an astonishing four albums in just over 12 months. Each has a distinctive creative identity: Zeppelin Over China was a meat-and-potatoes double album, Warp And Woof was a return to the band’s low-fidelity roots and under-two-minute earworms, Sweating The Plague was a slice of moody stadium rock, and Surrender Your Poppy Field was an unpredictable grab-bag of all of the above. After venturing through the tangled brambles of Plague and Poppy Field, here is a sunny summer reprieve, a relentless barrage of hooks—Mirrored Aztec is the latest stop on this runaway train. Like its immediate predecessors, Mirrored Aztec is both its own entity and unmistakably GBV. It’s also their most immediately welcoming and inviting offering in years—there’s nothing a fan of The Who, Big Star, or Wire, wouldn’t love. For the GBV uninitiated, the clean, confident hooks of highlights “Bunco Men,” “Haircut Sphinx,” “A Whale Is Top Notch,” “Party Rages On” and the strummy “To Keep An Area” will resonate immediately. It also contains some unprecedented GBV moments, too, like “Math Rock,” an apparent tribute to the titular subgenre featuring classroom instruments and a children’s choir, “Please Don’t Be Honest,” a dreamy reversal of the band’s 2016 song and album Please Be Honest, and “Thank You Jane,” perhaps the most open-hearted, guileless power-pop song from Pollard’s pen in ages. If Pollard’s discography—107 albums and counting—seems intimidating, do not fear! With a brand-new, high-quality, all-the-way-there album every several months, it’s abundantly clear that no band’s fanbase has more fun.

File Under: Indie Rock
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Damien Jurado: What’s New, Tomboy
(Mama Bird) LP

Where 2019’s In the Shape of a Storm stripped everything to reveal an artist at his most intimate, What’s New, Tomboy? sees Damien Jurado stepping back into a more fleshed out sound with his voice and the rhythm section at the fore. What’s New, Tomboy? could be considered Jurado’s finest collection of music to date, with songs exuding the inviting warmth of a lone porch light gleaming amidst the disorienting darkness. Though more stripped and grounded in their execution, songs like “Sandra,” “Ochoa” and “Alice Hyatt” are generous and candid in their vocabulary, eschewing the sometimes abstruse imagery of Jurado’s previous releases. “There is no hiding on these tracks.” Though What’s New, Tomboy? is the first Damien Jurado record that ends with a question mark, he has never sounded more assured and content in giving up his ghosts: “I’m only living sentences // That were long before I got here.” Album opener and lead single, “Birds Tricked into the Trees” has all the trappings of a classic, a story to lose yourself in while Jurado pleadingly searches for some truth in earthly imperfections.

File Under: Indie Rock
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King Buzzo w/ Trevor Dunn: Gift of Sacrifice (Ipecac) LP
Gift of Sacrifice is the second solo acoustic album from legendary grunge progenitor King Buzzo aka Buzz Osborne, frontman for the legendary Melvins. Buzz is accompanied throughout the record by Trevor Dunn (Mr. Bungle, Fantomas) who is credited on the album cover. A different kind of animal, Gift of Sacrifice follow’s up Buzz’s last solo album, 2014’s This Machine Kills Artists.

