Author Archives: listenrecords

…..news letter #810 – stocked…..

Finally, lots of stock of the War on Drugs this week. And a big restock on The National and Queens of the Stone Age in time for the weekend… Still no more LCD, but there’s a ton of great other new things to satisfy your thirsty ear buds. Lots of great used as always as well. Dig.

…..picks of the week…..

takada

Midori Takada & Masahiko Satoh: Lunar Cruise (WRWTFWW) LP+CD
Marks the title’s first ever vinyl release; Cut at Emil Berliner Studios; Housed in a 350 gsm sleeve; Includes CD with all ten tracks. We Release Whatever The Fuck We Want Records present a reissue of Midori Takada and Masahiko Satoh’s Lunar Cruise, originally released in 1990. Following the successful reissue of Midori Takada’s Through The Looking Glass, WRWTFWW Records present another release from the legendary Japanese percussionist: 1990’s Lunar Cruise, her superb collaboration with jazz pianist, synth master, composer, and arranger Masahiko Satoh. Arguably the best kept secret in Midori Takada’s fascinating discography, Lunar Cruise is an under-the-radar masterpiece that captures Takada (on marimba and minimal percussion set-up) and Satoh (on Korg M1 and Yamaha DX7II synths, Ensoniq EPS sampler, and acoustic piano) vibrantly fusing traditional African and Asian percussion with jazz, ambient, and minimalism. The album also features the great Haruomi Hosono (Yellow Magic Orchestra, Happy End) and Kazutoki Umezu (saxophone, clarinet).

File Under: Electronic, Experimental, Percussion
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kirchin

Basil Kirchin: Basil Kirchin is My Friend (Trunk) LP
An awe-inspiring sampler of the late, great musical polymath’s music. From pop punk pop to field recordings, jazz, horror film music, ambient sounds, experimental ideas and all points in between. Many tracks have not been released before. Basil Kirchin was a unique talent. A man brought up as a drummer in the post-war big band era, he soon shunned the sounds of London ballrooms for world travel, marijuana, and spiritual enlightenment. On his return to London in the mid-1960s, he started work on experimental “sound picture music”, a direction that led him into horror film music, library music, and eventually, to field recordings. He then developed the idea of slowing down the sounds of bird, insects, animals, autistic children — anything he recorded in fact — to reveal the hidden particles of sound that made them up. Mixing this with free jazz improvisation in 1969, he developed a new, peculiar sound that is now known as “ambient”. Here, in this unique Trunk Record’s sampler, the label offers a fascinating musical glimpse into his world, bringing together work from three decades, plus parts of a long conversation between Jonny Trunk and Basil Kirchin, recorded a few months before Kirchin died. There is unreleased film music, field recordings including autistic children from Schurmatt, music for advertising, the opening of Quantum (JBH 003CD), brilliant mixes of jazz and birds (“Charcoal Sketches”), the newly discovered digital post punk classic “Silicon Chip”, plus brilliant and moving homages to his life with Esther, his wife. Together it makes extraordinary listening. All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle.

File Under: Jazz, Library, Experimental
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…..new arrivals…..

ebll

Chris Bell: I am the Cosmos (Omnivore) LP
Chris Bell was an immensely gifted songwriter, performer and producer. As a founding member of Big Star and as a solo artist he struggled to have his songs heard. Sadly, the Memphis-born artist did not live long enough to see the enormous impact his music – both with Big Star and as a solo artist – would have on future generations. The beginnings of I Am The Cosmos can be traced back to 1972, when Bell left Big Star, the seminal power-pop outfit he helped found. After helping Big Star write and record a few songs for Radio City, the band’s follow-up, Bell left for France in 1974. While there, he recorded several demos at Hérouville Studios for a planned solo album. Following the sessions, Bell and his brother David took the tracks to a London studio owned by the Beatles’ producer George Martin, where they mixed the songs with Geoff Emerick, who engineered several of the Beatles’ albums. The songs were shelved and Bell returned home to Memphis, where he recorded more songs with a revolving cast of Memphis musicians. In 1978, Car Records released a single featuring Bell’s “I Am The Cosmos” b/w “You And Your Sister.” Encouraged by the positive reaction to the single, Bell was planning a return to music when he was killed in a car accident in 1978, two days after Christmas. His music remained unreleased until 1992, when several of his demos were released posthumously as I Am The Cosmos. The 12 tracks highlight Bell’s ethereal vocals, his uncanny sense of song structure and insightful, melancholy lyrics, all of which illuminate his often-overlooked contribution to Big Star. I Am The Cosmos is a haunting pop masterpiece ripe for discovery.

File Under: Rock, Power Pop, Big Star
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berrocal

Jac Berrocal: La Nuit Est Au Courant (Souffle Continu) LP
Souffle Continu Records present the first vinyl edition of Jac Berrocal’s La Nuit Est Au Courant, originally released on In Situ in 1991. Ornette Coleman’s “Lonely Woman” on the radio, Renaissance motets, his grandfather in a Zouave military band, Syrian deserts… Columns of tanks in the streets, the soundtrack to Robert Bresson’s A Man Escaped (1956), Juan Manuel Fangio’s car, the fall of the Berlin wall: from the first and fantastic Musiq Musik (1973), this is where Jac Berrocal’s trumpet comes from — an indescribable cataclysm to which he constantly returns for inspiration. When he published, at the beginning of the 1990s, La Nuit Est Au Courant, Jac Berrocal had already recorded his famous “Rock’n’Roll Station” and collaborated three times with Nurse With Wound, he figures on their 1979 list as an important avant-garde influence. In Situ, the French label which published this album, produced several other historically important albums in the same year by people like Steve Lacy, François Tusques, Un Drame Musical Instantané, and Daunik Lazro in a duo with Joe McPhee: such were the times. Backed by two bassists (including the jazz critic Francis Marmande) and a drummer, Jacques Thollot (who recorded Jeter La Girafe À La Mer (1971), one of the highlights of the French underground), Jac Berrocal does here what he does best: defy labels and slalom between genres; constructing a strange kaleidoscope of enchanting mish-mash. “What is vulgar… “, he states, “… is to refuse what pleases you”. Jac Berrocal refuses nothing and tries everything he can imagine. With the trumpet multiplied here and there by reverb, the nocturnal perambulations for insomniacs of La Nuit Au Courant make it an ambient album with Prague, Sartrouville, Ivry-sur-Seine or East Berlin amongst the backdrops… An album of what Fernando Arrabal called “panic music”, an elegant term for “no wave”… Listening to it over and again, it sounds like Don Cherry jamming with David Bowie and Brian Eno in Berlin. There is one thing you should know: Jac Berrocal is an intrepid man. He stands exposed — and “sullies his soul”, on the edge of the precipice. The nights are all-knowing. Licensed from In Situ. Obi strip; Reverse printing; Includes four-page booklet; Edition of 700.

File Under: Free Jazz, Improvisation
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beyonce

Beyonce: Lemonade (Columbia) LP
Beyonce’s powerful Grammy-winning 2016 album Lemonade served as her sixth studio effort overall, a bold conceptual project loaded with subtext and based on every woman’s journey of self knowledge and healing. This is the first pressing of the 180g, yellow colored, four-sided LP version of the album, allowing for a higher sound quality. Encompassing a variety of genres including R&B, rock, soul, gospel, hip-hop, pop, and blues plus equally as diverse guest artists like James Blake, Kendrick Lamar, The Weeknd and Jack White, Lemonade debuted at No. 1 on the US Billboard 200 and was one of the biggest selling and acclaimed albums of the year. As artistically ambitious as is it is emotionally raw Lemonade simultaneously set a new standard for the Queen Bee and pop music in general. “Lemonade draws from the prolific literary, musical, cinematic, and aesthetic sensibilities of black cultural producers to create a rich tapestry of poetic innovation. The audacity of its reach and fierceness of its vision challenges our cultural imagination, while crafting a stunning and sublime masterpiece about the lives of women of color and the bonds of friendship seldom seen or heard in American popular culture.” – Peabody Award Winner

File Under: Pop, R&B, Hip Hop
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bley

Paul Bley: Improvisie (Bamboo) LP
Bamboo present the first ever reissue of Paul Bley’s Improvisie, originally released in 1971. Recorded Live March 26th, 1971 at Club B14 in Rotterdam, Netherlands, Improvisie is a part of the 1971 trilogy of Paul Bley and Annette Peacock’s combined experimental recorded work. Together with recent reissues of 1971’s The Bley Synthesizer Show  and 1972’s Dual Unity, Improvisie is taken from a compelling period for two iconic figures of the free jazz movement, and their pioneering use of the first-ever Moog synthesizers. Includes expansive liners with interviews and rare archival photos; Professionally remastered original sound recoring.

File Under: Free Jazz
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foo fighter

Foo Fighters: Concrete & Gold (RCA) LP
“I wanted it to be the biggest sounding Foo Fighters record ever. To make a gigantic rock record but with Greg Kurstin’s sense of melody and arrangement.” So speaks Dave Grohl of the mission statement made manifest in Foo Fighters’ ninth epic, the aptly-titled Concrete and Gold. Just as Foo Fighters’ anthem of the summer “Run” “opens as a dreamy, slow burner then quickly turns heavy as thunder” (Billboard) with its “huge triumphant chorus” (Stereogum), Concrete and Gold marries some of the most insanely heavy Foo Fighters riffs ever with lush harmonic complexities courtesy of a first time team-up with producer Greg Kurstin (Adele, Sia, Pink). “So I think maybe Greg is the guy that we ask to be our producer because he’s never made a heavy rock record before and we’ve never worked with a pop producer,” adds Grohl. Darrel Thorp (Beck, Radiohead) was soon enlisted to mix and engineer. This collective conceived a blueprint of the new record as, “Motorhead’s version of Sgt. Pepper…or something like that,” secretly booking into Hollywood’s esteemed EastWest studios to consummate this marriage of extremes…or as Grohl puts it: “Our noise and Greg’s big brain and all of his sophisticated arrangements and composition.” Months, sounds, stories and so many guitars later, the 11-Grammy-winning, 25+ million-record-selling, last great American stadium rock band completed its most ambitious album to date.

File Under: Rock
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fortune

Iona Fortune: Tao of I (Optimo) LP
Optimo Music present Iona Fortune’s Tao Of I. Iona Fortune is a composer and producer from Glasgow and presents the Tao Of I album as her debut release. Inspired by Eastern Philosophy and slated to be the first in an eight album series exploring all the symbols of the I Ching, her music is influenced by oriental sounds and features a palette of instruments that includes the guzheng, gamelan, and Synthi AKS. The overall effect is a singular and beguiling sound that loosely fits in with the Fourth World concept imagined by Jon Hassell, and indeed Iona Fortune has also contributed a track to Optimo Music’s Fourth World compilation Miracle Steps.

File Under: Electronic, Ambient
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german

German Oak: Down in the Bunker (Now Again) LP
“The 6th entry in the Now-Again Reserve Edition series is the definitive reissue of a lauded and misunderstood Krautrock album as well as the first band-sanctioned reissue in the series. The most mysterious Krautrock album, German Oak’s Down In The Bunker has been fetishized and demonized, lauded and misunderstood for nearly four decades. In this definitive Reserve Edition of the album, the German Oak trio — together again after 30 years apart — have approved the remastering of their 70s music; finally tell the story behind the creation of their dark, brooding album — and the occult-obsessed record collector behind the original album’s release and its myth — and they share previously unreleased music and photos.”

File Under: Krautrock, Psych, Freakout
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jaeger

Kassel Jaeger: Aster  (Editions Mego) LP
The frontier for French electroacoustic mystical music has traversed much ground since Pierre Schaeffer shuffled on the past and laid out a map without borders or designated ground. Seventy years in this land of the fried, there are a plethora of Ideas and ongoing potential coming from all corners of the globe. Inheriting the wisdom of past masters whilst forging a signature style of his own, Kassel Jaeger sits as one of the premier explorers of these unknown worlds today. Comprised recently recorded tracks, Kassel Jaeger presents a work of revisits and re-workings, one which acts as a hinge in both closing this particular chapter, whilst opening up the windows to a new sound world. In Aster, rich deep music is replete with dark ambient sonorities swirling amongst intense buzzing tones. Often chilling and ominous, this is a fearless music with abstracted corners and dynamic leverage. Unafraid to embed itself in the ongoing whirlpool of sonic progress. Jaeger’s output remains a thrilling body of exploration and ongoing transformation. Photos by Ende Wieder; Design by Stephen O’Malley.

