…..news letter #1034 – melt…..

Possibly the biggest list ever… and it’s only January!!! Anyway, loads to read about below. One shipment hopefully in tomorrow, so wait for confirmation your order is ready for pick up. Back to work for me….

As previously mentioned, in line with current health restrictions we are operating as below..

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

…..picks of the week…..

Elevator To Hell: Parts 1-3 “Extra” (Blue Fog) LP
Hopefully in tomorrow… Originally released in early 1995 and long since out of print and very hard to find, Bluefog is happy to bring this sweet 2xLP reissue to you. Featuring the fully remastered 18 song “Parts 1+2” album on LP one, and the 10 song “Part 3” ep on the 2nd LP, plus 10 more unreleased tracks from 93-94 that were on the ELEVATOR TO HELL demo tape.

File Under: Indie Rock, Psych, Lofi
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Nicolas Gaunin: Hulahula Kane (Moon Glyph) LP
Nicolas Gaunin is the moniker of Nicola Sanguin, a musician from Padua, Italy known for his fourth world electronics, rain-soaked tropical sounds and his woody, experimental polyrhythms. After two cassettes and a compilation LP, Hulahula Kāne is Gaunin’s first full length is a fully-realized trek into bizarre, uninhabited terrain. Gaunin’s palette ranges from kalimbas, hand drums, miniature gongs, flutes, bass, all manners of field recordings, distinctive synthesizers and natural sounds stretched and warped until they’re alien. The rhythmic compositions and sonic world-building is thrilling and peculiar. Gaunin’s approach to music making is all his own and sculpts a hallucinatory headspace; transporting the listener into his imaginary far-off land.

File Under: Ambient, Fourth World, Electronic
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D.K.: Eighteen Movements (Abstrakce) LP
‘Eighteen Movements’ is a collection of recordings captured at live performances between 2017 – 2019. The record’s rich textures combine ambient, tribal rhythms, field recordings, ritualistic vibes, and a meditative feeling that runs through the entire LP. Đ.K. is in full flight mode, illustrating the project’s aptitude for deep transcendence. Đ.K. is a DJ, composer & producer based in Paris, France. A versatile and prolific artist, D.K. has cultivated an eclectic body of work in recent years, with acclaimed output on renowned labels including Antinote, Melody As Truth, 12th Isle, Good Morning Tapes, Music From Memory’s Second Circle imprint, and L.I.E.S. (as 45 ACP). Luminous and mesmeric, D.K.’s work combines finetuned traces of house, synth pop, ambient, balearic, minimalism, and fourth world music, creating energies and soundscapes which aim to invoke elevated forms of consciousness. Prismatic tones exchange space with devotional drums on ‘Clarity’ and ‘Echo Chamber’, as Đ.K. hits a hypnotic stride somewhere between Jon Hassell, HTRK & a Folkways percussion ensemble. With ‘Full Consciousness’ meditation bells ring out across a progression of gleaming new age emanations, conjuring an entrancing spell. Movements of pulse and ether. On ‘Mirror’, sonorous, elaborate percussive phrases are interwoven with drifting ambient vapours, while ‘The Other Side’ veers into broad, rolling blasts of dub and Antipodean drone, a cavernous trance evoking the early roots of Ras Michael and Yabby You, pared back to resolute drum sequences and infused with esoteric chimes and sultry synthesis. The finale of ‘Eighteen Movements’ represents one of Đ.K..’s most ambitious recordings. ‘Awakening’ is an epic tone poem of aqueous, outer planetary resonance that completes this mercurial cycle with a poignant, euphoric fadeout. Chronicled in the moment, alternating between rhythm and repose, momentum and aviation, ‘Eighteen Movements’ sees Đ.K. voyaging further, into vast, uncharted outskirts of sound. A collection of movements for heightened states and new diversions.

File Under: Ambient, Electronic, Fourth World
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…..new arrivals…..

Angered Wrecks: Bennies, Booze and R&R 1981 (Feeding Tube) LP
Take the freaked-out, punked-up soul of The Stooges and MC5 mix that with ’60s garage trash, blend in Sabbath, AC/DC and heavy rock n’ roll and then hot wire that sound to a handful of freaks located in Fredericton, New Brunswick. Here it is that Angered Wrecks were located — in an old Victorian style house in downtown Fredericton. It was here they set up a permanent rehearsal space on the main floor taking up the dining room and living room area with a full P.A. system and the long parties would begin as the Angered Wrecks cranked out an unholy primal serving of mind-numbing, eyeball-popping guttural pure rock and roll. Lucky for us, the Angered Wrecks had a primitive DIY recording set up as they recorded live off the floor with one cardioid mic taped to the ceiling to capture the entire room sound and straight into a cheap Alpine cassette deck. The results of these previously unheard recordings capture the essence of trashy rock n’ roll at its finest, delivered with pure dereliction, and always a side of extra sleaze. Keeping warm in the winter at another old salt box style house they would later rehearse and play gigs in, a large circle was cut in the floor so that the rising heat from the pottery kiln downstairs would (along with the right mixture of beer and “Purple Jesus”, weed and often speed and hot dogs) keep these boys fueled long enough in sub-zero temperatures to keep pumping out the rock n’ roll savagery. The last show they played was in the fall of ’81 at the Bug Shack after the household was served an eviction noticed with the house to be entirely demolished (just like Stooge Manor aka The Fun House). They got a gig together the weekend before demolition, packed the bottom floor and played a blazing set. At the very end, walls were kicked apart, old cans of paint strewn about, general wanton destruction to furniture, doors, windows etc. The bug shack had come to an end and shortly thereafter, the Angered Wrecks. That these tapes have survived to this day is all thanks to John Westhaver’s archival hoarding (even though the loss of a 90-minute session of the Angered Wrecks still haunts John to this day). Includes full-size two-sided history insert and download code with five bonus tracks; edition of 400.

File Under: Punk, Garage, Psych
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Bahamas: Live to Tape (Republic) LP
Afie Jurvanen, aka Bahamas, offers up select highlights from his celebrated Live To Tape collaboration series. Created during the height of the pandemic, Live To Tape captures Bahamas performing in studio from Halifax, Nova Scotia together with acclaimed artists who perform remotely from Nashville, Los Angeles, Melbourne, Perth, Toronto and other locations.

File Under: Indie Rock
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Derek Bailey/Andrea Centazzo: Drops (Ictus) LP
Reissue, originally released in 1977. In the history of free improvised music, there has been arguably no greater advocate for the idiom’s power and potential than the English guitarist Derek Bailey. Fiercely principled, between his emergence during the 1960s and his death in 2005, he cut a wide path, positioning this music at the height of creativity, transpiring in real time, and a means through which people from diverse backgrounds could come together, express, and commune. For Bailey, “playing is about playing with other people… Improvisation is a process that gets relationships sorted out.” Among many great examples of this within Bailey’s sprawling discography, a stand out is his 1977 duo LP Drops — originally issued as the third album on Ictus — recorded with the Italian percussionist/drummer Andrea Centazzo. Capturing the guitarist during one of his most prolific and creatively visionary periods — overflowing with explosive clarity, dialogic energy, and imagination — he clearly found a perfect foil in Centazzo, who recalls of the sessions: “The kaleidoscopic quality of Drops was created by this restraint of performing limits, i.e. the choice of instrumental timbres, dynamics and metronome speeds to suit each piece. We explored some aspects of our improvisational art, gleaned the best elements from our baggage of music memories and exposed them clearly and confidently.” Comprising nine individual improvisations, Drops encounters each of its players at their best, finding a strange middle ground between the intuitive logics of their instruments; Bailey’s tones taking on decidedly percussive approaches, while Centazzo’s fractured polyrhythms and beats often veer toward the presence of a notable tonality. Remarkably expressive and diverse in the approach of each piece, Drops presents creative interplay at its most striking and challenging, rethinking the terms of musicality and collaboration every step of the way. Flurries of rattle back and forth, sculpting barbed and pointillistic landscapes of texture, stripped of reference and precedent, and abstract as real time organized sound comes. Edition of 250.

File Under: Jazz, Free Improv
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Band Whose Name is a Symbol: Ensemble 8/3/2016 (Feeding Tube) LP
Cardinal Fuzz and Feeding Tube Records bring your way The Band Whose Name Is A Symbol’s Ensemble 8/3/2016. Recorded of the floor in August 2016 in the spiritual setting of Birdman Sound — eight players made up the iteration of the always mutating ensemble cast, who were as follows — John Westhaver, Nathaniel Hurlow, Bill Guerrero, Jason Vaughan, Dave Reford, Scott Thompson, Mark McIntyre, and Eric Larock. The session for Ensemble went down at their spiritual home of Birdman Sound in Ottawa in August 2016 where what you hear on record was recorded direct from the floor (and mastered/tweaked by Chris Hardman). The whole session (and note this is an edit to fit the constraints of vinyl) flies by with a reckless, organic abandon, as at times eight players fly off in different dynamic directions of abstract playing and improvisation with trumpet player Scott Thompson much to the fore and blowing wild. At times the feel of this recording is like a collision between some out there ’70s German avant rock band who have been transported to a San Franciscan Ballroom is ’68 where the whole audience are peaking on “Orange Sunshine” as ensemble finishes up like a beautiful trip, well taken.