File Under: Experimental
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LITIA=LOE: Each Dawn Each Day (Mixed Signals) 12″
LITIA=LOE’s Each Dawn Every Dawn is a nearly-lost existential house anthem from Chicago’s second generation, heavily under the influence of Ron Hardy, European EBM, and the struggle of daily life in the city’s marginalized neighbourhoods. LITIA=LOE (Life In The Insane Asylum = Life On Earth) formed in Chicago amidst the burgeoning house movement of the 80’s. Leon Williams, Daryl Wilson, and brothers Grant and Simeon Rogers would meet up every weekend to soak up the sounds at local clubs like Music Box, Medusa, PowerPlant, The Warehouse, and Frankie Knuckles’ Dance Palace, where DJs would mix everything from disco to new wave, industrial to house music. After the clubs closed, they would retreat to Leon’s basement to experiment with synths, inspired by what they had just witnessed at the clubs. Wired with excitement, they would stay up all-night, jamming and sequencing beats together late into the next afternoon. Simeon was the technician of the group, programming drums, layering sounds, and finding the right synth textures. Leon was the creative wild card, coming up with conscious lyrics and vocal melodies and tweaking the sounds to be more expansive. Grant kept things anchored in song, composing and coming up with structures. Daryl helped compose a lot of the unreleased songs and was a great arranger and bass player, but decided to leave the band for personal reasons. With a Tascam 8-track Portastudio, the group would cut rough tape mixes of their tunes to share with friends who would DJ the demos around town. Influenced by groups like Nitzer Ebb, Bauhaus and Chris & Cosey, they came up with a track heavy with distortion and feedback. A tape of that track started circulating around the clubs, and legend has it that Lil Louis liked it so much he claimed it as his own. Realizing that competition was fierce in the DJ world, they decided to cut a record next time so they could lay claim to their work. This led to the release of Each Dawn Every Dawn, released on their own Facade label in 1989. The group distributed the record themselves, handing them out at clubs, and dropping them off at local shops and record pools. At the time, the record barely made it out of Chicago, but the group did have a few chances at notoriety. Once with Rocky Jones of D.J. International Records who offered a “Blood contract” for joining the label. The group declined. In the mid 90’s they had an opportunity to open three nights with Living Colour, but the night before, one of the keyboardists got stage fright and they had to bail on the gigs. Left Ear Records and Mixed Signals is proud to offer a new dawn for this incredible unsung group with a remastered DMM reissue of Each Dawn Every Dawn, including the original alternate mix called “The Morning After”. A redux of LITIA=LOE’s Life Love Dance EP will follow later this year.

File Under: Electronic, House
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Harold Lucious: Reconnected (Mixed Signals) 12″
Reconnected is compiled from Harold Lucious’ addictive 1990 release Connections, a visionary mix of soulful house, New Jack Swing and RnB, an American predecessor of street soul. Deeply connected to music from an early age, Harold started his music career in the early 70s at the age of 16. He sang in his first group, The Final Seconds, who pressed a 7” single in New York City in 1973. The group would go on to record a full album called Neo Cosmic Blues, but never had the chance to press it. They would continue to perform and write together throughout the 70’s and searched in vain for a label to work with. During that time, Harold landed a guest spot on the legendary Brother Ahh record Move Ever Onward, set up by his manager who was Brother Ahh’s sibling. Harold is listed as having played koto, but really he provided background vocals. Throughout the 80’s, Harold worked at WBI radio programming talk shows. On air, he would act out modified scripts to Richard Wright novels like “The Outsider”.Connections was his effort to finally release a record after years of recording and playing music. Experimenting with dance music he came up with an album that was inspired by his love of house music and RnB. He sold the record out of his backpack, ending up with boxes of copies that were eventually destroyed when he had to move from his long-time apartment in Brooklyn. Few of the original LP remain, and it has become almost impossible to find. Reconnected is a remastered redux with four songs taken from the original LP, and pressed onto a loud 45rpm 12” for maximum dance-floor potential. Mixed Signals is honoured to introduce Harold’s music to a contemporary audience around the world.

File Under: House, Electronic
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Mosquitoes: Minus Objects (Ever/Never) LP
MOSQUITOES are back and they are deadlier than ever. On Minus Objects, their second 12” EP for Ever/Never Records, Mosquitoes challenge the abyss to a staring contest. Utilizing deep-sixed static dub imperatives over postpunk’s skeletal remains, the enigmatic trio feint & parry, duck & weave, zig & zag like they were born to slip out of your grasp and into your bloodstream. Within Mosquitoes’ all-encompassing buzz, we find a distant link to Mars’ furious caterwaul, a direct connection to the frizzle-fried no wave of Sightings, and a tense granularity that recalls Radian’s studies of disintegration. As the title implies, Mosquitoes create entrancing music using methods of subtraction. Paradox runs rampant over these nine tracks as Mosquitoes gesture towards the intimate, while retaining their forbiddingly alien textures. “Minus Object Four” overwhelms with resonant vocal hum, while “Minus Object Eight” is as desolate and haunted as any Burial track. Few bands can be convincingly accused of pushing the decrepit body of rock music into the future. Mosquitoes do so by hiding the corpse in a deep chamber where shadows lurk and mysteries abound. Elusive, unnerving, sense-scrambling—this is Mosquitoes’ modus operandi. They are a short-circuit made manifest, a cipher without decryption, a riddle without words. Mosquitoes transform the incidental movements of playing electric music (amp hum, string contact, cymbal brushes, ambient clatter) to conjure beguiling rhythmic structures. The initial impression is haphazard, but soon the mastery, and the majesty, become glaringly obvious. Mosquitoes have so thoroughly harnessed control of their close-mic’d soundworld that to observe the final result in its natural state is a thing of wonder. On Minus Objects, Mosquitoes have achieved a grand new pinnacle.