File Under: Electronic, Drone, Ambient
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lowe

Robert Aiki Aubrey Lowe: Levitation Praxis Pt 4 (Demdike Stare) LP
Robert Aiki Aubrey Lowe’s incredible experiments with Harry Bertoia’s sound sculptures are here documented on this beautiful new edition for Demdike Stare’s DDS imprint, coinciding with his appearance on Semtember 2017’s issue of The Wire magazine. Lowe is something of a polymath; having started out as part of math rock outfit 90 Day Men and doom metal trio Om, he progressed to forge his own solo work (often under the Lichens moniker), as well as a whole slew of collaborations, including work with Johann Johannsson on scoring both Arrival (2016) and Sicario (2015), an acclaimed album with Ariel Kalma for RVNG Intl’s FRKWYS series, plus active involvement in site-specific video art and sound installations. His most recent work under his own name has seen him release diverse music for Type, Latency, More Than Human, and, of course, DDS who have, with this album, presented what might just be the most beautiful Robert Aiki Aubrey Lowe artefact thus far. In 2016, Lowe was commissioned by New York’s museum of Arts and Design to contribute to a Harry Bertoia exhibition, which he undertook alongside video director Johann Rashid. He was asked to create sound recordings with Sonambient sculptures; metal rods and gongs that produce highly distinct, resonant sounds when struck, brushed, or touched. Beginning in 1968, Bertoia set up an eighteenth-century stone barn on his property in Barto, Pennsylvania, to house these sculptures and from which he would go on to record works for his highly collectable Sonambient label, as recently documented on Important Records’ breathtaking box set and reissue series. Lowe was given full access to the barn, beautifully filmed footage of which can be found on YouTube. Lowe’s work with these sculptures is quite unlike anything you might have heard from those original Bertoia recordings. Instead of serendipitous improvisation, Lowe weaves his way through the sculptures on a path that was mapped out in advance, imbuing them with a more “composed” and arranged feel. As well as that familiar and distinct sound palette, he subtly manipulates and feeds in vocal layers that take proceedings into ever more ethereal and haunting dimensions. Mastered and cut by Matt Colton.

File Under: Ambient, Experimental, Sound Sculptures
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manek

Tarquin Manek/Martina Quake: Locks on Our Doors Not Our Hearts (Blackest Ever Black) LP
Locks On Our Doors Not On Our Hearts utilizes EMS VCS3, Oberheim OB-Xa, and ARP 2600, in combination with cheap, contemporary consumer electronics. It is, in all intents and purposes, a short, cautionary story about love. It is also a folk-tale, a science fiction, a suicide note. Unusually for a long-form spoken word piece, it is immediate in its impact, and lasting in its effect. The narrator is damaged and unreliable: Martina Quake’s voice, digitally processed into a flat, AI affectless-ness, conveys this all too well. Is this the vernacular poetry of the Uncanny Valley, or is it just that loss makes robots — numb and listless not-quite-humans — of us all? Locks revels in the space between the spontaneous and the programmed (what is a poem if not a program?). It’s part Tales Of The Unexpected, part Susan Howe, part Ruth Rendell, part HAL (or Holly). Tarquin Manek’s music is widescreen but understated… A becalmed landscape populated by distant drones, just-out-of-focus field recordings, and phased, minimalistic, Rhodes-style keys — a sort of somber, lunar jazz. Just as Quake’s words are cumulative in their tragedy, the music grows more agitated and turbulent, at certain points harking back to the smoked-out psycho-acoustics of Manek’s 2015 Blackest Ever Black LP, Tarquin Magnet, and his work in F ingers, with Samuel Karmel and Carla dal Forno.

File Under: Experimental, Electronic
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mogwai

Mogwai: Every Country’s Sun (Temporary Residence) LP
Indie coloured vinyl in stock, DLX box coming soon. Every Country’s Sun takes two decades of Mogwai’s signature, contrasting sounds – towering intensity, pastoral introspection, synth-rock minimalism, DNA-detonating volume – and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. Produced by psych-rock luminary Dave Fridmann, it’s a structural soundscape built from stark foundations up; from a gentle, twinkling, synth-rock spectre to a solid, blown-out, skyward-thrusting obelisk. There’s percussive, dream-state electronics (“Coolverine”), church organs as chariots of existential fire (“Brain Sweeties”), tremulous, foreboding bleeping – possibly from a dying android (“aka 47”). Their most transportive album yet, it also hosts their most fully realized art-pop sing-along of their storied history, “Party In The Dark,” a head-spinning disco-dream double-helix echoing New Order and The Flaming Lips, featuring Stuart Braithwaite’s seldom-heard melodic vocals declaring he’s “directionless and innocent, searching for another piece of mind.” This is music as a keep-out chrysalis, protective audio armor through exalting organs and portentous, dissonant guitar fuzz warping at the edges, bending the world inside-out into a reality in which you’d much rather live. The last three songs ascend into explosive exorcism, closing with the colossal title cut “Every Country’s Sun,” its searching intensity whooshing towards infinity in a dazzling cosmic crescendo.

File Under: Post Rock
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mount kimbie

Mount Kimbie: Love What Survivies (Warp) LP
In tomorrow… Love What Survives is the long awaited third studio album from Mount Kimbie. It’s the most confident statement of intent from the boundary-pushing duo yet, and an embodiment of their career-long musical progression. The album is the product of three years of intense creative development, continually honed by the duo writing and rewriting their ideas to form something wholly idiosyncratic and personal. It brings together the voices of their close friends and collaborators – who together represent a bright corner of young artistic talent – James Blake, Micachu and King Krule, within the immersive, unique atmosphere of a Mount Kimbie album.

File Under: Electronic, Hip Hop, Left Field
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myrkur

Myrkur: Mareridt (Relapse) LP
Mareridt (translation: Nightmare) is the highly anticipated sophomore full-length from renowned Danish composer and multi-instrumentalist Myrkur. Recorded between Copenhagen and Seattle with producer Randall Dunn (Marissa Nadler, Earth, Sunn O))), Boris, Wolves In The Throne Room), Mareridt is a rich juxtaposition of the dark and the light; the moon and the mother earth; the witch and the saint. Myrkur explores deeper into the mysterious and the feminine with 11 tracks that further progress her visionary blend of metal with gorgeous, stirring melodies, dark folk passages, choral arrangements and superb, horrific beauty. Further taking Myrkur to new artistic heights are lyrics in multiple languages, an unforgettable collaboration with Chelsea Wolfe and an array of special instrumentation including violin, mandola, folk drums, nyckelharpa (an ancient Swedish key harp), and Kulning (an ancient Scandinavian herding call). Mareridt is a profound manifestation of nightmares that demonstrates Myrkur as one of the truly exceptional artists of our time.

File Under: Metal
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noyes

Rob Noyes/Alexander: Split (C/Site) 7″
Fresh off 2016’s The Feudal Spirit LP on Poon Village, Rob Noyes brings a breakneck-paced, attention-demanding number to his side. Noyes’s style and finger work fills space with a density and heaviness that may harken back to his hardcore/punk roots. Alexander has been quietly amassing a catalog of cassettes over the years, many of which are reminiscent of Alan Bishop (as Alvarius B) in their homespun, improvisational style. On this split, Alexander eases into a coy and sentimental tune that unwinds across five-and-a-half minutes, his keen grasp of intricacy and minimalism cementing him as a top player.

File Under: Guitar Soli

ohtrix

Oneohtrix Point Never: Good Time OST (Warp) LP
In tomorrow… Oneohtrix Point Never took home the prestigious Soundtrack Award at 2017’s Cannes Film Festival for his visceral original score for Good Time. Directed by Josh and Benny Safdie and starring Robert Pattinson and Jennifer Jason Leigh, the hypnotic crime thriller follows Pattinson’s Connie in a twisted odyssey through the New York underworld in a desperate attempt to get his brother out of jail. Daniel Lopatin (Oneohtrix Point Never) and Josh Safdie became close friends through a shared love of cult genre movies and music, and their level of collaboration here has a rare depth of symbiosis of picture and score. Mundane events become dramatic, montages become mini operas and Iggy Pop features on the poignant closer “The Pure And The Damned.” 2LP-set with poster insert.

File Under: Electronic, OST
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pauvros1

Jean-Francois Pauvros & Gaby Bizien: No Man’s Land (Souffle Continu) LP
Souffle Continu Records present a reissue of Jean-Francois Pauvros and Gaby Bizien’s No Man’s Land, originally released on Un-Deux-Trois in 1976. Whether it is with the label Palm, or for Un-Deux-Trois, Jef Gilson has produced some of the best albums of French free jazz and improvisation. But that’s not all: he also offered perfect recording conditions enabling some of the fresh young talent to emerge, including Daunik Lazro, André Jaume, and Jean-François Pauvros, all three of whom released their first recordings on one of those labels. Recorded by Jean-François Pauvros (guitar, but not only…) alongside Gaby Bizien (drums, percussion, aquatic trombone, marimba, bird calls), and, of course, produced by the audacious Jef Gilson, the appropriately named No Man’s Land had virtually no equivalent in France (nor worldwide) when it came out in 1976. Radical, free, primitive, timeless: in the image of the musicians, it is not for nothing that it appears in the famous Nurse With Wound list of major influences concocted in 1979. No label can be placed on this vertiginous sensory adventure: an explosive flow of shrapnel and tearing intensity, full of mystery and life. To be clear, No Man’s Land is the key recording of French improvisation. So much so that it is difficult to imagine it coming out of nowhere, the two musicians must surely have been listening to the latest forays of the British Music Improvisation Company and decided to reply in their own way. But not at all! If you believe what the protagonists have to say, these experiments were carried out in secret isolation, and with a total lack of awareness of everything that was going on in the avant-garde of improvised music. Indeed, it was only after the album was published that Jean-François Pauvros and Gaby Bizien learned that there was a movement going on with similar ideas. That tells us something about the level of invention of this album, which comfortably bears comparison to other similar duos such as Derek Bailey and Tony Oxley, Fred Frith and Chris Cutler, John Russell and Roger Turner, or Gary Smith and John Stevens… The Frenchmen were well served by their unbridled variety and poly-instrumentalism. Licensed from Jean-François Pauvros. Obi strip; Reverse printing; Edition of 500.

File Under: Free Jazz, Experimental
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pauvros2

Jean-Francois Pauvros & Gaby Bizien: Pays Noir (Souffle Continu) LP
Previously unreleased, the three tracks on Pays Noir come from recording sessions held at the same time as those for the cult album No Man’s Land (FFL 026LP), produced by Jef Gilson in 1976, and published on vinyl by Souffle Continu Records in 2017. Singled out at the time of its release by Actuel, Rock & Folk, and Melody Maker, the tabula rasa of No Man’s Land is the result of free-flowing experiments born of chance, if the two musicians are to be believed. Indeed, their approach to free improvisation was uninfluenced by those in the know of what was going on in such circles, which makes it even more incredible. To emphasize the point, the saxophonist Evan Parker (already a leader in the field) remarked on the album at the time, surprised by the innovation of the two Frenchmen. Brimming with the same fervor as No Man’s Land, mainly on guitar and drums (but once again, not only…), Jean-François Pauvros and Gaby Bizien invent an amazing unbridled chaos of instinctive combinations, which are the fruit of their immense complicity, born of days on end playing together, trying to transform the rebelliousness of rock into free-form sparks unlike anything heard before, and which are often poetic — ah, that final song! Carried along by the frenzied clatter of Gaby Bizien, Jean-François Pauvros emerges without doubt as one the great French improvising guitarists, alongside Gérard Marais (Dharma Quintet, Stu Martin Trio), Joseph Dejean (Cohelmec Ensemble, The Full Moon Ensemble), Raymond Boni (who, like Pauvros and Bizien, is present on the Nurse With Wound list), Dominique Répécaud, Noël Akchoté, and Jean-Marc Montera. Furthermore, the duo has a crazy intensity heard only on recordings by duos such as Bill Orcutt and Chris Corsano, Arto Lindsay and Paal Nilssen-Love, Thurston Moore and John Moloney, and Mesa Of The Lost Women. A kind of French no wave ahead of its time. Licensed from Jean-François Pauvros. Obi strip; Reverse printing; Edition of 500.

File Under: Free Jazz, Experimental

rabelais

Akira Rabelais: Spellewauerynsherde (Boomkat) LP
Boomkat Editions offers the first-ever vinyl edition of Spellwauerynsherde, a masterpiece from LA-based artist Akira Rabelais, originally released on CD by David Sylvian’s Samadhisound label in 2004. It comprises a suite of seven medieval choral pieces which have been sublimated and recomposed via Rabelais’s self-built Argeïphontes Lyre software. The results arguably stand as one of the 21st century’s greatest musical enigmas and could be said to presage contemporary obsessions with processed vocals in a deeply uncanny manner, enduring to resonate with up-to-the-moment music as much as the record’s distant roots in the seminal works of 12th century German mystic and composer Hildegard von Bingen, and the writings of John Milton, among others. Spellwauerynsherde has always been crying out for a vinyl issue and Rabelais has done the piece proud with this sensitive new version, allowing its seven parts to gently flow in sequence over both sides, with the added shroud of vinyl infidelity lending a beautifully subtle patina of detachment which perhaps only serves to heighten the paradoxical — both temporal, spatial and timbral — nature of the record’s ethereal vestibules and elusive, illusory sonic specters. In remodeling these ancient works of art, Rabelais performs a sort of hypermodern animism on ostensibly dead musical material — dead as in hardly anyone knows or plays them in the modern age — imbuing them with a contemporary relevance through the process of his bespoke software (which is freely available to download) which serves to faithfully render, open-up new dimensions and plasmic aspects from work which is now nearly a millennia old — so old you can’t even call it classical music. Spellwauerynsherde has set a benchmark for experiments with ancient composition and computer music — each immersion in this vinyl is akin to floating through the mists of time and will sends shivers down your spine just even thinking or writing about it, never mind listening. Spellwauerynsherde is one of the most magickal, perplexing, and strangely life-giving records that you’ll ever hear. Photography by Jacqueline Roberts; Design by Michael Worthington. Lacquer cut at Dubplates & Mastering.