File Under: Psych
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Juan Belda: s/t (Abstrakce) LP
Reissue of the first Juan Belda album released in 1986 by Grabaciones Accientales. with new artwork. Originally part of a multimedia concert, a show involving actors, video, and scenography called “Móviles”. The record is a complex world of sounds blending rhythmic experimental electronics, industrial sounds, samplers, ambient-downtempo passages, loops, jazz, musique concrete… and everything from a punk-fluxus-existentialist approach. In the vein of other Spanish bands of the era like Randomize, Mecánica Popular or international artists such as Cabaret Voltaire, Chris & Cosey, Thomas Leer, NWW… The record was produced by the Spanish composer Luis Carlos Esteban at his studio, with one of the largest Synth collections in Europe. Belda squeezed precious synths such as Yamaha cs80, Emulator 2, Linn 9000,Mini moog, DX7, PPG Wave, VCS 3, etc. with the help of Esteban to round his compositions. The result is a very personal and unique record. Belda is an eclectic composer, arranger and multi-instrumentalist from Canary Islands, Spain. He studied structural composition with Zaj founder Juan Hidalgo and jazz with Luis Vecchio. Since the beginning of the 80’s, his music has always been one step ahead in the Spanish scene at the time. Both with his new wave projects Arte Moderno (with Javier Segura), África Gráfica or with this debut album. Multidisciplinary artist, he has also been responsible for installations in art galleries and has composed music for ballet, theater, television and cinema.

File Under: Experimental, Electronic
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John Berberian & The Rock East Ensemble: Middle Eastern Rock (Modern Harmonic) LP
Crazed time signatures abound as musicians from the West look East for inspiration, infusing their rock and jazz sounds with vibes looted from India and the Far East. A true marriage of Western and (Middle) Eastern music with a fuzzed-out psychedelic edge. Released originally in 1969, Middle Eastern Rock is a unique, compelling fusion record from Armenian-American oud player John Berberian. The Rock East Ensemble, Beberian’s backing band, consists of the artist’s standard group, which specializes in traditional Armenian music with a jazz edge, and American session musicians who bring more of a rock sound. The results, which blend elements of psychedelia, free jazz, surf music, and various klezmer, African, and Middle Eastern textures, are dazzling, and are sure to thrill anyone with a taste for rare “outside” albums. – AllMusic Review by Anthony Tognazzini

File Under: Rock, Jazz, Middle East, Psych
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Boris: w (Sacred Bones) LP/CS
In an effort to sublimate the negative energy surrounding everyone in 2020, legendary Japanese heavy rock band Boris focused all of their energy creatively and turned out the most extreme album of their long and widely celebrated career, No. The band self-released the album, desiring to get it out as quickly as possible but intentionally called the final track on the album “Interlude” while planning its follow-up. The follow-up comes with W, the band’s debut album for Sacred Bones Records. The record opens with the same melody as “Interlude” in a piece titled “I want to go to the side where you can touch…” and in contrast to the extreme sounds found on No, this new album whispers into the listener’s ear with a trembling hazy sound meant to awaken sensation. On all of W Wata carries the lead vocal duties. In general the styles on the album range from noise to new age, as is typical with one of our generation’s most dynamic and adventurous bands, but there is a thread of melodic deliberation through each song that successfully accomplishes the band’s goal of eliciting deep sensation. Be it through epic sludgey riffs, angelic vocal reverberations or the seduction of their off-kilter percussion, Boris will have you fully under their spell. This languid and liquifying sound is perfectly represented in the beautiful Kotao Tomozawa cover art and in Sugar Yoshinaga’s sound production. No and W weave together to form Now, a duo of releases that respond to one another. In following their hardest album with this sensuous thundering masterpiece they are creating a continuous circle of harshness and healing, one that seems more relevant now than ever and shows the band operating at an apex of their musical career.

File Under: Metal
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Glenn Branca: Symphony No. 1 (Tonal Plexus) (Roir) LP
“Recorded across two nights in 1981 at New York’s legendary Performing Garage and originally released in 1983 on cassette, Symphony No. 1 has been remastered for vinyl and reissued for the first time as a heavyweight 180 gram 2LP set in a deluxe gatefold jacket. The limited edition pressing features additional liner notes written by Lee Ranaldo (Sonic Youth) alongside the original notes by Jon Pareles (The New York Times) and now includes photos by Paula Court (New York Noise). The ensemble of performers on this recording are: Glenn Branca, Craig Bromberg, Dave Buk, Ann DeMarinis, Barbara Ess, Robert Harrison, Thurston Moore, Lee Ranaldo, David Rosenbloom, Richard Edson, Ned Sublette, Wharton Tiers, Gail Vachon, Fritz Van Orden, Stephen Wischerth and Margot Zvaleko.”

File Under: Avant Garde
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Brutal Truth: Extreme Conditions Demand Extreme Responses (Earache) LP
Originally released in 1992, Brutal Truth’s Extreme Conditions Demand Extreme Responses was produced by the legendary Colin Richardson and is widely regarded as one of the most important and influential grindcore records of all time. Reissued for the first time ever with Full Dynamic Audio this release is a must have for any fan of grindcore!

File Under: Metal
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Cairo Free Jazz Ensemble: Music for Angela Davis (Holidays) LP
During Holiday Records’ long friendship and incredibly prolific collaboration with Hartmut Geerken — who sadly left this planet on October 21, 2021 — he never ceased to surprise. He lived many lives, traveling the world as an employee of the Goethe Institute, playing with other incredible musicians, and being smart enough to record most of the concerts he did. His archive is in fact full of treasures, and any conversation with him could lead to the rediscovery of unheard master tapes preserving true music gold. It was during the one of these conversations we had at his house – while searching for pictures to be used for the 50th anniversary reissue of Heliopolis (HOL 124LP) — that he pulled the original score of Music for Angela Davis No. 2 out of a folder, saying with a smile: “Let’s see… I should have the complete recording of this one”! Recorded at Nile Hall, Cairo, on December 4, 1971, Music for Angela Davis is a 24-minute composition that encounters two full ensembles — respectively conducted by Geerken himself and Hubertus Von Puttkamer — playing simultaneously without listening to each other, rising and falling within a brilliant and structurally complex expression of call and (non) response. Collective improvisation in its most heightened and sophisticated form. As described by Geerken in the liner notes: “One of my attempts with the Cairo Free Jazz Ensemble was my time-related, but timeless composition Music for Angela Davis. I divided the ensemble into two groups of roughly the same size, each with a conductor, and both groups played simultaneously, according to the different hand signals of the conductors, without one group reacting to or considering the other. The only two-tone sequences consisted of the music-able notes of the name Angela Davis, i. e. a-g-e-a and d-a s. The composition was an attempt to get together in society through the medium of improvisation and a protest against the racial measurements of the American governments.” Unreleased archival recording; single-sided LP; edition of 500.

File Under: Jazz
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Carcass: Reek of Putrefaction (Earache) LP
Liverpool’s legendary death metal pioneers Carcass are often credited with shaping the entire death metal genre, pushing boundaries with their shocking imagery whilst evolving and innovating with each new album. Reek of Putrefaction, originally released in 1988, gave the band their ‘Goregrind’ identity breeding the genres of grindcore and death metal. The great John Peel even named Reek of Putrefaction as his favorite album of 1988!

File Under: Metal
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CCCC: Cosmic Coincidence Control Center (Urimashi) LP
Urashima present a reissue of C.C.C.C.’s Cosmic Coincidence Control Center, originally released in 1992. The 1990s were a fascinating moment for music and new idioms of experimental music began to bubble in the underground. While often belonging to highly localized scenes and thus overlooked by a broad listenership in the moment, many of these gestures have proven to be profoundly important and influential and have left an indelible mark on the musical landscapes that have followed in their wake. Particularly notable among others C.C.C.C.’s first album, Cosmic Coincidence Control Center, that sprang from Japanese noise scene, during what can be considered the “golden age of noise”. The Japanese noise act C.C.C.C. was formed in 1989 by Hiroshi Hasegawa and Japanese bondage film star Mayuko Hino and was active until 1998. On their first work, recorded at Telecom Studio in Higashi-Nakano, Tokyo on 1991 and released by Hasegawa’s own label Endorphine Factory in CD format on 1992, there are four members; each playing a different instrument, to create their own unique sound. Hiroshi Hasegawa and Fumio Kosakai on electronics and synths, Ryuichi Nagakubo on bass and Mayuko Hino on vocals and metal percussion working together make for a diverse project that goes a way beyond the standard “electronic roar” that most noise artists rely on. The result is a startlingly visionary body of sound that stretches across this vinyl reissue, gathering intricate, noise ambiances and captured sonic fragments, deftly manipulated and infiltrated by electronic pulses and various other interventions, toward an immersive and cohesive sonic environment, that drowns the ear in sheets of detail. Bordering on an ecstatic sonic assault of the highest order, the work’s movements range from incredible arrangements of electronic noise and tonality to a stunning effort of synth, all constructed with an incredible sense of immediacy and physicality, making the album easily one of the most noteworthy and incredible recordings from C.C.C.C. An absolute gem from the vaults of ’90s noise music: bristles with energy, physicality, and immediacy, representing a highwater mark from one of the most important noise collectives of the last 30 years. With Hidenobu Kaneda’s pictures from the photo session used for the original CD artwork and Akifumi Nakajima’s original notes on layout, Urashima create the perfect replica of the original artwork for the vinyl version; Includes exclusive inserts and posters.

File Under: Noise, Industrial, Japan
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Charlatan: The Glass Borders (Moon Glyph) CS
Charlatan is the solo synth/ambient project of Brad Rose. A person well known for their contributions to the experimental and DIY music space ranging from their influential Digitalis imprint, to their music outlet Foxy Digitalis and their plethora of musical projects as The North Sea, Charlatan, Altar Eagle and many others. On “The Glass Borders”, their first album for Moon Glyph, the music deftly blends field recordings, crystalline ambience and propulsive synth arpeggios. The first track “All Your Gifts Are Weightless” is an album-like journey itself, blending between various movements rooted in Rose’s experience of fatherhood, celebrating the joy and reflecting on the transience of it all. The second half dives deeper into the heavier elements eventually resolving into a place of peace and appreciation, hanging on to the moments that last forever.