File Under: Punk
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Angel Olsen: Whole New Mess (Jagjaguwar) LP
An intimate and vulnerable emotional portrait that shows her grappling with a period of personal tumult, Whole New Mess presents Angel Olsen working through her open wounds and raw nerves with just a few guitars and some microphones, isolated in a century-old church in the Pacific Northwest. It follows All Mirrors, Olsen’s grand 2019 masterpiece (and a top 10 critically acclaimed record). At least 9 of the 11 songs should sound familiar to anyone who has heard All Mirrors. “Lark,” “Summer,” “Chance” – they’re all here, at least in some skeletal form and with slightly different titles. But these are not the demos for All Mirrors. Instead, Whole New Mess is its own record with its own immovable mood. If the lavish orchestral arrangements and cinematic scope of All Mirrors are the sound of Olsen preparing her scars for the wider world to see, Whole New Mess is the sound of her first figuring out their shape, making sense for herself of these injuries. To record Whole New Mess, Olsen asked for a studio recommendation from Electro-Vox head engineer and a deep kindred spirit Michael Harris. She wanted to find a space where, as she puts it, “vulnerability exists.” They settled on The Unknown, the Catholic church that Mount Eerie’s Phil Elverum and producer Nicholas Wilbur converted into a recording studio in the small town of Anacortes, WA. Anacortes would act as a kind of harbor for Olsen, limiting distractions as she tried to burrow inside of these songs. The results are staggering, somehow disarmingly candid and dauntingly personal at once. The opening title track – one of two songs here that did not appear on All Mirrors – is a blunt appraisal of how low Olsen got and how hard the process of pulling herself back upright was, especially when being an artist can mean turning your emotions into someone else’s entertainment. Considered alongside All Mirrors, Whole New Mess is a poignant and pointed reminder that songs are more than mere collections of words, chords, and even melodies. They are webs of moods and moments and ideas, qualities that can change from one month to the next and can say just as much as the perfect progression or an exquisite chord. In that sense, these 11 songs – solitary, frank, and unflinching examinations of what it’s like to love, lose, and survive – are entirely new. This is the sound of Angel Olsen, sorting through the kind of trouble we’ve all known, as if just for herself and whoever else needs it.

File Under: Indie Rock
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Arthur Russell: World of Echo (Audika) LP
BACK IN PRINT!!! A remastered and revised artwork edition of the extraordinary World Of Echo album from New York avant-garde cellist, songwriter, composer, and disco visionary ARTHUR RUSSELL. Originally released in 1986, the album is a deeply meditative and seductive work of awe-inspiring beauty, grace, and passion, performed with just cello, voice, and echoes. Eighteen tracks remastered from Russell’s original 1/4-inch sequenced masters, including drumless versions of his disco classics “Let’s Go Swimming,” “Tree House,” and “Wax The Van,” along with four previously unreleased songs from Sketches From World Of Echo.