File Under: Electronic, Ambient, Classical
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rainforest

Rainforest Spiritual Enslavement: Green Amulet Crafts Supernatural Qualities (Hospital) LP
This is the second in a reissue series of Dominick Fernow’s early work as Rainforest Spiritual Enslavement, casting spells from the Green Amulet Crafts Supernatural Qualities (2011) tape onto vinyl for the first time and steadily closing the gap in your Rainforest Spiritual Enslavement collection. Something like the soundtrack to one of Ballard’s prophetic visions of sunken cities, this second RSE incursion was initially released in an edition of 63 tapes in 2011 and found Fernow dwelling in a dread-fueled, paranoid headspace. Aesthetically, it forms an oblique inversion of Prurient’s saturated noise assaults or a sort of chopped-and-screwed adjunct to Vatican Shadow, perhaps best located closest to his Force Publique Congo output, but with fathoms more negative space and those full sunken sub bass charges. “A Slave Boy That Died An Awful Death For Not Keepng His Owner’s Horses. He Helps People Who Are Looking For Lost Things.” fills the A side, pinpointing a location that could easily be an overgrown traffic island as some Nigerian mangroves in oil country, overrun by local scallies or machete wielding pirates, both scared witless, who could well be the B side’s “An Old Hag That Wears Shoes And Stomps Over People’s Stomachs At Night Making Them Breathless.”, as is common to local legends of Manchester’s southern edgelands and the Niger Delta. Thanks to Paul Corley’s sensitive remaster and Dubplates & Mastering’s lacquer cut, the sub bass has been perfectly translated to the vinyl for total immersion, sounding stronger, wider than the tape or digital versions ever did, and in the process rendering RSE’s magick at its most tangible. Ask many Fernow/Prurient/Vatican Shadow fiends and they’ll likely cosign — this is some of the dankest, most precious work in Fernow’s sprawling catalog. RIYL: Coil, Demdike Stare, Prurient, Brian Eno / Jon Hassell’s Fourth World (1980). Edition of 500.

File Under: Electronic, Ambient, Industrial

ranando

Lee Ranaldo: Electric Trim (Mute) LP
Electric Trim was recorded in New York City and Barcelona in collaboration with producer Raül “Refree” Fernandez and extends the work of Lee Ranaldo’s solo canon, the most recent being his 2013 album, Last Night On Earth. Through his collaboration with Fernandez, Ranaldo moves into some rich new sonic territories and production techniques, experimenting with electronic beats and samples alongside live players. In addition to Fernandez, he worked with several special guests on Electric Trim, including Sharon Van Etten who sings on six of the tracks and duets on “Last Looks” and Kid Millions (aka Man Forever) as well as longtime friend and collaborator Nels Cline (Wilco). In addition, the album features Ranaldo’s band The Dust (fellow Sonic Youth member Steve Shelley, guitarist Alann Licht, and bassist Tim Luntzel). Ranaldo collaborated with award-winning New York author Jonathan Lethem (Motherless Brooklyn, The Fortress of Solitude) for lyrics on six of the songs. The American artist Richard Prince, who previously painted the sleeve for Sonic Youth’s 2004 album Sonic Nurse, created the artwork. The nine-track album marks a return to the Mute family for Ranaldo, who says: “I’m so excited about this record, it represents new developments and directions for me and I can’t wait to hit the road and play this music live. I’m also so pleased to partner with Mute for this release – it’s like a homecoming of sorts as Sonic Youth’s early records were released on Blast First Mute. To me, Mute has always been a true artist’s label, concentrating first and foremost on the music.”

File Under: Indie Rock, Sonic Youth
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raskovich

Raskovich: Science & Technology (Dead Cert) LP
Impossible-to-find Italian library music oddity from semi-mythical producer and Fabio Frizzi collaborator Giuliano Sorgini, aka Raskovich. Best regarded for his groundbreaking electro-acoustic and concrète sound design input to The Living Dead At The Manchester Morgue (1974) and Zoo Folle (1974), Raskovich is also linked to a wealth of impossible-to-find cult LPs with Alessandro Alessandroni’s Braen (SME 038LP), Giulia Alessandrini’s Kema, and their mysterious supergroup The Pawnshop, all amounting to a catalogue which assures his place in the pantheon of library music greats. Going deep into their under-the-counter channels, Dead-Cert have again outdone themselves with this outing, salvaging Science & Technology from total obscurity to reveal an innovator working at the full extent of his avant imagination in a sort of cybernetic symbiosis with his studio-as-instrument. Keening between sounds as much suited to a blood-lusting horror as a psychedelic, drug-fueled thriller or some esoteric sci-fi, he penetrates and opens up vividly magnetizing realms of abstraction that just beg to be explored by listeners who think they’ve heard it all before. Erring closer to the kind of minimalist negative space and fractured dynamic favored by Belgium’s IPEM, or even pre-echoing the atonality of Maurizio Bianchi, for example, as opposed the fluffier lounge tendencies found on many recent reissues from his field, Science & Technology lives up to its title with impressionistic depictions of industry and plugged-in life evocatively animated under titles such as “Fissione Nucleare” and “Biochemica”, or accurately modelling processes in the mutant, polymetric patterning of “Germinazione”. An album like this is a reminder of the prescient collective and individual genius of the Italian library music scene, especially at a time when the quality levels, in terms of musical intrigue and uniqueness, not just presentation, is being called into question by a swell of inferior, or just plain unnecessary library music relics. As Dead-Cert co-curator Andy Votel explains: “this release is quite unlike the many projects that have recently flooded the reissue market and stands up as one of the truly unobtainable and wholly original records to come from this important era of European studio music by a composer whose reputation is slowly approaching monarchical status.”

File Under: Library, Electronic
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rodinia

Rodinia: Ex Anima (Now Again) LP
“Electronic Krautrock in line with Cluster, Harmonia, Neu!, Popul Vuh from Jay Whitefield (Poets of Rhythm/Whitefield Brothers/Karl Hector & The Malcouns). Now-Again Records has enjoyed a long and creative partnership with Munich-based multi-instrumentalist JJ Whitefield, creative force behind the Poets of Rhythm, Whitefield Brothers and Karl Hector & The Malcouns. Rodinia, his latest project, is quite different than anything that’s come from his oeuvre to date, but follows in the line of the Poets of Rhythm’s great Discern/Define, as it reaches back to Krautrock’s experimental heyday but pushes its boundaries with a post-hip-hop approach. Rodinia’s first album, Drumside/Dreamside, featured two, side-long suites, with synthesizers taking the fore on an overarching ambient approach (featuring over-dubbed reeds, drums and guitar, and self-made Moroccan field recordings introducing the project on its Drumside.) For Ex Anima, Rodinia has incorporated more of the mid-70s approach of Krautrock forebears Neu!, Cluster and Harmonia, with shorter, self-contained songs. The result is winsome and exploratory, respectfully distanced from the past’s trappings while celebrating a musical spirit still very much alive and influential. With original artwork by Jason Jagel (DOOM’s MM..Food, Operation: Doomsday).”

File Under: Electronic, Ambient, Kosmische
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saiz

Suso Saiz: Rainworks (Music from Memory) LP
Following 2016’s compilation of archival recordings by Suso Saiz titled Odisea, Music From Memory mark their 20th release with an album of new works by the Spanish electronic music pioneer. Recorded in Madrid between January and February 2016, this is Suso Saiz’s first release of new music in nearly ten years. Titled Rainworks, this double LP release was originally part of a commission from a Canary Islands water company. The first ideas for the compositions developed from a documentary that Suso had seen suggesting the possibility of water molecules having their own memory. As Suso himself explains, he became fascinated with the possibility of an eternal being, changing its cyclical condition from solid to gaseous state, travelling through and between the Earth and the Sky, as a witness and keeper of the true history of Earth and Mankind. Suso, his son Emil Saiz, and pianist Raph Killhertz set out to explore this metaphysical process of cyclical movement through music in Rainworks. Developing from the original commissioned tracks into a much more elaborate project, the album’s process became something of a mystical journey, drawing on aspects of minimalism and modernism. The music is also embedded in textured natural soundscapes and spoken word passages which were recorded and processed by Suso himself. Despite having the immediacy of an improvised piece, Rainworks was in entirely composed by Suso. Whilst on one hand it appears very much as an electronic album there are in fact many acoustic elements to the recording. A resonant piano (a grand piano re-amplified using its resonant box and harp to generate effects) as well as guitars (with simple effects) are played in Suso’s inimitable hypnotic way, slowly drawing the listener into a transportive state or lucid dream.

File Under: Ambient, Electronic
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sky

Sky Music: A Tribute to Terje Rypdal 1 (Rune Grammofon) LP
Guitarist and composer Terje Rypdal (1947) is probably as close as one gets to a living legend in Norwegian music. He has received a number of awards, including three Norwegian Grammies (Spellemannpris), the last being the honorary award in 2005. Sky Music is a heartfelt celebration of an inspirational artist and truly unique guitarist who hasn’t fully received the due credit and recognition he deserves for over 50 years of music making. Initiated by the experimental US guitarist and lifelong Rypdal fan Henry Kaiser, Rune Grammofon put together an all-star band including keyboardist and long-time Rypdal side-kick Ståle Storløkken (Elephant9, Supersilent), bassist Ingebrigt Håker Flaten (Scorch Trio, The Thing), drummer Gard Nilssen (Bushman’s Revenge), guitarists Even H. Hermansen (Bushman´s Revenge) and Hedvig Mollestad, Finnish guitarist Raoul Björkenheim (Scorch Trio), and Swedish guitarist Reine Fiske (Dungen). Kaiser also played and produced while Hans Magnus Ryan (Motorpsycho) added bits and pieces and Jim O’Rourke beamed in his exquisite contributions to “Sunrise” from Tokyo. Bill Frisell, Nels Cline, and David Torn delivered their solo interpretations, Cline with the aid of cellist Erik Friedlander.

File Under: Jazz, Rock
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sky2

Sky Music: A Tribute to Terje Rypdal 2 (Rune Grammofon) LP
A vinyl-only release of two epic outtakes that didn’t make the main album, Sky Music: A Tribute To Terje Rypdal, due to lack of space. Guitarist and composer Terje Rypdal (1947) is probably as close as one gets to a living legend in Norwegian music. Sky Music is a heartfelt celebration of an inspirational artist and truly unique guitarist who hasn’t fully received the due credit and recognition he deserves for over 50 years of music making. Initiated by the experimental US guitarist and lifelong Rypdal fan Henry Kaiser, Rune Grammofon put together an all-star band including keyboardist and long-time Rypdal side-kick Ståle Storløkken (Elephant9, Supersilent), bassist Ingebrigt Håker Flaten (Scorch Trio, The Thing), drummer Gard Nilssen (Bushman’s Revenge), guitarists Even H. Hermansen (Bushman´s Revenge) and Hedvig Mollestad, Finnish guitarist Raoul Björkenheim (Scorch Trio), and Swedish guitarist Reine Fiske (Dungen). Kaiser also played and produced. The Sky Music project also includes additional contributions from Hans Magnus Ryan (Motorpsycho), Jim O’Rourke, Bill Frisell, Nels Cline, David Torn, and Erik Friedlander. Includes CD.

File Under: Jazz, Rock

sapceface

Spaceface: Sun Kids (Friends) LP
Dreamrock outfit Spaceface is led by Jake Ingalls who also plays guitar and synthesizer in The Flaming Lips. Something to behold, Spaceface’s music offers a refreshing approach on psychedelic rock, with transparent ’70s references but also strikingly modern elements. Their new record, Sun Kids is hazy, psychedelic pop music, elegantly composed. They will also be touring nationally in support of the album, bringing their concert grade experience to the club level employing a DIY light rig and other theatrical elements along the way.

File Under: Psych Rock, Flaming Lips
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spoerri

Bruno Spoerri: Voice of Taurus (WRWTFWW) LP
We Release Whatever The Fuck We Want Records present a reissue of the highly sought-after electronic/ sci-fi disco/ proto- techno/ ambient masterpiece Voice Of Taurus by Swiss music pioneer and synth super wizard Bruno Spoerri, available on vinyl for the first time since its original release in 1978. Surrounded with a formidable family of legendary synthesizers, primitive modulators, and audio gear — transformed and customized à la Spoerri –, armed with an extraordinary talent for improvisation, and deeply inspired by the likes of Wendy Carlos, Pierre Schaeffer, and the then freshly released Close Encounter of the Third Kind (1977), Bruno Spoerri envisioned Voice Of Taurus as “electronic pop conceived using an experimental and jazz approach”. The result is an out-of-this-world sonic adventure where early techno sounds blend with synth-based sci-fi soundtrack vibes, krautrock explorations, and retro-futuristic disco madness. It’s unique, catchy, cosmic, and meditative — it’s a must have for all record collectors of the galaxy… welcome to Planet Spoerri. Still very active recording, touring, and collaborating (with Julian Sartorius, Franz Treichler of Young Gods, Marco Repetto of Grauzone, Roger Girod, to name a few), Bruno Spoerri is a multiple award-winning Swiss music icon, whose career started in the 1950s. His works spans jazz, electronic music, film, and TV work, and everything in between. Improvisational maestro and synthesizer mega-connoisseur, Mr. Spoerri has influenced an entire generation of producers and musicians — even Jay-Z sampled him. Housed in a 350 gram jacket; Includes new liner notes.