File Under: Ambient, Electronic
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John Coltrane: Live at the Village Vanguard (Acoustic Sound Series) (Impulse) LP
All-Analog 180g Vinyl LP of John Coltrane’s ‘Live’ at the Village Vanguard Remastered from the Original Analog Tapes, Pressed at QRP, and Housed in Stoughton Gatefold Jacket. John Coltrane’s first official live album was recorded at the iconic Greenwich Village jazz club in NYC in November 1961 and released on the Impulse! label the following year. Produced by the great Bob Thiele the sterling three track set finds Trane flanked by Eric Dolphy on bass clarinet plus veteran sidemen McCoy Tyner on piano, Reggie Workman on bass, and Elvin Jones on drums. The second side of the LP is devoted to the immortal “Chasin’ The Trane.” This all-analog 180g vinyl LP reissue was mastered from the original analog tapes by Ryan K. Smith at Sterling Sound, pressed at QRP, and comes housed in a Stoughton tip-on gatefold jacket.

File Under: Jazz
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Mike Cooper: Spirit Songs (Eargong) LP
Originally released in 2005 on Mike Cooper’s Hipshot Cd-r label, and reissued here for the first time on vinyl, Spirit Songs deserves to be regarded as a true rediscovered gem, remixed and remastered by Mike Copper himself. Spirit Songs comes as a highly organic form of ambient-folk-blues with Cooper reordering material to create an immersive listening experience. A stream of cut-up lyrics inspired by Thomas Pynchon’s writing slide across multiple electronic layers and masterfully fingerpicked acoustic guitars combining into a moving tide. This is deeply inspired music from a unique artist: Mike Cooper the so-called “icon of post-everything music” a true sound explorer constantly pushing the boundaries of genres and styles, folk, blues, free improv, exotica, ambient, electronica.

File Under: Exotica, Ambient
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Dinosaur Jr.: Green Mind (Radiation) CS
Radiation Tapes present a cassette reissue of Dinosaur Jr.’s Green Mind, originally released in 1991. Formed in 1984, Dinosaur Jr. carved a singular path through the latter half of the 1980s, issuing three highly influential albums in the process before finding a home with Sire Records, who issued Green Mind in 1991 as the alternative American rock scene the band had long been part of exploded globally. Produced by a stripped-down line-up of the group (in fact, J Mascis himself plays almost everything), the album and Sire’s international reach took Dinosaur Jr’s reputation to a new level, aided by the singles The Wagon (1990) and Whatever’s Cool With Me (1991), a non-album EP of new material and live recordings, all of which are included here alongside a previously unreleased live recording capturing the group at the Hollywood Palladium in June 1991. Critically lauded on release, Green Mind remains one of the band’s strongest collections, and a firm fan favorite. Limited edition of 350 on cassette.

File Under: Indie Rock
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Gord Downie: Coke Machine Glow (Arts & Crafts) LP
Originally released in 2001, Coke Machine Glow was Gord Downie’s first solo album away from The Tragically Hip – an ambitious, singular, highly collaborative collection of songs that showcases the iconic frontman’s peerless lyricism, vivid storytelling, and irrepressible knack for melody. Now, on the album’s 20th anniversary, Arts & Crafts will release an expanded triple-album version featuring Songwriters’ Cabal: a bonus disc of unreleased tracks, alternate takes, demos, and kitchen table recordings from 1999-2000. The 28-song collection presents a portrait of Downie with a rarely before heard intimacy, unrefined and dripping in the aura of the moment. Alternate studio takes of favourites like “Vancouver Divorce” and “Lofty Pines” express the fluidity of the band that comprised the Gas Station recording sessions; while home recordings of perennial favourites like “SF Song,” “Trick Rider,” and “Chancellor,” spotlight Gord in close communion with his tape recorder and coffee machine. Produced by GD, Josh Finlayson, and Steven Drake, featuring Dale Morningstar, Julie Doiron, Kevin Hearn, Atom Egoyan, Dave Clark, Don Kerr, and more, Coke Machine Glow: Songwriters’ Cabal is a document of Gord at the precipice of his illustrious solo career, stepping to the mic – voice tinkling like a chandelier – with everything and nothing before him to prove. Triple-album vinyl edition featuring the original double-record plus Songwriters’ Cabal bonus album. Hand-numbered limited edition one-time pressing of 2000 units. Includes Audiobook CD insert, with Coke Machine Glow poetry read by family and friends. Housed in triple-gatefold jacket, with embossed printing and matte flood finish, printed inner sleeves, paintings by Willo Downie, liner notes by Josh Finlayson, and 16-page booklet featuring Gord’s handwritten lyrics.

File Under: Rock, Pop, SSW, Tragically Hip
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Eleh: Polarizer 1 (Important) CS
Eleh’s Polarizer is a two-part series focused on the instant, simultaneous reality of the analog world. This work is both a reference to analog sound and an analogy for the vivid nature of reality. Polarizer I and II (IMPREC 428CS) can be played/mixed simultaneously.

File Under: Drone, Electronic
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Eleh: Polarizer 2 (Important) CS
Eleh’s Polarizer is a two-part series focused on the instant, simultaneous reality of the analog world. This work is both a reference to analog sound and an analogy for the vivid nature of reality. Polarizer I (IMPREC 404CS) and II can be played/mixed simultaneously.

File Under: Drone, Electronic
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F.P. & The Doubling Riders: Doublings & Silences Vol. 1 (B.F.E.) LP
The Doubling Riders were born in the middle of the ’80s from the ashes of the great experimental / minimal wave project A.T.R.O.X. around the trio of Francesco Paladino, Pier Luigi Andreoni, and Riccardo Sinigaglia (Professor of Electronic composition at Milan’s Conservatory) . Starting from an electronic music approach and working freely with ethno, folk and wave elements, the sound of the Doubling Riders was extremely original and hard to classify. Mostly quiet meditative stuff, with folk, experimental electronic influences and some unusual vocalisations, some sang in a strange italian dialect. Even if often compared to the more intellectual electronic experimental bands like Tuxedomoon, Coil or Vox Populi, Doubling Riders can be easily considered a unique project within the Italian new music scene.

File Under: Experimental
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Freestyle Fellowship: Innercity Griots (Be With) LP
Innercity Griots, the second album from Freestyle Fellowship, is perhaps the essential West Coast left-field rap album of the early ’90s. Released in 1993 on 4th & Broadway, it’s a towering, progressive hip-hop masterpiece that expanded rap’s boundaries through lyrical elevation and production innovation. Their talent was ahead of everybody else by light years. This is pure b-boy jazz. Be With reissue includes “Pure Thought” from the CD version of the album. Freestyle Fellowship were some of the earliest technically dazzling rappers to come out of California. Mikah 9, P.E.A.C.E., Aceyalone and Self Jupiter — along with DJ Kiilu — forged their famed lyrical dexterity in the ultra-competitive crucible of the Good Life Cafe. Founded in Leimert Park, South Central LA in December 1989, this earthy health-food store and cafe was where the city’s finest microphone fiends would gather to showcase their freestyle skills at the Thursday night open-mic. Innercity Griots has been described as the Rosetta Stone for rap styles. The group’s dense, vibrant wordplay and enviable interplay quickly earned the attention and respect of the city’s hip-hop underground. Frenetically trading acrobatic rhymes with agility and grace, the Fellowship used their voices as instruments like true virtuosos, spraying improvised raps like a Coltrane sax solo. With the bulk of the album’s production handled by The Earthquake Brothers, and Bambawar, Daddy-O, and Edman taking over for some of the tracks, Innercity Griots dances between organic and programmed music, largely forgoing sampling and instead built around live jazz jams. The likes of Freddie Hubbard’s “Red Clay” and Miles Davis’s “Black Comedy” were used more as templates for house band The Underground Railroad Band to spiral out from. As Pitchfork noted in their recent 9.0 review of this classic album, “Freestyle Fellowship embodied the style and spirit of jazz on a molecular level. They shared the effortless cool and tough countenance of the great bebop players from the ’50s without verging into jazz-rap parody.” The unusual approach to the music was matched by the Fellowship’s lyrics. Eschewing the tired rap tropes of the time, this multifaceted album instead explores their ruminations on greed and homelessness, weed, sex, survival, insecurity and tribalism. Remastered by Simon Francis, cut by Pete Norman.

File Under: Hip Hop
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Fucked Up: Epics in Minutes (Get Better) LP
Epics in Minutes is the definitive landmark of Fucked Up’s early days of releasing 7″ records and cassettes. Released only three years into their existence on CD only, it is re-mastered and made available on vinyl for the first time. The songs here are the beginning of the long journey of Fucked Up’s larger than life catalogue with sounds ranging from blown out hardcore punk recorded on four track cassette, to the glorious interlocking guitar parts and narrative lyric writing that would set the tone for the rest of their musical career.