File Under: Experimental, Pop
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Sly & The Family Drone: Walk It Dry
(Love Love) LP

London’s kings of noise Sly & The Family Drone follow up their 2019 Love Love LP ‘Gentle Persuaders’ with ‘Walk It Dry’, an 8 track LP collaboratively released by Love Love Records in the UK and Feeding Tube Records across the pond in the USA. ‘Walk It Dry’ utilises the familiar sound palette of scronked electronics, bulging noise blasts, wailing sax & Kalashnikov drums that was found on ‘Gentle Persuaders’ but is a very a different beast. The tracks here are shorter and punchier as the band digs deeper than ever to find increasingly potent sonic pockets. Bolstered with a directional force rare in this strain of noise the album begins at the deep end with ‘A Black Uniformed Strutting Animal’, a raucous cacophony backed by a thick groove, before the bleeps and bloops of ‘Dead Cat Chaos Magician’ kick in, sounding like a haunting in the BBC Radiophonic Workshop. ‘Swearing On The Horns’ is a folk-sludge ditty scraping through a psychic wormhole that exits at the feet of ‘Bulgarian Steel’ – a grimacing march punctuated with metallic screams where the sax becomes an overstressed alarm siren. ‘Shrieking Grief’, with its rapid fire drum rolls and megaton payloads of pummelling noise, concludes the A side loudly. Side B opens with stretched-out droning layers and winding loops on ‘Sunken Disorderly’, providing a gloomy refuge for some cosmic meditation. The album at this point converges into the morbidly fascinating black and white horror of ‘My Torso Is A Shotgun’, perhaps the most widescreen and immediate example of the band’s progression, before playing out with the deathly lament of ‘Tsukiji’. A suitable soundtrack to the end-times.

File Under: Jazz
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Special Cases: s/t (Weisskalt) LP
“Back in 2011, FOLLAKZOID founder & musician JUAN PABLO RODRIGUEZ set off on a journey into inner space. Accompanied by Roland synths and a treated guitar, Rodríguez embarked on a solo expedition to dance among stardust. Bouncing sonic rays off static waves the listener is beamed into new groove dimensions. With the transcendental beat of the asteroid belt firing solar flares towards infinite being, the subconscious melts into modulating mantra, hip to the pulse of a newfound faith. Immersed in the pull of his own traction JPR steers his craft like a one man rave on a lone trip to beyond, returning from his voyage to the here and now with a body of work reaching celestial highs from the coral below.”—Stephen Lawrie, The Telescopes. Limited edition of 300 copies on clear vinyl..

File Under: Kosmische
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Phil Struck: Schleswig-Holstein Aufnahmen
(Séance Centre) LP

Schleswig-Holstein is a thin land bridge between the mighty hull of the North German lowlands and the long pointed head of the Jutland peninsula, with the gentle Baltic Sea on one side, and the rough North Sea on the other. Numerous lakes, deciduous forests and wide corridors have shaped this region since its formation during the last ice age. The varied landscape, covered with fertile clay and littered with countless large and small granite blocks, is the legacy of the glaciers. Fascinated by the cultural and geographical history of his homeland, Phil Struck recorded sonic impressions after hikes, wanderings, daydreams, historical readings and childhood memories. Schleswig-Holstein Aufnahmen is the distillation of these diaristic recordings, made between 2016 and 2019, using a sampler, synthesizer, and worn flea market records. Much like the cyclical musings of W.G. Sebald, or Cluster’s pastoral electronic miniatures, these works are intrinsically tied to the landscape of which they were born. The wobble and crackle of the samples is evocative of the craggy scenery of the lowlands, and also describes the patinated atmosphere of memory, found in the work of Vladislav Delay, Pole, Caretaker, Philip Jeck, Ken Jacobs, and Bill Morrison. The painting adorning the album cover was done by Struck’s great grandfather who was also seduced by this meandering windswept land. Limited edition of 100 LPs with risograph printed artwork.

File Under: Ambient
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That Dog. Totally Crushed Out (Third Man) LP
Received an 8.3 Best New Reissue rating from Pitchfork. Conceived as a loosely-based concept album around the idea of crushes and young love, that dog’s sophomore album Totally Crushed Out! is a touchstone underrated classic in line with of-the-era releases like the Breeders Last Splash and Liz Phair’s Exile in Guyville. From the Sweet Valley High reminiscent illustrated album cover, to the A minus rating given by the dean Robert Christgau, to the Jenni Konner songwriting credit (long before she was the showrunner for HBO’s Girls) this album is quirky, smart, well-written and most of all—enjoyable. that dog’s touring behind Totally Crushed Out! found them sharing stages with Foo Fighters, Weezer and Teenage Fanclub, their songs being covered live by Pearl Jam, collaborating with Beck, and the vid for “He’s Kissing Christian” achieving sub-Buzz Bin status on MTV. This 25th anniversary reissue marks the first EVER vinyl appearance for this album. Showing their attention to detail, Third Man Records sleuths got their hands on the original oil painting used for the front cover art and worked directly from that for all relevant artwork needs