File Under: Electronic, Ambient, Sci Fi, Disco, Techno
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spoerri ufo

Bruno Spoerri & Reto Weber: Sound of the UFOs (WRWTFWW) LP
We Release Whatever The Fuck We Want Records present a reissue of the extraterrestrial cult classic The Sound Of The UFOs, a collaborative effort between Swiss jazz and electronic music icon Bruno Spoerri and innovative drummer extraordinaire Reto Weber, available on vinyl for the first time since its original release in 1978. Recorded live in Zurich in March 1978, The Sound Of The UFOs finds Bruno and Reto improvising with a vast array of classic and customized synths and percussions from all corners of the globe (and the galaxy). It’s cosmic free jazz in audio gear heaven with a heavy dose of ambient, krautrock, primitive proto-techno vibes, and experimental space disco with a musique concrète mentality — anything’s possible when a jazzman and a percussionist obsessed with finding new sounds collide and explore uncharted sonic territories. This groundbreaking gem is the ideal companion piece to Bruno Spoerri’s highly coveted Voice Of Taurus LP. Still very active recording, touring, and collaborating (with Julian Sartorius, Franz Treichler of Young Gods, Marco Repetto of Grauzone, Roger Girod, to name a few), Bruno Spoerri is a multiple award-winning Swiss music icon, whose career started in the 1950s. His works spans jazz, electronic music, film, and TV work, and everything in between. Improvisational maestro and synthesizer mega-connoisseur, Mr. Spoerri has influenced an entire generation of producers and musicians — even Jay-Z sampled him. Housed in a 350 gram jacket; Includes new liner notes.

File Under: Electronic, Sci Fi, Techno
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ugly things

Ugly Things #45
“On the cover: Q65, The Outsiders and the Dutch Beat Revolution, the stories of two legendary, rebellious bands from the Netherlands in the 1960s. Part 2 of The Uniques — blue-eyed garage and soul from America’s South. Plus The Left Banke, Texas ’60s icons Neal Ford & The Fanatics, occult rocker Geof Crozier, German freakbeat from The Toxic, and demented San Fernando Valley punk rockers Puke, Spit & Guts. There are revealing interviews with Richard Strange of The Doctors Of Madness, and original Rolling Stones and Yardbirds manager Giorgio Gomelsky, and, in his own words, Victor ‘Moulty’ Moulton tells the poignant story of how he lost his hand yet fought on to become the drummer of successful Cape Cod band The Barbarians. We also take a peek at the personal acetate archive of John Entwistle and reveal the story of a New Jersey girl garage group that met and inspired The Stooges. Plus our acclaimed reissue and book review sections, fully-loaded and bursting with insights and information.”

File Under: Reading

valentino

Bro. Valentino: Stay Up Zimbabwe (Analog Africa) LP
Bro. Valentino, Anthony Emrold Phillip, began his illustrious career in 1961 at The Big Bamboo, a minor calypso tent in Port of Spain, Trinidad, before breaking into the professional scene in 1966 at the Lord Kitchener’s Caravan calypso tent. After the Black Power revolution of 1970, he transformed into a calypsonian with a conscience and a consciousness who sang on behalf of the poor and downtrodden and was dubbed “The People’s Calypsonian”. His commitment to lyrics of education, elevation, and African consciousness has been his identifying badge and signature. At the end of the heady decade of the tumultuous 1970s, with the echoes of the Black Power revolution of Trinidad still strongly reverberating, Valentino penned his two most commercially successful calypso songs, 1979’s “Stay Up Zimbabwe” and 1980’s “Ah Wo (Brand New Revolution)” both reflections of the revolutionary spirit which had engulfed the Caribbean in the 1970s. 1979 marked the historic date of the Maurice Bishop-led Grenadian Revolution and as if to herald this auspicious event Valentino would make it all the way to the coveted national calypso monarch finals with this anti-apartheid anthem. The infectious military style rhythm and the lyrical clarion call to arms invaded the carnival/calypso season of 1979 filling the lips and boots of everyone, singing and marching to his chorus. But there was another rhythmic element, the Shango/Orisha blend, which on many an occasion at Valentino’s pubic performances, would make audiences, as Trinidadians say locally, “catch the power”. One year later Valentino again stunned the world with a song which reveled in the new-found fame of the Caribbean, no doubt spurned on by the very Grenadian revolution of one year earlier. “Awo” championed the new mood of the Islands. He called on the people to rally around this cause and spread the fire to the next generation. Both songs, calypso-flavored with the newly introduced soca melody of the mid 1970s, are now given a new lease of life on this record. Voted among the top 50 calypsonians of the 20th century, four of his songs have also been selected in the Top 200 calypsos of that period — “Life Is A Stage” (1972), “Barking Dogs” (1974), “Dis Place Nice” (1975), and “Stay Up Zimbabwe” (1979) — while his 2004 history treatise “Where Calypso Went” was selected as Calypso of the Year. Silk-screen printed cover; 140 gram turquoise vinyl.

File Under: Reggae, Funk, Soul
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vatican

Vatican Shadow: Luxor Necropolitics (Hospital Productions) 2×10″
Dominick Fernow’s Vatican Shadow returns with a new double-pack for his own Hospital Productions imprint following on from the recent Rubbish Of The Floodwaters 12″ for Ostgut Ton. Luxor Necropolitics was once again produced by Joshua Eustis of Telefon Tel Aviv, and it includes a super rare remix from Female of Sandwell District fame. Clocking in at almost 40 minutes, this is the most substantial Vatican Shadow release since 2016’s Media In The Service Of Terror LP and further develops Fernow’s creative collaboration with Eustis, who provides a much more lean and dynamic sheen to those highly atmospheric foundations. The opening, title track provides evocative exposition; this is Vatican Shadow at its most cinematic and unreal; before “Intel War” jolts with increased propulsion and bass pressure and a killer soundsystem focus deployed with precision and depth. “Crown Prince Hamza” is much more squashed and feral, before a new “Red Headband” version of “More Of The Same” takes the original into even more anthemic terrain; this is surely the most memorable, enduring, and club-focused Vatican Shadow track of all. As if to further etch it on your mind, the vinyl edition offers a final exclusive track, a reworking of “More Of The Same” from Female, who takes the original and duffs it up, completely discarding that synth hook and instead intensifying the menace, heading down a Sandwell-shaped cave that will reminds you why you’ve loved pretty much every Female production. Cut by Matt Colton at Alchemy. Edition of 700.

File Under: Electronic, Industrial
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war on drugs

War on Drugs: A Deeper Understanding (Atlantic) LP
Finally we’re well stocked on this one… for now. A Deeper Understanding is The War On Drugs’ highly anticipated follow-up to 2014’s universally acclaimed Lost In The Dream and Atlantic Records debut. For much of the three and a half year period since the release of Lost In The Dream, frontman Adam Granduciel led the charge for his Philadelphia-based sextet as he holed up in studios in New York and Los Angeles to write, record, edit, and tinker – but, above all, to busy himself in work. Teaming up with engineer Shawn Everett (Alabama Shakes, Weezer), Granduciel challenged the notion of what it means to create a fully realized piece of music in today’s modern landscape. Calling on his bandmates – bassist Dave Hartley, keyboardist Robbie Bennett, drummer Charlie Hall and multi-instrumentalists Anthony LaMarca and Jon Natchez – continuously throughout the process, the result is a “band record” in the noblest sense, featuring collaboration, coordination, and confidence at every turn. Through those years of relocation, the revisiting and reexamining of endless hours of recordings, unbridled exploration and exuberance, Granduciel’s gritty love of his craft succeeded in pushing the band to great heights. Pitchfork proclaimed that, “Granduciel’s influence has become omnipresent in the indie world” and NPR has hailed A Deeper Understanding’s crystalline lead singles “Thinking Of A Place” (“epic, mood-shifting guitar jam”) and “Holding On” (“a pulsing jam that sounds deeply inspired by ’80s-era Bruce Springsteen”).

File Under: Indie Rock
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jes

Zwartjes: Tapes 1 (Trunk) LP
Tapes 1 represents the first ever sound recordings to be released from the archive of cult Dutch film director Frans Zwartjes. The sound is unlike anything you may have heard — dream-like, disjointed, disturbing, peculiar, sexy, unexpected, and totally unique. Frans Zwartjes is famous for his art-house films. A Dutch underground auteur, his prolific output dates from 1968. A unique talent, Zwartjes produced, directed, and edited his own films (his last work was in 1991), but more importantly he created and improvised the soundtracks too. Zwartjes is still alive today and his large body of work is only now being recognized by a wider, more international crowd, with screenings at the NFT and other important art-house cinemas across the world. The recordings on Tapes 1 were mixed directly from the Zwartjes soundtrack tape archive. They were assembled directly and in real time by Zwartjes archivist Stanley Schtinter and were originally issued in 2014 on cassette, in an edition of 50. Don’t bother trying to find one of them. The music, sound, and speech have been put together as two long, seamless sequences; they are dreamlike, unsettling, peculiar, plugged-in, prescient, and unlike any other soundtrack. All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle. Includes download; Edition of 500.

File Under: OST, Jazz, Sound Collage, Experimental
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sicksville

Various: Sicksville Volume 1 (Stag-o-Lee) 10″
First of two 10″s called Sicksville. Watch out for two volumes of its sister compilation Coolsville. Compiled by Stay Sick, a gruesome twosome of deejays from the nightclubs of Brighton, UK. Established in 2008, they continue to spin the best dancing music from surf to soul, oddball R&B to filthy rock n’ roll, garage to punk, 7″s at a time. Their vinyl addiction has meant they have amassed a large collection of sleazy and greasy rock n’ roll from the fifties and sixties, including Tarantino surf, proto-soul stompers, swingin’ rhythm and blues, and twistin’ tittyshakers. Get ready for the DJ to drop some slop. Greasy battered platters of wax, with honkin’ saxes and Hammond organs blasting outta the speakers like there’s no tomorrow. Hit the go-go cage for some tittyshakers to whip, whop, wobble, and grind to. If you like Sicksville, then come and visit its twin town, Coolsville. This sister series is a bit more laid back and strictly for bongo beating beatniks. So cool it’s frozen. It’s solid gone. Sleazy finger-clickers, smoldering sax-laden instrumentals and oddball rock n’ roll play out of every groove. Dig the crazy vibrations, the swingin’ beat. So flip ya wig, snap the whip and make the trip… to Coolsville Features: Phil Campos, Sandy Nelson, The Nite Hawks, The Sentinals, The Idols, The Nightmare, Jimmy Shaw, Robert Parker, Douglas “Jocko” Henderson, Bill Smith Combo, Jessie Hill, and The Metropolitans.

File Under: Exotica, R&B, RnR

satans

Various: Songs from Satan’s Jukebox Volume 1 (Stag-o-Lee) 10″
Who the hell is the devil? As we all know, God (that old slowcoach) is commonly known and allowed to have but one name (or none). As his everlasting archenemy, however, of my names there are plenty: Allow me to introduce myself: Satan from Arabia! Devil, El Diablo, fiend, deuce, Old Nick, the one that bedevils everything — these are only a few of my names in Western cultures! Lucifer — the one who brings the light — or, as seen through the eyes of my grumbling competition, the one who was exiled from the light! Beelzebub, Azrael… Satan on the release: “I am the outlaw, the one nobody likes to talk about but the one that everybody likes to hail, the one that is always to the fore when you need me: You can find me wherever guilty pleasure celebrates its goatish feasts. You can find me at the tables of a gambling den, at the counters of hellish bars, promoting artistic careers at crossroads when the clock strikes midnight. I’m riding the highway to hell in a chromium-black limousine and steam along diabolic train tracks in black locos. I travel as the eerie wanderer or the eldritch hitchhiker. You can meet me in many shapes on the world’s and life’s big stages as the salient seducer in classy, noble twine and pointed leather shoes. I am especially dangerous in shape of a bombshell woman! Thus, it’s no wonder that artists have been erecting memorials in my honor since the beginning of time. I have been idolized in arts, literature, and especially in music. I hereby present you a small selection of satanic songs and maleficent melodies from my infernal jukebox. Let me seduce you!” Features: The Louvin’ Brothers, Sonny Burns, Joe Carson, Gene ‘Bo’ Davis, Jessie Floyd, Anita Carter, Johnny & Dorsey Burnette with The Rock`n´Roll Trio, Marty Robbins, Billy Barton, Johnny Horton, and Harry Choates.

File Under: Country, Rockabilly, Gospel

…..Restocks…..