File Under: Punk
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Garcia Peoples: Dodging Dues (No Quarter) LP
By now we’re all tired of measuring our lives by this century’s fractured clock, in relation to pandemics, disasters, contentious elections, and wars. I first saw Garcia Peoples live in October 2019, a moment it’s bracing to remember as “more innocent, considering,” and the impression was indelible: five people playing in a way that felt fully fused, locked in, but also—this was the wild part—cascading and fluid, like these songs were practically standards they were also somehow inventing on the spot. It was the last show I caught before lockdown, and it stuck with me, not just the image of the band onstage, the communicativeness of the performance, but the songs themselves (they may have felt freewheeling, but they were sticky as hell), the hammering peaks and the cat’s-paw passages between them. They felt like the best—maybe even the only—band in the world while I watched, and by the time Nightcap at Wit’s End arrived, I was more than ready . . . Dodging Dues, on the other hand, catches me by surprise. These songs, recorded in February and October of 2020 with Matt Sweeney producing, haven’t been much aired, at least not publicly, and yet . . . I’m trying to get at something about Garcia Peoples here, how the band always sounds new to me. Even after a few dozen listens, Dodging Dues’ songs have etched themselves into my sleep but the performances always feel like something miraculous blossoming in the air right in front of me, something unrepeatable, which is probably why I often find myself playing it several times in a row or playing it and then turning to one of the earlier records, seeking out new combinations. It’s a thrilling, and rare, property, one that makes both band and catalogue feel inexhaustible. But even by Garcia Peoples’ standards, Dodging Dues is a startlingly expansive record—“startling” in part because it’s relatively short (seven songs, all but one hovering around the four minute mark), but also so because it traverses so many moods and styles: languid and dreamy one moment, surging and intense the next. In part, this might be due to an expanded roster of writers and vocalists (bassist Andy Cush and keyboardist Pat Gubler contribute to both the songwriting and the lead vocals this time around alongside guitarists Tom Malach, Danny Arakaki, and Derek Spaldo, and Sweeney adds harmonies throughout), but I suspect there’s more to it than that. Garcia Peoples (these days a six-person band, once you factor in longtime drummer Cesar Arakaki) “hit their stride” a long time ago, but here they seem to be hitting a different one, working themselves loose of influences (though this tree has roots, as ever: I hear traces of Thin Lizzy, of more arcane bits of U.K. folk-prog, above all of vintage Meat Puppets in some of the softer passages) while at the same time opening themselves up to their own individual strangeness, becoming ever more singular and ever more free. Sick of dodging dues . . . As ever, these songs have an aphoristic quality, a sense that they are concerned somehow with processing experience. We’ve found that on previous records, but when the title phrase crops up in this case (in the incredible “Tough Freaks”), I can’t help but think of those dues we can’t dodge: the high cost, emotional and otherwise, of living in our present moment. In the dark times will there also be singing? Yes, there will be singing. About the dark times, Bertolt Brecht once wrote, but—there is also singing like this, about the ordinary difficulties of living. It’s an expression I’m exceptionally grateful for, a reminder that bands, problems and respites all continue even when human history presents its most impossible face, and a reminder that consolations are still available. Some dues can’t be dodged, but they can be reckoned with face-to-face. And when they are, if you’re lucky, you might hear music just like this: weather-beaten but utterly uncorroded, suffused with a depth of feeling and experience but utterly, irrepressibly brand new.

File Under: Psych
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Genocide Pact: s/t (Relapse) LP
Genocide Pact return with their eponymous new album. An overdose of gut-wrenching death metal, Genocide Pact is heavy, engrossing, and undoubtedly brutal. “This album reflects on the feeling of watching the world crumble while dealing with personal tragedy,” says guitarist/vocalist Tim Mullaney. True to his word – every track on Genocide Pact is a sonic assault brimming with palpable malaise. From the guttural screams in the album’s opener “Led to Extinction”, to the driving double bass that carries “Perverse Dominion”, and a head rattling low end on “Deprive Degrade” – Genocide Pact is wholly negative death metal. The fury behind Genocide Pact captures the band’s collective frustrations and personal journeys through these turbulent times. “You turn on the news and see mass shootings, a global pandemic, endless war, and corporations and politicians trying to sell you bullshit. You pick up your phone and another friend or family member has died. On top of that, you’re broke as fuck and work endlessly for a boss that doesn’t even know your name. You find yourself paranoid, pissed off, and embracing nihilism,” Mullaney adds. Genocide Pact have learned to embrace the negativity, churning out one of 2021’s ugliest and unforgiving records.

File Under: Metal
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Terry Gibbs & Alice Coltrane: El Nutto (Survival Research) LP
Survival Research present a reissue of Terry Gibbs & Alice Coltrane’s El Nutto, originally released in 1963. Before joining vibraphonist Terry Gibbs’ quartet in 1962, Detroit-born pianist Alice McLeod played intermissions at the Paris Blue Note and appeared on French TV with saxophonist Lucky Thompson, reaching Gibbs’ attention in a duo with vibraphonist Terry Pollard; in the quartet, she became the perfect foil for Gibbs, her understated piano making room for his intense improvisation, stepping up with her own expression when needed. El Nutto, their third LP, captures Alice at her best in this setting, as heard on the reveries of “El Flippo” and the title track, this solid set of Gibbs originals showing her virtuosity, composure, and curiousness, which would soon reach more cosmic highs, once she became Alice Coltrane.

File Under: Jazz
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Grand Veymont: s/t (Moon Glyph) CS
Moon Glyph is very excited to release the first three albums from French duo Grand Veymont. Available in the US for the first time. Grand Veymont is the duo of Josselin Varengo & Béatrice Morel Journel. Both were previous members of Tara King th. (Josselin on percussion/organ/keyboards, Béatrice on vocals/flute/organ). With Grand Veymont, the two create cosmic and heavenly music with a motorik beat. They combine synthesizers, organs, flute and shimmering voices to achieve a state of relaxed yet soaring propulsion. It’s entrancing, sophisticated music and Moon Glyph is thrilled to share their tunes to a new audience. This self-titled album was their first recorded work but was released as their second album in 2019. Originally released by Outré Disque

File Under: Pop, Electronic, Kosmische
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Grand Veymont: Route du Vertige (Moon Glyph) CS
Moon Glyph is very excited to release the first three albums from French duo Grand Veymont. Available in the US for the first time. Grand Veymont is the duo of Josselin Varengo & Béatrice Morel Journel. Both were previous members of Tara King th. (Josselin on percussion/organ/keyboards, Béatrice on vocals/flute/organ). With Grand Veymont, the two create cosmic and heavenly music with a motorik beat. They combine synthesizers, organs, flute and shimmering voices to achieve a state of relaxed yet soaring propulsion. It’s entrancing, sophisticated music and Moon Glyph is thrilled to share their tunes to a new audience. “Route du Vertige” was their debut release in 2018, but recorded after their self-titled album. Originally released by Objet Disque.

File Under: Pop, Electronic, Kosmische
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Grand Veymont: Persistance et Changement (Moon Glyph) CS
Moon Glyph is very excited to release the first three albums from French duo Grand Veymont. Available in the US for the first time. Grand Veymont is the duo of Josselin Varengo & Béatrice Morel Journel. Both were previous members of Tara King th. (Josselin on percussion/organ/keyboards, Béatrice on vocals/flute/organ). With Grand Veymont, the two create cosmic and heavenly music with a motorik beat. They combine synthesizers, organs, flute and shimmering voices to achieve a state of relaxed yet soaring propulsion. It’s entrancing, sophisticated music and Moon Glyph is thrilled to share their tunes to a new audience. “Persistence et changement” is the latest album from Grand Veymont. Originally released by Objet Disque in 2020.

File Under: Pop, Electronic, Kosmische
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Grapefruit: Light Fronds (Moon Glyph) CS
Grapefruit is the experimental project by Portland musician and painter Charlie Salas-Humara. His ninth album under the moniker, “Light Fronds” is steeped in heady minimalism and hypnotic, casual psychedelia. It’s an album of colorful and loose jams; layering viola, guitar, synth and piano into a rolling, pastoral experience. Touches of new age and modern classical fill the space as well. The Frippertronics-esque tape loops and kosmische inspired compositions on “Light Fronds” are sublime and transportive, ideal qualities for this afternoon zone-out.

File Under: Electronic, Kosmische
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Baligh Hamdi: Instrumental Modal Pop of 1970s Egypt (Sublime Frequencies) LP
Tip-on gatefold jacket. Sublime Frequencies finally unleashes its essential compilation from 1970s Egypt, produced and compiled by Hisham Mayet. Modal instrumental tracks from Baligh Hamdi — one of the most important Arabic composers of the 20th Century (writing for legends Umm Kalthum, Abdel Halim Hafez, Sabah, Warda, and many others). Features his legendary group the Diamond Orchestra with Omar Khorshid on guitar, Magdi al-Husseini on organ, Samir Sourour on saxophone, and Faruq Salama on accordion. All of these musicians were discovered and recruited by Hamdi to interpret his vision of a modernized, hybrid Arabic music. Under Hamdi’s direction, this orchestra charted a new melodic direction and created a new musical language. This compilation is culled from a specific era of Hamdi’s long career, a decade where he fully realized an international music which incorporated beat driven Eastern-tinged jazz, theremin draped orchestral noir, tracks that feature searing guitar solos from none other than Omar Khorshid, and a selection of buzzing, sitar driven, Indo-Arabic tracks establishing a meeting of mid-east and eastern psychedelic exotica, and a vision that created some of the hippest music coming out of the Middle East from the late 1960s and throughout the 1970s. Includes extensive liner notes by Hisham Mayet with rare photographs.

File Under: Middle East, Psych, Jazz, Pop
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Willie Hutch: Season For Love (Be With) LP
Be With Records present a reissue of Willie Hutch’s Season For Love, originally released in 1970. A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown’s top male solo artist of the ’70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs. Often-overlooked, his second album Season For Love is a must for all deep soul fans and has been sought-after by collectors of different stripes for decades. Whereas his debut featured thundering, gritty numbers, Hutch treats you to a mellower soul here — sumptuous, warm and string-led. He compared his approach to that of Otis Redding and there are definite parallels; from the raspy, rough-hewn vocals that tend to roam between sweet and deeply impassioned to the horn-heavy, emphatic sonic backdrops. With flawless originals presented alongside a few well-chosen classics (his stunning cover of “Wichita Lineman” arguably bests the original’s splendor), it’s easy to see why sample-based musicians have been falling over themselves to plunder from this album. Witness the sweeping strings that grace “The Magic Of Love” and the heartbreaking “Walking On My Love”; the mellifluous guitar work on the contemplative instrumental “The Shortest Distance” and gorgeous single “When A Boy Falls In Love”. Whilst the arrangements and playing are subtly jaw-dropping throughout, Hutch’s uncontrived voice has a certain warmth to match a Nat “King” Cole and a purity of tone that even recalls the great Sam Cooke. Indeed, a few numbers are almost in a jazz vocal territory reminiscent of artists Lou Rawls. That’s not to say that others lack the righteous energy and undeniable groove of Willie’s later sound. Remarkably consistent throughout — a rare commodity for many ’70s soul albums — the lack of one signature song likely hindered its progress. Mastered for vinyl by Simon Francis. Original artwork. 180 gram vinyl.