File Under: Indie Rock
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Piero Umiliani: Paranoia (Orgasmo)
(Four Flies) LP

Four Flies digs harder and deeper! This missing soundtrack by Piero Umiliani par excellence, and considered by many to be lost, is finally fully recovered on six master tapes which contain the original complete recording sessions! “Orgasmo” (better known worldwide as “Paranoia”) is the first chapter of the famous giallo trilogy that Umberto Lenzi filmed starring former “Baby Doll” Carroll Baker, depicting a story of diabolical lovers and shady intrigues which reechoed certain morbid atmospheres with which Henri-Georges Clouzot tried his hand with his “Les Diaboliques” (1956). Co-starring Lou Castel – who starred in “Fists in the Pocket” and other ‘committed’ films, and therefore was considered a rebel, and the young Colette Descombs, who often steals the scene from the main actress, Baker. Recorded just after “Sweden, Heaven of Hell”, when Umiliani had taken a definitive step into the golden phase of his career and reached the top of his compositional skills, the “Orgasmo” score is an actual gem of grace and elegance – a manifesto of seduction that constitutes one of the main assets for Lenzi’s film. With this work, Umiliani managed to perfectly capture the film’s morbid side, psych(edel)ic deliriums, and pop ambiance. Some of the music’s attributes, such as Alessandro Alessandroni’s and his wife Giulia’s vocal work, or the major role played by Antonello Vannucchi’s Hammond organ, foreshadow the atmospheres of “Five Dolls for an August Moon.” The whole film score shines with an unusual light for a thriller, and reverberates with the light and brilliance reminiscent of Brazil’s music, such as wonderful and inspired bossa nova or samba-jazz versions, with which the main themes were arranged. On top of that, the sublime Lydia MacDonald sings the superb title track, “Fate Had Planned It So.” A more rhythmical take on this track, along with the dancing soul tune “Just Tell Me”, sung by Wess, comes alone with a new 7’’ limited edition, available in 300 copies (both songs are not included in the LP version of the soundtrack). Another piece of Piero Umiliani’s outstanding musical legacy is finally now ready to shine again!

File Under: Library
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…..Restocks…. 

Bacao Rhythm & Steel Band: 55 (Big Crown) LP
Courtney Barnett & Kurt Vile: Lotta Sea Lice (Matador) LP
Big Star: # 1 Record (Craft) LP
Big Thief: U.F.O.F. (4AD) LP
Bob Dylan: Rough and Rowdy Ways (Yellow vinyl) (Columbia) LP
Bill Evan Trio: Live at Shelly’s Manne-Hole (OJC) LP
Faith No More: The Real Thing (Music on Vinyl) LP
The Fall: Hex Enduction Hour (Superior Viaduct) LP
Fontaines D.C.: A Hero’s Death (Partisan) 2LP
Robert Fripp & Brian Eno: No Pussyfooting (Panegyric) LP
Goat: World Music (Rocket) LP
Randy Holden: Population II (Riding Easy) LP
Fela Kuti: Music of Many Colours (Knitting Factory) LP
Mariah: Utakata No Hibi (Palto Flats) LP
Laura Marling: Song for Our Daughter (Chrysalis) LP
Steve Roach: Quiet Music 1 (Telephone Explosion) LP
Steve Roach: Quiet Music 2 (Telephone Explosion) LP
Steve Roach: Quiet Music 3 (Telephone Explosion) LP
Rose City Band: Summerlong (Thrill Jockey) LP
Yasuaki Shimizu: Kakashi (Palto Flats) LP
Sturgill Simpson: A Sailor’s Guide to Earth (Atlantic) LP
Sonic Youth: Daydream Nation (Goofin) LP
Spoon: A Series of Sneaks (Merge) LP
Spoon: Girls Can Tell (Merge) LP
Spoon: Kill the Moonlight (Merge) LP
Neil Young: Homegrown (Reprise) LP

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