Alt-J: An Awesome Wave (Warner) LP
Maki Asakawa: s/t (Honest Jon’s) LP
Bjork: Debut (One Little Indian) LP
Bjork: Vespertine (One Little Indian) LP
Bjork: Homogenic (One Little Indian) LP
Boards of Canada: Geogaddi (Warp) LP
Can: Tago Mago (Mute) LP
Nick Cave: Push The Sky Away (Bad Seed) LP
Circle: Terminal (Southern Lord) LP
Daft Punk: Random Access Memories (Columbia) LP
Dinosaur L: 24 > 24 Music (Traffic) LP
Bob Dylan: Nashville Skyline (Columbia) LP
Bob Dylan: Bringing It All Back Home (Columbia) LP
Bob Dylan: Freewheelin’ (Columbia) LP
Brian Eno: Another Green World (Astralwerks) LP
Brian Eno: Here Come The Warm Jets (Astralwerks) LP
Harold Grosskopf: Synthesist (Bureau B) LP
Herbie Hancock: Headhunter (Music on Vinyl) LP
Heath Brothers: Marchin’ On (Everland) LP
Kacy & Clayton: Sirens Song (New West) LP
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) LP
Kendrick Lamar: Good Kid (Aftermath) LP
Kendrick Lamar: To Pimp A Butterfly (Aftermath) LP
Love Theme: s/t (Alter) LP
Metallica: Master of Puppets (Blackened) LP
Metallica: Death Magnetic (Blackened) LP
The National: Sleep Well Beats (4AD) LP
Oiseaux-Tempete: Al-‘An! (Sub Rosa) LP
OST: Baby Driver (Lakeshore) LP
Pink Floyd: Division Bell (Pink Floyd) LP
Queens of the Stone Age: Villains (Matador) LP
Otis Redding: Otis Blue (Rhino) LP
Relatively Clean Rivers: s/t (Phoenix) LP
Sonic Youth: Sonic Nurse (Geffen) LP
Neil Young: Hitchhiker (Reprise) LP

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…..news letter #809 – student lones…..

Another week of big releases and botched shipping schedules… A bunch of things below are still en route and supposed to show up tomorrow, but we’ll see how that works out. Other things are here and ready for your weekend listening pleasure. Fortunately, it’s back to school and those student loans cheques are clearing and now you’ve got loads of money to spend on important learning tools, like records.

…..pick of the week…..

vangaalen

Chad VanGaalen: Light Information (Flemish Eye) LP
In tomorrow? For an album that’s about “not feeling comfortable with really anything,” as Chad VanGaalen says, Light Information (his sixth for Sup Pop) is nonetheless a vivid, welcoming journey through future worlds and relentless memories. The rich soundscapes and sometimes jarring imagery could only come from the mind of a creative polymath – an accomplished visual artist, animator, director, and producer, VanGaalen has scored television shows, designed puppet characters for Adult Swim, directed videos for Shabazz Palaces, Strand of Oaks, METZ, Dan Deacon, and The Head and the Heart, and produced records for Women, Alvvays, and others. While alienation has always been a theme of VanGaalen’s music, Light Information draws on a new kind of wisdom – and anxiety – gained as he watches his kids growing up. “Being a parent has given me a sort of alternate perspective, worrying about exposure to a new type of consciousness that’s happening through the internet,” he says. “I didn’t have that growing up, and I’m maybe trying to preserve a little bit of that selfishly for my kids.” As always, VanGaalen wrote, played, and produced all of the music on Light Information (save Ryan Bourne’s bass part on “Mystery Elementals” and vocals on “Static Shape” from his young daughters Ezzy and Pip), and designed the cover art. The product of six years’ work, going back even before 2014’s Shrink Dust, Light Information emerged from the experimental instruments that fill VanGaalen’s Calgary garage studio. Among them is a beloved Korg 770 monosynth, which VanGaalen coveted for years before fixing one up and devoting a lot of recent energy to recording “duets” with it. One of these, “Prep Piano and 770,” is the lone instrumental on Light Information, more atmosphere and chord bursts than the rest of the album’s hooky rock narrative. Throughout the dark-wave reverb of Light Information are stories of paranoia, disembodiment, and isolation – but there’s also playfulness, empathy, and intimacy here too.

File Under: Indie Rock
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…..new arrivals…..

alex cameron

Alex Cameron: Forced Witness (Secretly Canadian) LP
In tomorrow… “Up until 2014 I was an investigator’s assistant in a public law office. I can’t tell you exactly what my job was on account of I signed a shut your mouth agreement around the time I quit for stress related reasons. But what I can say is that I dealt with corruption and badness perpetrated at the highest levels of authority, daily. I clocked all these leads and I made a file. Because these aren’t things you keep in the dark. You shine a light on the badness and you strive to understand it. From a dossier on all things delicate and beautiful and sadly human. crimes of passion and victims of love. All contained in 10 hot songs. Who’s the culprit? I’ve got my inklings and you can get your own. But first you need to listen to the thing, take it all in, stick photos to your walls and connect them with string, measure footprints in the yard, wear a suit made of reeds, track the migration patterns of birds, intercept whispered transmissions, learn to eat spiders with a hunting knife, sleep in air ducts, make the case. Here it is, my album: Forced Witness.” – Alex Cameron

File Under: Indie Rock
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connors

Loren Connors: Angels That Fall (Family Vineyard) LP
In tomorrow… A haunting and volcanic suite of electric guitar and piano from the modern master of the avant blues and the abstract — Loren Connors. Angels That Fall slips deeper into Loren’s headspace where vocalists in glissando and the swelling romanticism of chamber strings echo from beyond this mortal plane. Transcribed through Connors effect-laden six strings, he carries the listener from bluesy violence to sadness, hope and a piano coda.  Angels That Fall was recorded May 2016 at First Unitarian Congregational Society in Brooklyn, NY. This 500 edition 1-sided LP features cover art by Connors and a full-color inner sleeve with portraits of Connors by photographer Peter Gannushkin. Includes download coupon.

 File Under: Guitar, Experimental
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eath

Death From Above: Outrage! Is Now (Last Gang) LP
The merry merchants of muscular death dance discord – Sebastien Grainger (vocals, drums) and Jesse F. Keeler (bass, keys, synths) – made a collective decision to embrace their own penchant for perpetual motion while gleefully maintaining the car-wreck intensity of their punkified disco rock on their third album and first since 2014. Ultimately, Outrage! Is Now confidently kicks off a new chapter for Death From Above. “We are committed to evolution. This record is the sound of the two us pushing at the walls. We want there to be space, surprises and action!,” says Sebastien. “We both wanted to see how far we could take our sound as Death From Above. In a way, that has always been our objective,” adds Jesse. As they retreated to Jesse’s farm two hours east of Toronto to write in 2016, the musicians re-examined the way they’ve written in the past. They found new ways to start ideas, and tried to exorcise their old demons. With a host of demos, Death From Above headed back to Los Angeles to work with producer and engineer Eric Valentine (Queens of the Stone Age). Making for what Jesse describes as the “fastest recording process,” the vision quickly took shape. “The myth of what we should be didn’t exist anymore,” Sebastien agrees. “There was never a moment where we took a conventional path-either writing or recording. Eric has been making records for decades and we managed to make him say: ‘Well, that’s a first’ during every song! There was always some strange element thrown in. In a way it’s a very serious record, but dressed in a really fun outfit.” “The title is an observation of this hyper-sensitivity, which we’re all a part of,” Jesse leaves off. “This record is very much the result of the environment and experiences of the last five years…” “Outrage! Is Now is meant to be felt on both a visceral and emotional level,” concludes Sebastien. “We tried to make something that excites and surprises. Our journey is that of enlightenment and seeking truth. There’s enough fiction and meaningless distractions in the world to make you totally shut off. We hope this record turns you on.” Spin called lead single, “Freeze Me,” “…a typical, serrated piece of Death From Above-branded dance-rock, with a fierce noise breakdown toward the end” while Noisey adds that, “It’s a mixture of DFA’s familiar clatter – Sebastien Grainger’s battering ram drums, Jesse F Keeler’s frantic, distorted bass guitar – mixed in with some 1990s house pianos.”

 File Under: Indie Rock
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deerhoof

Deerhoof: Mountain Moves (Joyful Noise) LP
Deerhoof recognizes that we are simultaneously living in two worlds, one a maniacal, mainstream monoculture hell-bent on driving humankind into extinction, the other a churning underground teeming with ideas and dogged optimism and the will to thrive and survive. Mountain Moves refutes the former by ecstatically celebrating the latter. Though Deerhoof have often made albums from start to finish with virtually no input from the outside world, now is not the time for artists to operate in isolation. Mountain Moves throws the doors wide open. Working quickly, the band invited myriad guests to participate, some of them dear friends, others practically strangers. They are of different ages, different nationalities, different disciplines. The only common thread was that each and every artist on Mountain Moves doesn’t fit into a single, neatly-defined category – and doesn’t wish to. The results, as expected, were unexpected. Guide vocals and simple melodies were dispatched via email, only to be answered with an outpouring of alternate harmonies, suggestions for arrangements, additional instrumentation. Every file received triggered a new rush of jumbled emotions. Some guests crafted their contributions in the small hours of the dawn, toiling in hotel rooms before driving eight hours to the next tour date; others hopped on the subway and recorded with the band in-person. Collisions and collusions abound on Mountain Moves. In addition to its bounty of originals, the program includes three covers that epitomize the album’s assemblage of disparate ideas and personalities. Reducing Bob Marley’s “Small Axe” to a beat-less fragment of hymn-like simplicity magnifies the song’s rebellious spirit and undercurrent of violence. Vocalist Satomi Matsuzaki, a Japanese immigrant, lifts the Staple Singers’ “Freedom Highway” out of its original place and time, imbuing it with a new sense of alienation from one’s own country. Snippets of the bass recitative “For behold, darkness shall cover the earth” from Handel’s Messiah provide the foundation for a fresh take on Chilean folk hero Violeta Parra’s bittersweet masterpiece “Gracias a la Vida.” If Mountain Moves were a movie, it would be a double feature, Journey to the Center of the Deerhoof and Escape from Planet Deerhoof, shown side-by-side simultaneously. The record epitomizes the band at its very best, exploring new realms between the poles of independence and invention. It also serves as a welcoming point of entry for new listeners outside Deerhoof’s traditional orbit, an opportunity to bring even more voices into the communal conversation.

File Under: Indie Rock
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faith healer

Faith Healer: Try 😉 (Mint) LP
In tomorrow… When Edmonton’s Jessica Jalbert first began performing solo under the name Faith Healer, the alias was her way of avoiding being pigeonholed as a singer-songwriter. Now, however, times have changed: Faith Healer has blossomed into a band, with singer-guitarist Jalbert joined by drummer / multi-instrumentalist Renny Wilson and their first album as a duo is Try. The follow-up to 2015’s Cosmic Troubles was largely recorded during an intensive month-long session in September 2016 at Wilson’s personal studio in Montreal. During the process, Jalbert rented a room in Wilson’s house and the pair spent hours jamming and listening to bargain bin rock records in the basement. The resultant pop-rock arrangements are overflowing with beautiful sonic details – from the Twin Peaks synths that enshroud “Sterling Silver” to the funky clavinet nestled within the paisley-patterned pop of “& Waiting.” Jalbert and Wilson were also inspired by the garage-punk snarl of Wipers, the deadpan drama of Leonard Cohen’s Death Of A Ladies’ Man, and the classic songwriting chops of Scott Walker and Elvis Costello. The intensive creative process of making this album inspired the title and serves as a reminder that sometimes you need to grab life by the horns rather than waiting for inspiration to strike. Balancing melancholy lyrics with playful moods, lush melodies with straightforward arrangements, this album is the sound of an introspective loner leaving her bedroom to make a rock record with her best bud.

File Under: Indie Rock
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jr gone

Jr. Gone Wild: Brave New Wave Sessons (Artoffact) LP
In tomorrow… Jr. Gone Wild is an Edmonton, Alberta-based country and rock band formed in the early 80s by Mike McDonald, who over the years has been the band’s only constant member. Notable for their high-energy live performances, and a genre style that would end up getting dubbed ‘cow-punk,’ JGW recorded their debut album for cult punk label BYO Records in 1986, and since then have released five studio albums. The band recorded their Brave New Waves sessions during a tour in 1988, and at the time, many of the songs were brand new (1989’s Folk You was not released yet). When McDonald heard the session 25 years later he exclaimed, “Some of those songs are so different now! … We were also playing too fast, and my flat vocals is evidence we had a lot of beer there.” But the session is excellent, particularly “Sight For Sore Eyes,” “I Don’t Know About All That,” and “Annie Get Your Gun.” The Jr. Gone Wild Brave New Waves session was recorded on May 10th, 1988. The session was produced by Kevin Komoda and engineered by Denis LeClerc. The recording is taken from the original CBC Archives tape and remastered at Grey Market Mastering in Montreal, by Harris Newman.

File Under: Indie Rock
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national

The National: Sleep Well Beast (4AD) LP
The National’s elegant seventh full-length album Sleep Well Beast follows-up 2013’s Trouble Will Find Me and their 2015 Ragnar Kjartansson collaboration A Lot Of Sorrow. Produced by band member Aaron Dessner with co-production by Bryce Dessner and Matt Berninger, the 12-track collection was mixed by Peter Katis and recorded at Aaron’s Hudson Valley, New York studio, Long Pond, with additional sessions having taken place in Berlin, Paris and Los Angeles. The album comes preceded by the urgent lead single “The System Only Dreams in Total Darkness” complete with a freewheeling Aaron Dessner guitar solo which sounds heavily influenced by his recent Grateful Dead tribute project Day of the Dead. Pressed on 2 x 12″ standard weight colored vinyl LPs with accompanying folded poster and 2 inner sleeves. Available in your choice of blue or white vinyl!