File Under: Soul
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Willie Hutch: Soul Portrait (Be With) LP
Be With Records present a reissue of Willie Hutch’s Soul Portrait, originally released in 1969. Soul Portrait is a slice of Southern-fried soul, a blend of beat ballads and dancers. Increasingly rare, this reissue is most welcome and showcases the early work of a soul legend. Officially licensed and remastered by Simon Francis, it’s pressed on 180 gram vinyl for the first time and features the original artwork and liner notes. A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack (1973) and Foxy Brown (1984). Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder, and Smokey Robinson, Hutch was arguably Motown’s top male solo artist of the ’70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs. His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was; he wrote every tune on the album while also arranging and conducting for it. The album’s centerpiece is undoubtedly the iconic, brooding minor-key masterpiece “A Love That’s Worth Having”. The album’s most recognizable track, it’s a towering ballad drenched in stylish, sliding horns, and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw’s Our Vinyl Weighs A Ton (2013) as well as 9th Wonder for the Murs classic “Dreamchaser”. Horn-heavy opener “Ain’t Gonna Stop” is a funk-fueled monster, Hutch’s fatback vocal aided by a vicious drum ‘n’ conga rhythm whilst the bumping uptown soul of “You Can’t Miss Something That You Never Had” anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of “Good To The Last Drop” whilst “That’s What I Call Lovin’ You” features gospel piano and plaintive, tender vocal turn. The blazing horns of “You Gotta Try” hints at the Blaxploitation that was to come. The thundering proto-70s-Motown rhythm of “Let Me Give You The Love You Need” segues neatly into the bouncing Northern soul favorite “Lucky To Be Loved By You” whilst Hutch’s gutbucket guitar stylings are all over the smoldering “Keep On Doin’ What You Do”. “Your Love Keeps Liftin’ Me Higher” is not a rendition of the Jackie Wilson classic; rather, it’s a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic “Do What You Wanna Do” name-checks contemporary dance fads before instructing the listener to just get up and dance. Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade’s very best.

File Under: Soul
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Imaginary Softwoods: s/t (Digitalis) LP
In 2008, a triple cassette oddity appeared out of nowhere adorned in washed-out nature collages and zero information. Turns out that John Elliot of Emeralds was behind the madness, and after further dissection of the sounds enclosed, it all began to make sense. Those three tapes (one yellow, one blue, one red) were the first taste of something that felt like a lost private-press object from the early European electronic experimentations of the ’60s and ’70s. Each vignette is its own story, its own exploration. Synthesizers and other electronics are stripped to their bare bones, never drifting beyond a mere five minutes. It’s the brevity that is the guiding hand, though. Every tone and every note is carefully considered and utilized as you’re sucked into a world of washed-out colors and sullen landscapes. One thing that immediately stands out with these pieces is just how restrained Elliot is with them. It adds considerable tension, even if it’s understated, giving the album a surprising amount of emotional depth. Each piece is its own miniature mountain, traversed and left behind all in a matter of minutes. As you interact with the subtlety changing harmonics and tonal shifts, you begin to float away into synthetic dreams. If all bedroom albums were this great, I’d never leave the house. A true gem. It doesn’t get much better than this. Completely remastered for vinyl by James Plotkin and cut in Berlin by D+M. The deluxe vinyl edition is presented in full-color gatefold jackets with all new art from John Elliot in conjunction with the inimitable Witchbeam.

File Under: Ambient, Electronic, Emeralds
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Khemmis: Deceiver (Nuclear Blast) LP
Restlessly awakening from the depths of a feverish slumber, doomed heavy metal masters Khemmis return to reveal their fourth full length studio album, DECEIVER, arriving via Nuclear Blast Records in November 2021. Six tracks of desolate, soul-awakening heaviness encapsulate a project that has been nearly three years in the making. With a title that reflects the internal struggles that many of us battle in our daily lives, DECEIVER is a ferociously honest and appetizingly raw piece of musical artistry.

File Under: Metal
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Steve Lacy/Andrea Centazzo: Clangs (Ictus) LP
Ictus Records’ reissue initiative fittingly begins with Clangs, the first LP issued by the label in 1976. Featuring Steve Lacy on soprano saxophone, bird calls, and pocket synthesizer (or “crack box”), with Andrea Centazzo on drums, percussion, whistle, and vocals, the album is the culmination of a couple of weeks that the two artists spent together while Lacy was touring Italy during that year. Clangs encounters Lacy — one of the giants of American free jazz — already two decades into a career defined by brilliant collaborations with Cecil Taylor, Don Cherry, and Thelonious Monk, as well as a sprawling body of visionary work as a leader. Like so much of his work leading into this period, it draws upon the saxophonist’s belief that an artist should “play what you feel”, a position that Centazzo — roughly 15 years Lacy’s junior — recalls as having torn down the curtain that separated his technique from his creativity. Comprising a series of duets that investigate timbral relationships, the fragmentation of melody, and abrasive, provocative noise — shifting from the sparse, airy, and restrained, to dance clusters of interplay and back again — Clangs, for all its radicalism and forward-thinking gestures, rests firmly within the historic structures of jazz, deploying the idiom of theme/solo/theme. Lacy’s playing is at the top of his form — fluttering and dancing with a primal touch — met by Centazzo’s rattle and pattern of percussive interventions, the notes and polyrhythms of each respective player being the product of careful listening, response, and raising the bar. Edition of 250.

File Under: Jazz
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Lumineers: Brightside (Dualtone) LP
Multi-platinum selling Grammy-nominated band The Lumineers are back with their fourth record, Brightside. Coming off the success of their darkly cinematic third record III, co-founders/co-songwriters Wesley Schultz and Jeremiah Fraites’ latest work features alongside their ever-more-sophisticated songwriting and arranging, with production from longtime producer and friend Simone Felice. Brightside marks The Lumineers’ first new music in more than two years as well as the band’s most joyous and spontaneous piece of work thus far. The nine-song collection sees Schultz and Fraites performing virtually all of the eclectic, effervescent instrumentation while still featuring the foot-stomping, arena-filling sound the band has become beloved for worldwide. There is something timeless about The Lumineers that links their songs to 18th century pastorals, 19th century work songs, 20th century folk narratives and 21st century post-modern cinematic soundscapes. It sounds familiar, but take the time to dig below the surface. Listen carefully and layers of meaning reveal themselves. Success hasn’t spoiled The Lumineers; rather, it’s inspired them to follow their muses even further. “We continue to make the kind of records we want to,” says Wesley. “We believe in this music. It’s a true labor of love.”

File Under: Pop, Rock
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Masonna: Frequency L.S.D. (Cold Spring) LP
Originally released on CD in 1998, Frequency L.S.D. is now presented on vinyl for the first time. Features 14 ear-wrenching, extreme Japanese noise tracks from Maso Yamazaki (Controlled Death). “Frequency L.S.D. is the best Masonna CD ever, and one of the top five noise albums of all time” –Matt Kaufmann, Exile Osaka. “The cult icon of Japanoise once again makes another proverbial anti-statement with his uniquely harsh blend of screams, feedback, and constantly changing blasts, rumbles and blips of sonic destruction… The main attraction of this release to new and old fans alike is the use of ’60s psychedelia in the warped textures of sound laid out in each track. Instead of being treated to a barrage of uncontrolled, harsh, and maddening noise, we are treated to lengthy explorations into the joys of warped synthesizer repetition and digitally altered radio frequency loops… the best noise release put out by any artist and, after just one listen, it’s not hard to hear why” Chronicles Of Chaos. Personnel: Maso Yamazaki – voice, microphone, EXPJ Ringmodulater, Colorsound pedals, ’60s fuzz noise canister; Spectral Audio Analogsynth, Sherman Filterbank, delay. 180 gram vinyl; edition of 400.

File Under: Noise, Electronic, Japan
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Masonna: Hate (Urashima) LP
Urashima present the first vinyl reissue of Masonna’s Hate, originally released in 1995. Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé, the double-barreled name for Masonna, of course, is one of most prolific, adventurous, and respected noise artists, making dozens of releases on his own legendary and astonishing label Coquette, presenting them in very limited editions, sometime totally confidential (one sole copy), and reflecting his predilection for ’60s psychedelic music revisited in its own very peculiar way. He transforms his voice into noise, feeding the microphone back through a process of extreme distortion. His shouts become clipped bursts of overloaded sound, doubled and extended by a delay that displace the sounds into stuttered blasts of static. From noise lines, to minimal, warbling expanses, to the ambiences and schizoid thinking effects, it’s a journey into a versatile mind who we clearly never heard enough from. Released by Coquette on cassette in 1995 in just 15 copies with handmade covers, composed of different materials and inserted in transparent envelopes, the album Hate features one of Masonna’s most exciting and extraordinary work. By deploying stripped down microphone-and-scream foundations, Masonna’s ingenious sonic palette and his unerring sense of rage are cast in thrilling, clear-eyed relief. The use of pedals and effects overwhelms the vocalizations that are practically not heard and creates an irresistible tension, layering a dazzling array of rich sonic colors, hard fragments, and unsettling timbres over the sort of taut psychedelic feedback used in kosmische musik and the echo of Tangerine Dream’s masterpiece Zeit ring out in the grooves of the double vinyl reissue. The polarities are pronounced and brilliantly assembled, injecting even the most rough brushwork with an inescapable air of suspense; it’s a real gem, deftly balancing harsh noise and otherworldly effects. A towering holy grail of Japan noise music. Among the most ferocious and rare cassette from the artist discography, finally entering the light of day on vinyl analog support. Gatefold cover; edition of 299.

File Under: Noise, Electronic, Japan
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Charlie Megira: Da Abtomatic Miesterzinger Mambo Chic (Numero) LP
Hopefully in tomorrow! The bastard love child of Elvis and Lux Interior, Israeli guitarist Charlie Megira brewed a heady amalgam of ’50s trash rock, surf-y tremolo, and reverb-drenched goth during his all-too-brief 44 trips around the sun. He recorded seven albums worth of material in 15 years, primarily issued on CD-R, most of which is now unreadable or in a landfill. Armed with only an Eko guitar, a black tuxedo, and his signature wrap-around shades, Charlie Megira was a mold-breaking artist who disintegrated while we were all staring at our phones. On his 2000 debut, Da Abtomatic Meisterzinger Mambo Chic, Megira channels the optimism of post-war America, narcoleptic surf, and the Twin Peaks soundtrack into a lo-fi masterpiece all his own. Sung in both Hebrew and English, Mambo Chic moves at a deliberate pace, unconcerned by the traffic of the modern world and wrapped in a blanket of Tascam 4-track hiss. On “Tomorrow’s Gone” Megira achieves the feat of being so far back in time that he’s somehow living in the future and waiting for the rest of us to arrive.

File Under: Surf, Garage, Goth
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Merzbow: Green Wheels (Urashima) LP
Originally released in 1995. Merzbow stands as the most important artist in noise music. Inspired by dadaism and surrealism, Japanese artist Masami Akitatook the name for his project from German artist Kurt Schwitters’s pre-war architectural assemblage The Cathedral of Erotic Misery or Merzbau. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise. Green Wheels is Merzbow in its most straightforward, most genuine, most uncontrolled and refined form. Originally released by the legendary US label Self Abuse Records in 1995 on CD and 5-inch vinyl record, both housed in a foil-lined cardboard box with the abstract and impressive art work created by the artist himself, which has become another of the fetishist objects of Merzbow and now incredibly hard to find. Like all of his work since the early nineties, Green Wheels is an uncompromising cascade of brutal noise. In this album you find nothing of the minimalism of his early ’80s, completely overwhelmed by synthesizers and handmade objects that become his unconventional weapons to create bursts of noise. The three tracks of the CD which are neatly reissued on the first three sides of the vinyl, radiate the listener from the rackets of a rain of nails on metal plates, the synthetic crashing of bombing, industrial percussion and the metal (green) wheels that roll and scrape. The last side of the record contains the two very short 5-inch tracks that hurt you with thousands of jabs in just a matter of minutes. Then closes with two unreleased tracks from the same fantastic mid-1990s period which can undoubtedly be considered two wonderful discoveries for their intensity and beauty; musical pieces that blend perfectly and complete the reissue on this double vinyl. When you get to the end of the fourth side, you will feel purified, once the granite landslide subsides. It is like mental liposuction, eradicating all anguishes and hesitations. Everything was perfectly recorded and mixed in March-May 1995 at ZSF Produkt Studio, Masami Akita’s home studio from the late ’80s to late ’90s; the outcome it’s warm and bright as the bare steel of Shinjuko skyscrapers under the (rising) sun of hot Japanese summers. Of all the incredible artists to have emerged from Japan’s thriving noise scene, it is hard to call to mind a figure as iconic, visionary, or influential as the composer and performer Masami Akita. Edition of 299.

File Under: Noise, Electronic, Japan
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Mighty Baby: s/t (Trading Places) LP
Trading Places present a reissue of Mighty Baby’s self-titled album, originally released in 1969. The obscure British prog band Mighty Baby evolved from an earlier group called The Action, a London Mod act that signed to Parlophone after building a strong live reputation, with guitarist Alan King, bassist Mike Evans and drummer Roger Powell, later expanded to include former Savoy Brown guitarist Martin Stone and keyboardist/sax player, Ian Whiteman. Moving heavily into experimental psychedelia in 1969, they cut this incredible debut album for the Head label, which is rightly hailed as one of the greatest psychedelic records of all time. With jazz, blues and improvisational references abounding, tracks like “Egyptian Tomb” and “House Without Windows”, the latter with its dramatic stereo drum panning, demonstrate why this disc is such a lost classic. 180 gram vinyl; gatefold sleeve. Licensed by Cherry Red.

File Under: Psych
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Muslims: Fuck These Fuckin Facists (Epitaph) LP
Taking inspiration from classic punk and Afropunk roots, The Muslims have successfully synthesized the “fuck you” energy of the oppressed into an ass-kicking, head-smashing, fascist-punching sonic experience. Fuck These Fuckin Fascists, is the ultimate document against all forms of oppression. It’s the perfect balance of humor, tenderness, and political rage, wrapped in affirmations for oppressed peoples. Musically, The Muslims continue to bring dynamic melodies to the foundation of classic punk riffs, sprinkled with out-of-this-world rhythmic outbursts. Lyrically, the band unapologetically uses music as a vessel to call out racism, the American political landscape, and white supremacy. The band’s leader and resident bad Muslim, Sheikh QADR, draws songwriting inspiration from trailblazing Black artists, such as Bobby Hackney Sr. (Death), Nina Simone, Jimi Hendrix, and Poly Styrene (X-Ray Spex), while drummer Ba7Ba7 and bassist Abu Shea blend their diverse musical backgrounds to drive a noisy-melodic truck into your face.

File Under: Punk
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Nuclear Assault: Handle With Care (Century Media) LP
Leaving Anthrax to their destiny, bassist (and co-founder) Dan Lilker formed another east coast group with Nuclear Assault, taking ‘Thrax roadie John Connelly with him on vocals and guitar. On the project’s 1986 debut, Game Over, whilst drawing from Lilker’s contributions to Fistful of Metal and Speak English or Die, Nuclear Assault unleashed a delightfully ugly thrash, crossover and speed metal hybrid dripping with humor and ’80s paranoia. The band jumped from Combat Records over to I.R.S. for 1988 follow-up Survive which became their first to break into the Billboard 200. 1989’s Handle with Care, featuring the single “Critical Mass,” would see the band at their commercial peak, hitting the U.S. charts at No. 126. Handle with Care was ranked at No. 7 on Loudwire’s Top Ten list of “Thrash albums NOT released by the Big 4.”

File Under: Metal
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Nunca Nada: Discordia (B.F.E.) LP
Minimalist post punk band from two ex-members of Antiguo Régimen completed with the recruitment of one member from the deep and lisergic pop band Tercer Sol. Nunca Nada has a strange, profound but austere sound.  As a trio the band permits itself to emphasize both the void and the intense with disarmingly simple lyrics that are vacant of decoration. Make-up and style become inauthentic when looked at in the mirror of frustration, a confrontation where silence is not an option. The day to day truth, unavoidable by its own nature, is spit out and proclaimed: everything is lost, there is no possibility for a positive outcome. Reminiscent of post-punk/new wave bands like Glorious Din, Chameleons, Wire or Wipers. Recorded by Pablo Peiró at Sountess Studio. Released by Flexidiscos and BFE Records

File Under: Post Punk
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Omni Gardens: Moss King (Moon Glyph) LP
Omni Gardens is the experimental ambient/new age project by Moon Glyph head Steve Rosborough. Recorded at home in Portland during the early days of covid, “Moss King” is relaxed home listening for difficult times. The first Omni Gardens release, “West Coast Escapism”, was expansive with a broad selection of soothing synth tones and morphing samples. In contrast, “Moss King” is a smaller, more intimate affair, full of fuzzy new age moog drifters and self-captured field recordings. The tracks bounce between minimalist twinkling synth plucks, ocean-backed synth pads and ambient pop forms. Playful, serene and healing sounds for watching your plants grow.

File Under: Ambient, New Age
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RNA Organism: Unaffected Mixes Plus (Day Tripper) LP
“R.N.A. Organism landed themselves a place on the legendary Vanity Records roster after sending label head Agi Yuzuru a cassette by air mail in order to fool him into thinking they were from overseas. The ploy worked, and the group soon entered the studio for free-form sessions of minimalistic, rhythmic excursions played on an array of synths, drum machines and other gadgets. Working with producer Kaoru Sato (later of EP-4), RNAO made cut ups of the studio sessions for a hallucinatory trip through late 70s/early 80s industrial clang and psychedelic sound collage. The bulk of these mixes were, however, rejected for being too extreme, and their sole resulting album R.N.A.O. Meets P.O.P.O. (Vanity 0006,1980) primarily featured the straighter iterations. Luckily, the rejected mixes were archived on (recently unearthed) cassettes and are now available for the first time, in full, 40 years after they were recorded.”

File Under: Experimental, Japan, Vanity, Electronic
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Clara Rockmore: Theremin (Fantome Phonographique) LP
Fantôme Phonographique present a reissue of Clara Rockmore’s Theremin, originally released in 1977. Lithuanian-born violin prodigy Clara Rockmore became the best-known master of the electronic theremin after emigrating to the USA, her uncommon approach enabling its integration in the classical milieu even as she refined its construction. This landmark debut surfaced in 1977, when she was already 66; produced by synthesizer pioneer Bob Moog and featuring her sister Nadia on accompanying piano, Theremin (aka The Art Of The Theremin) showed all the majesty and grace of Rockmore’s approach to the theremin, her classical grounding and virtuosity enabling an emotive response from the instrument, with uncommon nuances of pitch, tone, and cadence. This one-off masterpiece is a musical gem ripe for rediscovery, a must for all fans of the theremin and anyone interested in the nexus of the classical and electronic forms. Edition of 500; hand-numbered.

File Under: Early Electronic, Theremin
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Gunter Schlienz: Orphee aux Enfers (Moon Glyph) CS
Günter Schlienz is an electronic musician and composer based in Stuttgart, Germany. He combines do-it-yourself modular synths, tape machines, guitar and field recordings to create cascading layers of ambience verging on musique concrète. On “Orphée aux Enfers”, Schlienz combines his synthesizers with numerous acoustic instruments: viola, strings, piano, voices and undefined textures. Bringing in these acoustic sounds allowed Schlienz to collaborate with many musicians lending their unique talents. The results are hypnotizing, a casual stroll through a wash of otherwordly melodies and unique soundscapes of looped voices, circular strings and resonant synthesizer passages. There’s a sophistication and light touch across “Orphée aux Enfers” giving the album it’s purposeful aesthetic and casual grace.