File Under: Indie Rock
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nosaj

Nosaj Thing: Parallels (Innovative Leisure) LP
Parallels is the fourth full-length released under Jason Chung’s distinctive moniker, Nosaj Thing. Masterfully dimensional, Parallels represents the acclaimed Los Angeles-based electronic producer/ composer/ performer’s most diverse, vital work yet. As such, Chung sees Parallels as representing a kind of redemptive rebirth. The album’s compellingly elusive, uncategorizable sonics developed out of what he terms a personal and musical “identity crisis.” According to Chung, working with a group of collaborators on Parallels that combined both longtime friends and new creative partners added “new energy which pushed me not to limit myself. Everything felt fresh and alive.” The title Parallels in fact evokes the intense, intimate duality Nosaj Thing and his collaborators share.

File Under: Electronic
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sisters

Sisters of Mercy: Some Girls Wander By Mistake (Elektra) 4LP
The Sisters of Mercy continue to spotlight different eras of its acclaimed discography with the new 180g 4LP vinyl boxed set Some Girls Wander By Mistake which focuses on the band’s early years. Originally released in 1992, Some Girls Wander By Mistake retraces the Sisters of Mercy’s formative years and its rise to cult acclaim. It includes three songs the group originally issued in 1980: “The Damage Done,” “Watch” and “Home Of The Hit-Men.” Also included in this set is the band’s 1982 follow-up single: “Body Electric” and “Adrenochrome.” Arranged in non-chronological order, Some Girls Wander By Mistake begins with all four songs from The Sisters of Mercy’s first EP Alice, which was originally released in 1983. The music – produced by Psychedelic Furs’ guitarist John Ashton – includes the EP’s title track, a cover of the Stooges “1969” and more. The first LP’s flipside collects music that originally appeared on the Sisters of Mercy’s second EP, The Reptile House (1983). Among the EP’s six tracks are “Kiss The Carpet,” “Burn,” and the haunting “Lights.” Later that year the band released the single “Temple of Love” backed with “Heartland” and a cover the Rolling Stones’ “Gimme Shelter,” all of which are included here. Some Girls Wander By Mistake also includes music from two 12″ singles. The first is a re-recorded version of “Temple of Love” from 1992 that features Israeli vocalist Ofra Haza, and remains the Sisters’ biggest international hit, peaking at #3 on the UK charts. The second is “Under The Gun,” which includes an updated version of “Alice.” This collection’s title comes from a lyric in the Leonard Cohen song “Teachers,” a track the Sisters cover frequently in concert. In fact, “Teachers” appears on the same album as the song “Sisters of Mercy,” which inspired the band’s name.

File Under: Goth Rock
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washedout

Washed Out: Mister Mellow (Stones Throw) LP
In tomorrow… Boredom. Laziness. Complete apathy. Is it a quarter-life crisis or just an excuse to never grow up? This is the world of Washed Out’s (Ernest Greene) new album Mister Mellow. A fully immersive multimedia experience, the album guides the listener through the highs and lows of this often ridiculous struggle. In classic Millennial fashion, most young adults’ perception of their own lives are overblown and over-dramatized to the point of absurdity – as are the many ways they distract themselves from the insecurities faced on a daily basis (see social media, fantasy, drugs, music). Mister Mellow shines a light on the humor found in this paradox – how we can be so bored and unhappy in what is often a very privileged, contented life? Further moving away from the synthesizer-driven sounds of his early work and the more band-driven sound of his work on iconic indie label Sub Pop, it’s fitting that Greene has partnered with the rebellious beat-driven label Stones Throw as he continues to carve out a unique sonic identity that stands in direct opposition to most current trends. Instead, Mister Mellow was influenced by classic plunderphonics records of the past as well as the experimental collage techniques of musique concrete. Styles as diverse as free jazz, house, hip-hop and psych are combined together with interludial voiceover samples (often pulled from anonymous Youtube vlogs) to create a busy, chaotic, and caricaturish mix; one that quickly starts to feel like a mirror of the claustrophobic, hyper-stimulated psyche of most young adults. The rich, detailed patchwork that makes up Mister Mellow is unique in this day of quick-fix, throwaway music-culture. Conceived over the course of two years, it’s intensely personal (Greene’s only collaborator was mix engineer Cole MGN) – but the ideas and observations found within the album speak to a much larger shared experience that is affecting an entire generation of young adults. An experience that we come to see as both funny and sad.

File Under: Electronic, Synth Pop
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hype

Hype Williams: Rainbow Edition (Big Dada) LP
The last Hype Williams recordings were for One Nation (Hippos in Tanks, 2011). After this, Dean Blunt and Inga Copeland carried on recording through 2012 under their own names (while continuing to use the Hype Williams name to fulfill existing live commitments). They are both no longer involved, and any Hype Williams releases you’ve since heard are fake. Rainbow Edition’s 20 new joints serve as a suitably smoked out final missive from the duo behind some of the most beguiling records, downloads and mixtapes of the last decade. Heavyweight 180g black vinyl LP in a matt UV single sleeve.

File Under: Electronic, Experimental
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young

Neil Young: Hitchhiker (Reprise) LP
Neil Young opens up his unrivaled archives to issue Hitchhiker, an unreleased new studio album. The 10-track acoustic solo collection was recorded in Malibu, CA at Indigo Studio in 1976 and produced by Young’s long-time studio collaborator David Briggs. Recorded between Zuma and American Stars ‘n Bars in a single session, the resultant performances are truly breathtaking and passionate. The simplicity of a single voice and guitar captured here is as pure and powerful as it gets, with only Young, Briggs and actor Dean Stockwell in the room at the time of recording. A few of the songs would not appear on vinyl until years later. Some have never been heard, included in the original sessions for Neil Young and Crazy Horse’s Dume, another unreleased record of original sessions that yielded the classic album, Zuma. When Hitchhiker was recorded, none of the songs had ever been released and many of the performances were the first ever. This is truly an album of original performances!

File Under: Rock, Folk Rock
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zola

Zola Jesus: Okovi (Sacred Bones) LP
For over a decade, Nika Roza Danilova has been recording music as Zola Jesus. She’s been on Sacred Bones Records for most of that time, and Okovi marks her reunion with the label. Fittingly, the 11 electronics-driven songs on Okovi share musical DNA with her early work on Sacred Bones. The music was written in pure catharsis, and as a result, the sonics are heavy, dark, and exploratory. In addition to the contributions of Danilova’s longtime live bandmate Alex DeGroot, producer/musician WIFE, cellist/noise-maker Shannon Kennedy from Pedestrian Deposit, and percussionist Ted Byrnes all helped build Okovi’s textural universe. With Okovi, Zola Jesus has crafted a profound meditation on loss and reconciliation that stands tall alongside the major works of its genre. The album speaks of tragedy with great wisdom and clarity. Its songs plumb dark depths, but they reflect light as well.

File Under: Experimental, Pop
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…..Restocks…..

Amps: Pacer (Plain) LP
Animal Collective: Sung Tongs (My Animal House) LP
Arcade Fire: Suburbs (Merge) LP
Breeders: Last Splash (Plain) LP
CCR: Green River (Fantasy) LP
CCR: Willy & The Poor Boys (Fantasy) LP
Daphni: Jiaolong (Merge) LP
El Michels Affair: Enter the 37th Chamber (Fat Beats) LP
Fever Ray: s/t (Mute) LP
Lee Fields: Problems (Truth & Soul) LP
Lee Fields: Let’s Talk It Over (Truth & Soul) LP
Lee Fields: Emma Jean (Truth & Soul) LP
Kacy & Clayton: Sirens Song (New West) LP
La’s: s/t (Universal) LP
Lee Morgan: Search for the New Land (Blue Note) LP
Mos Def/Talib Kweli: Black Star (Universal) LP
New Pornographers: Whiteout Conditions (Dine Alone) LP
Tragically Hip: Fully Completely (Universal) LP
Tragically Hip: Phantom Power (Universal) LP
Ween: Chocolate & Cheese (Plain) LP
Ween: 12 Golden Country Greats (Plain) LP
Various: Minimal Wave Tapes 1 (Stones Throw) LP
Various: Panama! Vol 3 (Soundways) LP

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…..news letter #808 – drum machine edition?…..

Well, after the gong show (on going) of some of last week’s new arrivals. This week has gone off without a hitch. Probably cuz there’s next to nothing in this week. However, there is the long awaited new LCD Soundsystem, which ironically is in #808. Coincidence? Probably.

…..pick of week…..

galactic

Cosmic Jokers: Galactic Supermarket (Victory) LP
Victory present a reissue of The Cosmic Jokers’ Galactic Supermarket, originally released on Komische Musik in 1974. Julian Cope’s review of the album on Head Heritage: “Starting with a heavy piano-drums groove like John Cale and Terry Riley’s ‘The Protégé’ from their classic LP Church Of Anthrax, The Cosmic Jokers return to their trip with an un-cosmic dub beginning, melodicas and guitars spinning off all over the place. Gille Letmann says a couple of words before the breakdown into Clangerland, a place where goofy synthesizers call to each other over exquisite mellotrons and tinkling spacey grand piano. Again, it’s just two huge tracks — this time the ever shifting ‘Kinder Des Als’ and the title track ‘Galactic Supermarket’. The female voices take a while to assimilate after the austerity of the first Cosmic Jokers LP, and the opening track wanders around for a while before ascending to its righteous groove. The women scream ‘Schnell Schnell!’ and the helicopter drums of Harald Grosskopf propel us once more into a hectic frantic major-chord trance out. It’s the sheer unbalance that makes this record such a delight. At times, Klaus Schulze’s synthesizer is so loud that it swamps everything in its path. The title track ‘Galactic Supermarket’ begins like one of Van Der Graaf Generator’s greatest and most drawn out riffs. A slow 6/4 bass licks over ominous Pawn Hearts style shifting chords. Again, the piece is slow to begin, as though they are searching for harmony but each musician is confused and solitary. Manuel Göttsching freaks out in a fury of wah-guitar madness, forcing the others awake, but this really is a down-in-the-mouth scene and the whole Trip descends further and further until… an inevitable slow burning groove gets itself together and the scene whips itself up into a Shake Appeal Flip Out. The LP takes a little longer to get into than The Cosmic Jokers, but give it time and it’s in your head forever. Those piercingly loud Klaus Schulze synthesizers which sound so bizarre the first time… You’ll be waking up with them in your head, whistling them in the street, people will think you’ve lost your fucking mind. Right On.”

File Under: Krautrock, Kosmiche, Psych
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…..new arrivals…..

arnalds

Olafur Arnalds: Eulogy for Evolution 2017 (Erased Tapes) LP
Icelandic composer Ólafur Arnalds reissues and revives his debut album in the form of a special remastered 10th Anniversary edition titled Eulogy For Evolution 2017. Following its initial release in 2007 and coinciding with Ólafur’s 30th birthday, label founder Robert Raths gifted the chance for this record to shine a second time. Eulogy For Evolution is a journey from birth to death, transporting the listener through life itself. Originally written as a teenager, the record has now been restored with the help of his friends, remixed by Ólafur himself and remastered by Nils Frahm. The cover art was redesigned and enhanced by Torsten Posselt at FELD using the original photographs taken by Stuart Bailes during a trip to Ólafur’s home in Iceland in 2007. To experience the record in the present day is not only to experience the past, but also the sheer timelessness and relevance of these compositions, and the ambition Ólafur has had from the very beginning. “Fast forward 10 years, our relationships and knowledge in sound have matured, but you can still hear this urgency in Óli’s songs that caught my ears to begin with,” states Raths. “This work by a highly emotional teenager has been revived, matured and, I hope you’ll agree, improved by some of my favourite people in this world,” adds Arnalds. “I’m grateful to see it get another chance to shine and I hope you will enjoy this journey to the past.”

File Under: Post Rock, Neo-Classical
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downtown

Downtown Boys: Cost Of Living (Sub Pop) LP
Downtown Boys began by combining revolutionary ideals with boundless energy and contagious, inclusive fun, and their resolve has only strengthened as their sound and audience have grown. Cost of Living is their third full-length, following a self-released 2012 debut and 2015’s Full Communism on Don Giovanni Records. They recorded it with Guy Picciotto (Fugazi; producer of Blonde Redhead, The Gossip), one of indie-rock’s most mythological figures, in the producer’s chair. Picciotto fostered the band’s improvisational urges while pulling the root of their music to the forefront: unflinching choruses, fearlessly confrontational vocals, and the sense that each song will incite the room into action, sending bodies into motion that were previously thought to have atrophied. Downtown Boys are keenly aware of the increased visibility and credibility that comes with signing to a corporate-media conglomerate such as Sub Pop. They’re using this platform as a megaphone for their protest music, amplifying and centering Chicana, queer, and Latino voices in the far-too-whitewashed world of rock. In just one example, album-opener “A Wall” rides the feel-good power that drove so many tunes by The Clash and Wire as it calls out the idea that a wall could ever succeed in snuffing the humanity and spirit of those it’s designed to crush. Compared to previous efforts, Downtown Boys have shifted from a once-meaty brass section to the subtler melodic accompaniment of keyboards and a saxophone, coloring their anthems with warm, bright tones while singer/lyricist Victoria Ruiz spits out her frustrations and passions. Some might say it shows a sense of maturity, as Downtown Boys have undoubtedly smoothed down some of their earlier edges, but there is no compromise to their righteous assault and captivating presence. Like socially conscious groups of years past, from Public Enemy to Rage Against the Machine, Downtown Boys harness powerful sloganeering, repetitive grooves, and earworm hooks to create one of the most necessary musical statements of the day. We should all do well to take notice!