File Under: Electronic, Ambient, Kosmische
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SiP/Prezzano: s/t (Moon Glyph) CS
SiP/Prezzano is the collaboration between Pete Prezzano (Love All Day records) and Jimmy Lacy (SiP). Prezzano on modular synth and melodica and Lacy on synthesizers, drum box and percussion. These songs have been bubbling under the surface since 2018/2019 and were performed live in Chicago, eventually honed into the playful melodicism that’s ever-present on “SiP/Prezzano.” The collaboration sounds natural and effortless, a seamless blending of two distinct musical personalities. With percussive and modular backing, the interweaving melodica and lead synths cosmically zone-out or stroll along with a lighthearted serenity. The like-minded vision and modal melodic sensibility from both players highlight their ability to create something both distinctly theirs and summarily its own.

File Under: Ambient, Electronic
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Sophie Du Palais: Endurance of Pain is the Power of Being (B.F.E.) LP
One of the bright talent emerging from the current Netherlands‘ electronic underground scene is the German and Amsterdam-based, ‘fetish-inclined’, vocalist and performer Sophie du Palais ((Pinkman, Dekmantel Recordings)) also known as “Vrouwe Fataal”. She presents debut solo LP ‘Endurance of Pain is the Power of Being’ Sinister industrial wave music exploring themes of lust, hedonism, technological obsession & millennial alienation Across six tracks, Du Palais unravels a potent signature, driven by fierce, imperious Anglo-Germanic vocals and eclectic, dissonant sounds. Connecting techno, EBM, acid and electro with vestiges of dub and experimental electronics, on ‘Endurance of Pain…’ Du Palais conjures an abrasive, intoxicating depiction of lust, hedonism, technological obsession and millennial alienation. With the cruising techno pop menace of ‘Slow Steady Cum’, Du Palais introduces a nocturnal underworld. The descent is intensified by the mania and murk of ‘Glazed Disco Ball’ – a suspenseful dose of guttural low end, scowling spoken words, and crude drum machine clatter; if Gudrun Gut fronted Suicide. Then ‘Boys Tears’ elaborates on the dread and the sleaze with a horror show of gurgling synthesis, drubbing percussion and dissolute enunciations, halfway between John Carpenter and Unit Moebius. From there ‘Up To No Good’ brings proceedings into a severe form of heat and frenzy, outlaying an exchange of raw jackhammer rhythms and vociferous punk chants that recalls Liaisons Dangereuses’ timeless underground classic ‘Los Niños del Parque’ if remade for 2021. ‘Smash The Mirror’ then finds room for scintillating dub recurrence and freakish machine funk before Sophie concludes the set with the sardonic electro-clash anthemics of ‘2001’, a provocative exploration of self, communication, and compulsion in the digital era. Miss Kittin meets Dopplereffekt for a technoid bonfire of the vanities. ‘Endurance of Pain…’ finds Sophie Du Palais seizing an uncompromising sense of style and intensity, an emergent new artist navigating a merciless, pleasure-seeking existence, from club to bedroom to screen, facing it all down with a cold glare, ready to light the fuse.

File Under: Electronic
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Tibor Szemzo: Arbo X (Fodderbasis) LP
Tibor Szemző is not only a skillful and experienced Hungarian musician but also a media artist with a vast imagination. His last LP, Arbo X – Csoma Grooves, refers to his full-length film A Guest of Life released in 2006, for which he not only directed but also composed all the music. The film is inspired by the life of Alexander Csoma de Körös, a remarkable polyglot from the 19th century who set out from his native Transylvania to central Asia on foot to look for the roots of the Hungarian language. He reached Tibet, dedicated the rest of his life to study of Tibetan manuscripts and finally became the founder of Tibetology. After 14 years, Tibor Szemző decided to explore the theme further and composed the cinematic performance, Silverbird and the Cyclist, where he as narrator presented the story of Csoma from a different perspective. Arbo X is the music from this performance and it is based on the soundtrack of the original movie but the material has been restructured and enhanced by new layers. There are fourteen relatively short tracks on the album and each of them has a very specific character, sometimes mysterious as the titles of the tracks themselves. Their arrangement is ingeniously composed. Szemző’s typical bass flute and voice with percussion accompaniment on the first track “Axis” is a very impressive introduction to the whole album. The following tracks build up a series of colorful sound parables, which are in no way descriptive. Every element, whether it’s a double bass, viola, soprano voice, vocal trio, or electronics, fits perfectly within the overall sound fabric with effective timing. Listening to Arbo X one unwittingly concentrates on interweaving details without losing the sense of the whole. It’s certainly a great benefit, as in previous recordings, that most of the musicians participating in the recording of Arbo X are very familiar with Szemző’s music and his collaboration with some of them goes back to Group 180, a new music ensemble he founded in 1978 and soon earned international acclaim. This most recent album belongs among a long line of recordings that Tibor Szemző has released during his musical career and displays great compositional complexity and a keen sense of a perfectly balanced sound spectrum. Mastered by Istvan Szelenyi. Edition of 300.

File Under: Experimental
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Jeff Tweedy: Chelsea Walls OST (Omnivore) LP
The same year of his Oscar-nominated performance in Training Day, Ethan Hawke made his full-length film directorial debut with Chelsea Walls (starring Kris Kristofferson, Uma Thurman, Vincent D’Onofrio, Robert Sean Leonard). A fan of Wilco, Hawke approached Jeff Tweedy about scoring the film, and Tweedy agreed. Around this time, Tweedy had collaborated with musician and producer Jim O’Rourke (Sonic Youth, Stereolab) for a special live performance. As fate would have it, O’Rourke had been working Glenn Kotche, and O’Rourke introducing Tweedy to Kotche would lay the groundwork for the trio’s work together on the debut album by their band, Loose Fur. Tweedy also asked Kotche to work with him on an improvised soundtrack to the movie he had agreed to score. The relationships moved past Loose Fur and the Chelsea Walls: Soundtrack. Wilco was in the process of a creative sea change, the result of which would be the modern-day masterpiece, Yankee Hotel Foxtrot. Kotche joined Wilco and O’Rourke mixed Yankee Hotel Foxtrot. The soundtrack to Chelsea Walls featured improvised instrumentals by Tweedy and Kotche, as well as vocal performances from the film’s Robert Sean Leonard (whom Hawke met when they both worked on the film Dead Poet’s Society), Steve Zahn (Reality Bites, That Thing You Do!), jazz legend “Little” Jimmy Scott, plus contributions from Billy Bragg, and Wilco themselves. Two decades later, this influential soundtrack returns, not only with two previously unissued bonus tracks, but for the first time as a double-vinyl LP. The bonus tracks include Leonard’s performance of Wilco’s “Promising” previously only available in the film, and an extended version of Tweedy & Kotche’s “Finale.” The packaging contains new photos, new and original liners from Hawke, a remembrance from Kotche, and an interview between Tweedy and Grammy-winning set producer Cheryl Pawelski. Chelsea Walls is a pivotal piece in the creative development of Tweedy and Wilco as they emerged into one of the most important bands of our time. Critically, it revisits the creative burst that would lead to one of the first true masterpieces of the 21st Century in Yankee Hotel Foxtrot. “It was pivotal for me. There was a burst of creativity that continues to this day because I took the last remaining guardrails off of what I’d been willing to allow myself to do,” shares Tweedy.

File Under: OST
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Ween: At The Cat’s Cradle, 1992 (ATO) LP
From the vaults: At Cat’s Cradle, 1992 captures the original two-man band – Dean, Gene and some samples, tapes, and a drum machine. Originally released on CD/DVD in 2008, the rare full Ween show (featuring 21-tracks) is now available for the first time on vinyl here as a colored 2LP-set. For anyone who caught them live around this time, the shows were unreal and unforgettable.

File Under: Rock
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Collin Gorman Weiland: Now & Thus (Moon Glyph) LP
Collin Gorman Weiland is a multi-disciplinary musician & engineer with a deep history in the DIY scene of Minneapolis. He’s a prolific solo musician as CGW, Roy Orb DMT, Camden and as part of the groups Daughters of the Sun, Leisure Birds and Geiger Counter, to name a few. Moon Glyph has worked with Collin since the inception of the label, releasing his work in Daughters of the Sun and Camden as early as MG05 & MG09. He has also contributed immensely to the overall sound of Moon Glyph as our regular mastering engineer. With his latest, the “Now & Thus Suite”, Collin has recorded a very personal ambient drifter LP which harkens back to private press records. The sound is fuzzy and all-encompassing; combining roughly sewn synthesizers, manipulated piano, sampled orchestras and sermons alongside contributions from other Minneapolis heads such as Chris Farstad (555, Food Pyramid) on bansuri flute and Jason Edmonds (Magic Castles, Erros Mágicos) on singing bowls. The final album is immersive, billowing and otherworldly, a beautiful tribute to time and time’s past.

File Under: Ambient, Electronic
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Witch: Introduction (Now Again) LP
Limited 2021 repress. “Archival reissue of the private-press, first issue of the album that launched Zamrock movement in 1972. Completely different recordings of the songs from the better-known Zambia Music Parlour album. Originally pressed in a run of just a few hundred copies and sold by the band at their live shows, this is the first ever reissue of this garage-rock masterpiece.”

File Under: Africa, Psych
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Various: Amethyst (Moon Glyph) CS
Moon Glyph is pleased to present a compilation of new, unreleased tunes from established veterans of the label and newcomers alike. Staying true to Moon Glyph’s transportive aesthetic, “Amethyst” spans across abstract genres from ambient, psychedelia, jazz, electronic, fourth world percussion and more. Across its 17 tracks, you’ll hear Cole Pulice’s hypnotic overlapping saxophones, Vic Bang’s intricate arrangements of micro samples, IE’s patient desert landscapes and Starbirthed’s shimmering celestial guitars. Opening the compilation, Iceblink’s playful and adventurous melodicism morphs into Omni Gardens’ fuzzy synth and vibraphone. SiP expands his songwriting with loose and ecstatic textures and more organic tones. Tracks from Lee Noble, Pulse Emitter and Electric Sound Bath dive deep into all manners of synthesized sounds with abstract, ambient and otherworldly timbres. Nicholas Gaunin’s jungle field recordings and percussion sit comfortably nestled into fourth world zones. Songs from Noah Klein and Mark Tester create ambience with a casual sophistication, melding acoustic instrumentation alongside the electronic. Nuke Watch continues with their unclassifiable jazz with oddball percussion and freeform keyboards. There’s Landon Caldwell’s airy flute, sax, marimbas and wind chimes. And the cascading wash of synth and guitars from Grapefruit. And the trippy full band weirdo psychedelia of American Cream Band. Moon Glyph’s vision for a contemporary record label continues to expand by seeking the adventurous, the weird and the new.

File Under: Ambient
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Various: Environment for Sextet (Ictus) LP
Reissue, originally released in 1979. Recorded live at WKCR Radio in New York City in 1978 and issued by Ictus the following year, Environment for Sextet encounters John Zorn at the earliest stages of his career, resting within a sextet of a new generation of stunning improvisers emerging at the tail end of the ’70s who would go on to define a vast swath of the ’80s sound — Polly Bradfield on violin, Andrea Centazzo on percussion, Eugene Chadbourne on guitar, Tom Corra on cello, and Toshinori Kondo on trumpet — it roughly builds on the series of collaborations that had featured on Centazzo’s 1978 Ictus LP U.S.A. Concerts. Launching from a total wall of sound — full throttle fire on the boundaries of outright noise — Environment for Sextet takes the listening on an endlessly surprising journey through its players’ inner world, shifting between airy open passages that feature endless combinations of one or more players, to furious moments of sonorous lashings where the group falls in together in brilliant dialogical periods of conversant texture and tonal intervention. An engrossing and relentless listen from the first moment to the last — featuring two works built from two of Andrea Centazzo’s earliest graphic scores — Environment for Sextet is an absolutely stunning body of improvised work by what were then among the most important rising stars on the free music scene. Edition of 250.

File Under: Jazz, Improv
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Various: Gunsmoke Vol. 7 (Stag o Lee) 10″
Seventh volume in a limited-edition Gunsmoke series on Stag-O-Lee. This is a collection of oddball country weepers, moody rockabilly, widescreen country and western, and popcorn noir from the 1950s and early ’60s. So, turn out the lights, sit back and relax to the soundtrack from a jukebox in a ghost town… For best results: listen to after dark! Features Curly Sanders And The Santones, Larry O’Keefe, Carl Ace Carter, Virgil Holmes, Del Ray And The Roamers, The Neutrons, Dean Carr, Northern Lights, Tommy Angel, Ronnie Cazad With The Echo Valley, Jim Solley And The Lubocs, and Wayland Chandler. Packaged in a nice 10″; edition of 666.

File Under: Rockabilly, Western
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Various: Rockinitis Vol 4 (Stag O Lee) LP
With Rockinitis Stag-O-Lee champion electric-guitar blues from the ’50s and early-60s. Unfettered pleasure in the form of Black dance music. This fourth installment of the series may be the hottest yet. Barcelona’s Fonsoul has been neck deep in records his whole life. After kicking around in indie bands during the ’90s, he started DJing and turned his focus towards collecting African American music forms in their original 7″ format. Check out his incredible YouTube channel to hear the results of this obsession. Fonsoul has also contributed superb mixes to Jester Wild, Jukebox Jam, Buzzsaw Joint, Cool Cat, and A Wamba Buluba. He’s been running the Double Cookin’ club for over a decade and is a regular guest at clubs and weekenders throughout Europe. Mace was born and bred in Stoke-on-Trent. From the Mod revival scene he got into ’60s soul and R&B. He’s been relieving northern soul record dealers of gritty and bluesy 45s for years. His passion for finding obscure ’50s blues and ’60s R&B drew him to record fairs in the USA. Now he makes a living trading vinyl. A DJ since his late teens, Mace has put on many events, including The Federal R&B Club in Crewe. He’s also a resident DJ at Sheffield’s legendary Pow Wow. Features Buddy Johnson And His Orchestra, Big Tiny Kennedy And His Orchestra, Little Arthur Mathews, Solomon Burke, Robert T. Smith With Toby Pride’s Orch., Jimmie Raney & Slim Slaughter, Henry Moore With Willard Burton And Orchestra, Mel Alexander And Movin Master’s Band, Paul Gayten, Little David, Blues Slim, Little Ray, Mojo Watson, Sam Baker, Charles Sheffield, and Freddy King. 180 gram, yellow vinyl; hand-numbered.

File Under: Rockabilly, Exotica
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Various: This is Tehran? (30M) LP
Tehran — Iran’s cultural melting pot with a population of 15 million. There is a broad and lively music scene, about which little is known in the West. In Tehran, traditional music from Baluchistan in the south or Kurdistan in the west meets the hip trends of the metropolis. This Is Tehran? invites you to discover this music scene and marvel at its diversity. From contemporary classical sounds with Saba Alizadeh on the Iranian spiked fiddle Kamanche or Siavash Molaeian together with Kasra Faridi on the piano to the well-known experimental electronic musician Ata “Sote” Ebtekar. The electronic beats of a cooperation of Ehsan Abdipour and Andreas Spechtl stand naturally next to almost jazzy sounds of a Parastoo Ahmadi or Mina Momeni. The Otagh Band invites you to the dark, trip-hop laden “Rotenburg 2020”, which they wrote about the cannibal of Rotenburg. This Is Tehran?: a showcase of Iranian music that makes one curious and invites you on a musical journey, as you have certainly not imagined! Also features Hooshyar Khayam & Bamdad Afshar, Pedram Babaiee, and Rojin Sharafi.

File Under: Middle East
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Aphex Twin: Selected Ambient Works (R&S) LP
Ash Ra Tempel: Schwingungen (MG Art) LP
Band: Cahoots (Craft) LP
Art Blakey: First Flight to Tokyo (Blue Note) LP
Bohren & Der Club of Gore: Black Earth (PIAS) LP
Bohren & Der Club of Gore: Sunset Mission (PIAS) LP
Burial: s/t (Hyperdub) LP
Don Cherry: Om Shanti Om (Black Sweat) LP
Danzig: 5: Blackacidevil (Cleopatra) LP
Miles Davis: Big Fun (Music on Vinyl) LP
Miles Davis: Miles in the Sky (Music On Vinyl) LP
Miles Davis: On the Corner (Music on Vinyl) LP
Mac Demarco: Rock And Roll Night Club (Captured Tracks) LP
Mac Demarco: Salad Days (Captured Tracks) LP
Mac Demarco: This Old Dog (Captured Tracks) LP
Bill Evans: Symbiosis (MPS) LP
Dangerdoom: Mouse & the Mask (Lex) LP
JJ Doom: Key to the Kuffs (Lex) LP
Kelly Finnigan: The Tales People Tell (Colemine) LP
Floating Points & Pharoah Sanders: Promises (Luaka Bop) LP
Ryo Fukui: Scenery (We Release Jazz) LP
Ryo Fukui: My Favorite Tune (We Release Jazz) LP
Godspeed You! Black Emperor: Lift Your Skinny Fists (Constellation) LP
Manuel Gottsching: E2 – E4 (MG Art) LP
Manuel Gottsching: Inventions for Guitar (MG Art) LP
Husker Du: Zen Arcade (SST) LP
Ignatz & De Stervende Honden: Saturday’s Den (Ultra Eczema) LP
Ikebe Shakedown: Kings Left Behind (Colemine) LP
Durand Jones & The Indications: Private Space (Dead Oceans) LP
Khruangbin: Mordechai (Dead Oceans) LP
Lord Huron: Long Lost (Republic) LP
Molchat Doma: etazhi (Sacred Bones) LP
Thelonious Monk: Straight No Chaser (Music on Vinyl) LP
Thelonious Monk: Underground (Music on Vinyl) LP
My Bloody Valentine: Loveless (Domino) LP
New Order: Power, Corruption, & Lies (Rhino) LP
Nirvana: In Utero (Geffen) LP
Nirvana: MTV: Unplugged in New York (Geffen) LP
Organization: Tone Float (Victory) LP
Persona: Som (Black Sweat) LP
Portishead: Dummy (Mercury) LP
Privat: Ein Ged… (Alter) LP
Propagandhi: Today’s Empires, Tomorrow’s Ashes (Fat Wreck) LP
Radiohead: King of Limbs (XL) LP
Rodriguez: Cold Fact (Universal) LP
Arthur Russell: Another Thought (Be With) LP
Ayane Shino: Sakura (Mental Groove) LP
Smiths: Hatful of Hollow (Rhino) LP
Smiths: Queen is Dead (Rhino) LP
Stereolab: Peng! (Too Pure) LP
Stereolab: Groop Played Space Age Bachelor Pad Music (Too Pure) LP
Stereolab: Transient Random-Noise Bursts with Announcements (Duophonic) LP
Hiroshi Suzuki: Cat (We Release Jazz) LP
Taylor Swift: Red (Republic) LP
Tropical Fuck Storm: Deep States (Joyful Noise) LP
Marcos Valle: s/t (Mr. Bongo) LP
Wilson Tanner: II (Efficient Space) LP
Thom Yorke: Anima (XL) LP
Thom Yorke: Tomorrow’s Modern Boxes (XL) LP
Various: Tokyo Flashback (Black Editions) LP