 File Under: Punk
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lcd

LCD Soundsystem: American Dream (Columbia) LP
New York dance-punk icons LCD Soundsystem return with their long awaited fourth studio effort American Dream and first since 2010’s This Is Happening. The James Murphy-fronted collective reunited for a string of live dates in 2016 after over a half a decade disbandment following their farewell show, The Long Goodbye: LCD Soundsystem Live at Madison Square Garden. “Call the Police” and “American Dream,” were released as a single in May 2017 with Pitchfork raving that the songs “couldn’t sound timelier” and that “Murphy and company have never sounded so invigorated.” The New York Times hailed “Call the Police” as “a quietly ambitious protest song..except that instead of searing, it motors,” and Noiseyembraced “American Dream” like “a warm blanket.”

File Under: Electronic, Rock
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medusa

Medusa 1975: Rising from the Ashes (Svart) LP
Medusa 1975 has been around for a long time, although they’ve undergone several member changes as is indicative of many bands from that era. Gary and Donna Brown, the two original guitarists from the earliest creation of the early 70’s band then known as Medusa, are still rocking harder and heavier than ever before. Joined by Randy Bobzien on vocals, rhythm and lead guitar, Phoenix Johnson on bass and Dean McCall on drums, they have transformed into a one of rock’s heaviest and hard-hitting, yet least known, legendary-melt-your-face-off-forces to be reckoned with. Rising From The Ashes is their latest creation, a combination of the original proto-metal style that defines their sound and a more modernistic mix of straight ahead rock and prog. Peter Basaraba, Medusa’s original singer-songwriter, even wrote some lyrics for the album including “Nine Circles of Hell,” based on Dante’s Inferno and added a few lines to, “Into The Night,” recounting their meteoric musical journey from the ashes of virtual obscurity into the world’s spotlight, reclaiming notoriety they were denied in their inception. If you dug their monumental debut album, First Step Beyond released in 2013, then you won’t want to miss this mighty follow-up!

File Under: Metal
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monster

Monster Magnet: Tab (Napalm) LP
In the psychedelic rock scene 1991’s Tab is easily the hardest to find out of print EP by Monster Magnet. Over the course of their career, the band has never again explored their experimental boundaries as much as on these four mammoth songs. With the mighty title track opener “Tab,” the journey begins for an epic 56 minute-long space rock thrill ride, which even Lemmy Kilmister during his Hawkwind days would have been proud of. Tab serves as the epic starting point of one of the greatest pioneers in modern psychedelic rock and is finally back on vinyl after over 25 years!

File Under: Stoner, Space Rock
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magnet

Monster Magnet: Spine of God (Napalm) LP
Long awaited vinyl reissue of modern psychedelic rock pioneers Monster Magnet’s first studio effort, Spine Of God, a milestone album in the stoner rock genre. Originally released in 1991, the monumental 10-track slab was completely written and produced by singer/band mastermind Dave Wyndorf, and proves to be the perfect reincarnation of Black Sabbath, Deep Purple and Hawkwind. An absolute must-have for any stoner/psychedelic rock fan!

File Under: Stoner, Psych, Space Rock
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…..Restocks…..

Father John Misty: Pure Comedy (Sub Pop) LP
Nils Frahm: Solo (Erased Tapes) LP
Magnolia Electric Co.: Fading Trails (Secretly Canadian) LP
Magnolia Electric Co.: What Comes After the Blues (Secretly Canadian) LP
Mike & Rich: Expert Knob Twiddlers (Planet Mu) 3LP
Jason Molina: Pyramid Electric Co (Secretly Canadian) LP
Queens of the Stone Age: Villains (Matador) LP
Daniel Romano: Sleeps Beneath the Willow (You’ve Changed) LP
Songs: Ohia: Ghost Tropic (Secretly Canadian) LP
Songs: Ohia: s/t (Secretly Canadian) LP
Sufjan Stevens: Carrie & Lowell (Asthmatic Kitty) LP

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…..news letter #807 – overstocked…..

Looks like the fall new release schedule starts now! And it seems that even with the whole summer to get their ducks in a row, the two biggest releases this week, and two of the biggest of the year, are a bit of a mess… maybe, hopefully not. Anyway, there’s a whack of major new releases out in the next few weeks. Hope you’ve been saving your pennies. Lord knows, I haven’t. To make room for all these new releases we’ve got some nicely discounted stuff from our overstock out on the floor. Great titles at a great price including things that just came out in the last few months. So be sure to have a dig through the sale stuff when you come grab the new biggies.

…..pick of the week…..ohsees

Oh Sees: Orc (Castle Face) LP
In tomorrow… The newly shorn Oh Sees waste no time in racing headlong into nightmarish battle with the mighty Orc, and wouldn’t you know it, they’ve clawed even farther up the ghastly peak 2016’s A Weird Exits stormed so satisfyingly. The band is in tour-greased, anvil on a balance beam, gut-pleasingly heavy form, nimbly braining with equal dashes of abandon and menace on this fresh batch of bruisers and brooders, hypnotically stirred into to the cauldron of chaos you’ve come to expect from the Oh Sees. Fresh blood Paul Quattrone joins Dan Rincon to form a phalanx of interlocking double drums, alternately propelling and fleet footing shifting ground to pinion John Dwyer’s cliff-face guitars to the boogie. Tim Hellman keeps it swinging like a battle-axe to the eyebrows. The tunes veer towards the violence of their live shows, with a few tasty swerves into other lanes…heavy to lush, groovy to stately… throughout it remains sinister in its swaggering skulk, manic in its fuzz-fried fugues…they hit all the sweet spots the heads foggily remember, and there’s plenty to sweat over if you just hopped into the sauna. More evil…more complex… more narcotic…more screech…more blare…more whisper…there’s even more Brigid. Less “Thee,” but more of everything else. Vinyl includes digital download.

File Under: Rock, Garage, Psych
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…..new arrivals…..

chilton

Alex Chilton: A Man Called Destruction (Omnivore) LP
As lead singer of The Box Tops and co-founder of Big Star, Alex Chilton already had a place in rock history. But he was never one to rest on his laurels. An enormous music fan himself, he consistently reinvented his own sound throughout his career, until his death in 2010. Chilton returned to Memphis’ legendary Ardent Studios and a reconstituted Ardent label to record A Man Called Destruction, a classic mix of originals and covers, this time with a full-horn section. Featuring an eclectic mixture of garage rock, jazz and R&B, the 1995 release was well received by fans and critics alike. The Orlando Sentinel observed: “Plenty of bands attempt, however feebly, to reproduce Big Star’s melancholic power-pop. But nobody else would dare try to approximate the brilliant, offhand weirdness and subtle irony of Chilton’s later solo work. Teenage Fan Club might be able to imitate Big Star’s guitar sound on ‘September Gurls,’ but they couldn’t transmogrify ‘Volare’ the way Chilton did on 1987’s High Priest. Destruction is very much in the tradition of High Priest – a peculiar mélange of deliriously cheesy pop.” Destruction is being reissued via Omnivore Recordings complete with seven previously unissued tracks from the original sessions and new liner notes from journalist and author Bob Mehr (Trouble Boys: The True Story Of The Replacements). To make this reintroduction even more special, the title is making its vinyl debut. The first pressing will be on colored double album, which includes all of the bonus tracks, a download card, and Mehr’s essay in the gatefold sleeve. With the renewed interest and appreciation for his work in Big Star, it is the perfect time for Chilton’s solo work to get the same due. It is time for a reintroduction of A Man Called Destruction.

File Under: Rock, Big Star
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foster

Foster The People: Sacred Heart Club (Columbia) LP
Los Angeles, CA dance-pop outfit Foster The People incorporate ’60s-inspired sounds and a psychedelic influence on their third studio effort Sacred Hearts Club which is issued on Columbia Records. “One of my favorite things about music is that it’s unifying,” says frontman Mark Foster. “We wrote these songs to reflect joy in a time where people have needed it more than ever and we thought it was a good time to share them with you.” The follow-up to 2014’s vibrant Supermodel comes preceded by the trio of upbeat singles “Doing it For the Money,” “Pay the Man” and “SHC.”

File Under: Rock, Pop
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gravetemple

Gravetemple: Impassable Fears (Svart) LP
Imploding, abstracting and distorting the concepts of ceremony, volume and density since 2006, surrealist, esoteric and experimental rock band Gravetemple (Oren Ambarchi, Stephen O’Malley and Attila Csihar) return with the new Svart Records album, Impassable Fears. Recorded at Orgone with Jamie Gomez, the spiritual, existential and metaphysical are key concerns for Gravetemple to explore sonically and Impassable Fears is a recording of such manifestations. “In essence, Impassable Fears encompasses the cataclysmic qualities of free form music, by adding the heavy drone and doom characteristics, resulting in an ultimate dystopian setting. Harsh and relentless, not for the faint of heart, Ambarchi and O’Malley present their sonic dialogs in awe-inspiring fashion, organically moving through a space of endless possibilities. In the center of it all is Csihar’s vocals, which add to the otherworldly scenery.” – CVLT Nation

File Under: Metal, Drone, Doom
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grizzly

Grizzly Bear: Painted Ruin (RCA) LP
Grizzly Bear release Painted Ruins, their highly anticipated fifth full-length album and first for RCA Records. The band – Chris Bear, Ed Droste, Daniel Rossen and Chris Taylor – spent the better part of two years writing and recording the 11 new compositions on Painted Ruins. Taylor produced the album and it was mixed by Grammy Award-winning engineer Shawn Everett (Alabama Shakes, The War on Drugs, Weezer). Sessions took place at Allaire Studios in upstate New York and various locations around Los Angeles, including Taylor’s own Terrible Studios. Rolling Stone called the record’s lead single “Three Rings” “spellbinding” while Spin exclaimed that the band “strike gold” with straightforward second single “Mourning Sound.” Painted Ruins follows the group’s critical and commercial 2012 breakthrough Shields, which debuted at #7 on the Billboard 200. 180g 2LP-set with download insert.

File Under: Indie Rock
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haim

Haim: Something to Tell You (Columbia) LP
When the time came to record the eleven tracks that make up Haim’s highly anticipated sophomore album Something To Tell You the surging sibling trio decided to “go in and record as a band, keeping it a little more organic. That was kind of a mission statement for the album” offers Danielle. Haim reunited with Grammy-winning Ariel Rechtshaid to produce Something To Tell You which is ushered in by the anthemic lead single “Right Now” and an accompanying Paul Thomas Anderson-directed video. Haim initially built their reputation upon a hard-edged, guitar-driven live sound, yet their 2014 debut, Days Are Gone, was a more measured, melodic affair, with the songs’ already beguiling hooks given a modern, R&B-flavored pop sheen by co-producers Ariel Rechtshaid (Madonna, No Doubt) and former Arctic Monkeys’ deskman James Ford. The critically acclaimed release went straight to No. 1 and was listed as album of the year by several publications including Pitchfork, Rolling Stone, Time Out and Complex.

File Under: Rock, Pop
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immortal2

Immortal: Blizzard Beasts (Osmose) LP
Immortal, from the Norwegian town Bergen, have established themselves as one of the most important black metal bands in the world. Formed by Demonaz (guitars) and Abbath (bass & vocals) in 1990 the group has gone on to issue eight trailblazing full-length slabs in their 25 plus year career. Immortal’s fourth album, 1997’s Blizzard Beasts, is receiving its first-ever domestic vinyl release courtesy of Osmose Productions. Produced and mixed by Henrikke Helland, the Morbid Angel-influenced affair was the band’s last to feature Demonaz on guitar and first with Horgh on drums. Crushing, impious, and battering, it’s a must have for brutal Norwegian black metal fans.

File Under: Black Metal
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immortal

Immortal: Damned in Black (Osmose) LP
Immortal, from the Norwegian town Bergen, have established themselves as one of the most important black metal bands in the world. Formed by Demonaz (guitars) and Abbath (bass & vocals) in 1990 the group has gone on to issue eight trailblazing full-length slabs in their 25 plus year career. Immortal’s fiery sixth album, 2000’s Damned In Black, is receiving its first-ever domestic vinyl release courtesy of Osmose Productions. Released in between the two Immortal masterpieces At the Heart of Winter and Sons of Northern Darkness, the Peter Tägtgren-produced affair is equally as powerful and is often referred to as the band’s thrash album. You can’t go wrong with standouts like “Triumph,” “My Dimension,” and “In Our Mystic Visions Blest.”

File Under: Black Metal
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iron

Iron & Wine: Beast Epic (Sub Pop) LP/DLX LP
Beast Epic, Iron & Wine’s fourth album of new material for Sub Pop and sixth overall, recasts soft power as a series of vignettes, observations and regular old songs that redeem through joy and a certain expectation of grace. Even the instant classic, “Bitter Truth,” with a lyric as pained and direct as any you’ve heard from Iron & Wine, is leavened with background vocals recalling The Jordanaires. Sam Beam goes so far as to call Beast Epic his “most personal” album to date. It’s the first Iron & Wine album that he’s produced since 2002’s The Creek Drank The Cradle, though the results are vastly different. This album brims with surprise flourishes, classic touches and an appealing confidence that is evident on songs like “Call It Dreaming.” After a decade and a half of prodigious expression and exploration, recording as both Iron & Wine and eponymously, Sam Beam confessed that he has finally figured out how to make records. “The sound of Beast Epic harks back to previous work, in a way…” Beam notes. “By employing the old discipline of recording everything live and doing minimal overdubbing, I feel like it wears both its achievements and its imperfections on its sleeve. Over the years, I’ve enjoyed experimenting with different genres, sonics and songwriting styles and all that traveled distance is evident in the feel and the arrangements here, but the muscles seemed to have relaxed and been allowed to effortlessly do what they do best.” Beast Epic was written and produced by Sam Beam, and recorded and engineered by Tom Schick at the Loft in Chicago in July 2016 and January 2017. The musicians who played on Beast Epic include longtime Iron & Wine collaborators Robert Burger (keys), Joe Adamik (percussion), and Jim Becker (guitar, banjo, violin, mandolin), along with bassist Sebastian Steinberg (Soul Coughing and Fiona Apple), and Chicagoan Teddy Rankin Parker (cello). Beast Epic was mastered by Richard Dodd in Nashville, TN. Available as a deluxe coloured vinyl 2LP edition with alternate artwork and bonus tracks, or a standard black vinyl version.

File Under: Folk, Indie Rock
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kacy

Kacy & Clayton: Siren’s Song (New West) LP
In tomorrow… On their third album, Saskatchewan band Kacy & Clayton are more confident than ever. The Siren’s Song developed out of Kacy Anderson and Clayton Linthicum’s touring as a four-piece band alongside a drummer and a bassist, which alleviated some of the restrictions that come with being a quiet duo. Linthicum turned up his electric guitar while Anderson, not as concerned with venue set-up or a noisy crowd, felt more liberated. The pair started to have more fun, and it shows. With Jeff Tweedy (Wilco) as producer, the playfulness of Kacy & Clayton’s revamped live show is reflected in The Siren’s Song. On tracks like “A Certain Kind of Memory” and “This World Has Seven Wonders,” the band capture the impulse many of us have to pack our bags, move to the country and become a recluse, while Linthicum leads full band arrangements with his electric guitar. “White Butte Country,” which features Linthicum on lead vocals, is the most lighthearted of the bunch, as a rolling melody helps to spin a story of a man looking for love. Anderson’s voice, though, is the hypnotizing core of The Siren’s Song. Her voice is light as air on “Just Like A Summer Cloud,” but can also convey ominousness, depending on the song. On standout track “A Lifeboat,” she acts like a lighthouse’s guiding beam that will bring her absent lover home; when it turns out he’s a low-life cheater, she’s livid, and she reveals she’s been guiding him towards jagged rocks ashore all along. The Siren’s Song is another compelling chapter in what looks increasingly likely to be the long story of Kacy & Clayton’s career.

File Under: Folk
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liars

Liars: TFCF (Mute) LP
Liars have, as a matter of course, sounded radically different with each album, pursuing new concepts and occupying diverse mindsets. On this, Liars’ eighth studio album, the bustling backdrops of Los Angeles, Berlin and New York have been replaced with a presence far more intimate and autobiographical as Liars once again boldly step out of their comfort zone into vastly new musical territory. Following an amicable parting of ways with Aaron Hemphill, Liars is now Angus Andrew, who decamped to his native Australia, specifically to a remote part of the Australian bush, to create an album unlike any Liars had attempted before. But there’s no defining style to TFCF, no overriding concept, as it shifts between sampled elements, brash processed sounds and “real” instrumentation, passages of pointed abstraction and passages of willful songcraft, avant gestures and genuine pop moments. There’s no mask being hid behind, and the album is their most honest and autobiographical yet – possibly because Liars is no longer a “they,” but a “he” presently. Angus describes TFCF as “a super-sad record,” but this mood is offset by the restless creativity on display throughout the album. In tandem with his embrace of the sampler, Angus also incorporated “authentic” sounds previously considered verboten within Liars; in particular, acoustic guitar. “That’s always been a frightening prospect to me,” he notes. “‘Real music’, in the worst sense of that term.” But there is acoustic guitar all over the new album, albeit often sampled and repurposed. “It gave me an opportunity to create a sound that was warmer and more sensitive. Which was important, considering the subject matter of the lyrics.” The album’s reinvention of the Liars paradigm – blurring the lines between electronic and acoustic, between the experimental impulse and the addictive pop sensibility – is evidence that Angus’ creative energies remain as healthy as ever, even given the upheaval within the group. TFCF was written and recorded by Liars. Butchy Fuego, who performed live with Liars following Julian Gross’ departure in 2014, plays drums on three tracks. TFCF was mixed by Gareth Jones and mastered by Christian Wright.

File Under: Indie Rock
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marklanegan-fieldsongs-1500

Mark Lanegan: Field Songs (Sub Pop) LP
On Lanegan’s fifth and final solo album for Sub Pop, Field Songs, he seems to have taken the best elements from his previous work to create one of the most fulfilled, and fulfilling, albums of his career; Field Songs also includes “Kimiko’s Dream House,” which Mark co-wrote with Jeffrey Lee Pierce of The Gun Club. This LP version is the first standalone vinyl edition of Field Songs (it was previously only available in the 2015 box set entitled One Way Street). LP comes in a gatefold jacket and is 180 gram vinyl.

File Under: Indie Rock
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marklanegan-illtakecareofyou

Mark Lanegan: I’ll Take Care of You (Sub Pop) LP
I’ll Take Care of You, Lanegan’s fourth solo effort, consists entirely of cover songs with interpretation of songs from a wide variety of songwriters, including Tim Rose, Tim Hardin, Booker T. Jones, and Buck Owens. Prior to this LP version, I’ll Take Care of You was only available on vinyl via a long-out-of-print European run, and in the One Way Street box set. LP comes in a gatefold jacket and is 180 gram vinyl.

File Under: Indie Rock
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scraps

Mark Lanegan: Scraps at Midnight (Sub Pop) LP
Scraps at Midnight is the third solo album by Lanegan, which he co-produced with longtime collaborator Johnson. Scraps at Midnight could arguably be considered the final installment of a trilogy of albums (preceded by The Winding Sheet and Whiskey for the Holy Ghost) which feature the songwriter’s interpretation of American roots music set to troubling lyrics that explore themes of loss, sin and redemption. LP comes in a gatefold jacket and is 180 gram vinyl.

File Under: Indie Rock
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neurosis

Neurosis: Word as Law (Neurot) LP
In tomorrow… Neurosis offers up a remastered colored vinyl reissue of their second LP, The Word As Law, the album having remained out-of-print since its original release in 1990. While listening to band’s discography in chronological order, their sound gradually shifts in a very steady and somewhat seamless progression with each record, though their first few albums are undoubtedly cut from their ’80s punk influences and surroundings. The Word As Law was initially released on vinyl only in 1990 through Lookout! Records, alongside the likes of Operation Ivy, Green Day, Screeching Weasel, and other Bay Area punk acts of the time. Upbeat rhythms and enraged vocals fuel The Word As Law, the record picking up where their Pain Of Mind debut’s ripping punk sound left off, while the band simultaneously began experimenting with more dissonant, melancholic, and demoralizing tones that would carve the foundation for their next few albums and their signature sound. Neurosis had yet to infuse keyboards or synthesizers into the mix when The Word As Law was recorded by Mark Lemaire at Sound & Vision in San Francisco of December 1989. The blend of vocals delivered by guitarist Scott Kelly, bassist Dave Edwardson, and new inductee on this album, guitarist Steve Von Till, driven by the powerful rhythms of drummer Jason Roeder, coalesce to formulate an eerie and original sound on The Word As Law, which results in the album’s cult status as an incredibly groundbreaking album for countless crust punk, hardcore, and experimental metal artists worldwide. While prior reissues of the album featured several re-recorded bonus tracks from the band’s prior singles and releases, the 2017 Neurot reissue of The Word As Law will bear the album’s initial eight tracks, all completely remastered by Bob Weston at Chicago Mastering. Additionally, the album’s cover artwork has been reworked and modernized by Neurosis’ former live visual architect Josh Graham to match the label’s previously-reissued Souls At Zero, Enemy Of The Sun, and other titles.

File Under: Metal
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queens

Queens of the Stone Age: Villains (Matador) LP/DLX LP
In tomorrow??? Hundreds of epic shows, memory lapses, unexplained injuries, one yearlong detour with Iggy Pop and multiple Grammy nominations later, Queens Of The Stone Age reemerge from the desert newly scarred and somehow strangely prettier with lucky seventh album, Villains, out on Matador Records. “The title Villains isn’t a political statement,” explains frontman Joshua Homme. “It has nothing to do with Trump or any of that shit. It’s simply 1) a word that looks fantastic and 2) a comment on the three versions of every scenario: yours, mine and what actually happened…Everyone needs someone or something to rail against – their villain – same as it ever was. You can’t control that. The only thing you can really control is when you let go.” Produced by Mark Ronson and co-produced by Mark Rankin and mixed by Alan Moulder,Villains is the first full album offering from Queens Of The Stone Age since 2013’s …Like Clockwork gave the band its first #1 album in the U.S. Like the stunning artwork of returning illustrator Boneface, the sonic signatures of the lineup that took …Like Clockwork’ around the world and back – founder/guitarist/vocalist/lyricist Homme, Troy Van Leeuwen (guitar, keys), Michael Shuman (bass), Dean Fertita (keys, guitar), Jon Theodore (drums) – are as unmistakable as ever, though coexisting with sufficient new twists to induce recurring double takes. As Homme himself puts it, “The most important aspect of making this record was redefining our sound, asking and answering the question ‘what do we sound like now?’ If you can’t make a great first record, you should just stop – but if you can make a great record but you keep making records and your sound doesn’t evolve, you become a parody of that original sound.” Of his role working within such a closed and confident ecosystem as Queens Of The Stone Age, Ronson says, “Queens are and have always been my favorite rock n roll band ever since I walked into Tower on Sunset and bought ‘Rated R’ in the summer of 2000, so it was incredibly surreal to be welcomed into their secret, pirate clan – or the ‘jacuzzi’ as Josh likes to call it. I also knew that my super fandom alone would not keep me in the jacuzzi. There were moments during the making of the album in which I was aware I was watching my musical heroes craft something that was sure to become one of my favorite moments on any Queens album. And to have some part in that felt like being in a dream – a very heavy, dark, wonderful dream.” Longtime Queens cohort co-producer Mark Rankin added, “After the baptism of fire that was …Like Clockwork, I was excited to get into the studio again with the challenge of pushing the sound for this record, especially with the the addition of Ronson into the creative mix. We wanted to evolve the production to be processed in a modern way yet be totally organic and still performed fully live, like lifting a veil and what you thought was electronic is actually live and things are not as they first appear…What we’ve made is forward looking yet unmistakably Queens.”

File Under: Rock
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stoltz

Kelley Stoltz: Que Aura (Castle Face) LP
In tomorrow… Extra fine songwriter and longtime bedroom-pop auteur Kelley Stoltz delivers on the promise so many of his records slyly hint at. Que Aura is the platonic ideal of a Kelley Stoltz record, which is a very exciting thing indeed. Stoltz embraces his best synth-pop tendencies, with this incredibly self-assured set of tender tunes, combining in his own hangdog fashion both a disco-lit abandon and the attendant post-party sighs of dread and remorse. Great songs come out of Stoltz at an alarming rate on any given day but this particular collection is some of his most effortlessly catchy stuff yet. Ennui under the disco lights suits him very well – there’s a hearty sip of Pulp-ian white Brit shimmy with a wink, a dash of Fleetwood Mac’s cynically professional late ’70s sheen, and even a spritz or two of Echo and The Bunnymen, which should surprise no one who’s noticed Stoltz has been playing guitar with McCulloch and Company for the past year or so. This record cements Stoltz’s place in the power-pop pantheon where he belongs, right between Dwight Twilley and Martin Newell!

File Under: Indie Rock
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war on drugs

War on Drugs: A Deeper Understanding (Atlantic) LP
In tomorrow? What a debacle! The black vinyl is apparently defective, and the Indie Shop Only vinyl may or may not be late, but it was short shipped, so… WHO KNOWS! A Deeper Understanding is The War On Drugs’ highly anticipated follow-up to 2014’s universally acclaimed Lost In The Dream and Atlantic Records debut. For much of the three and a half year period since the release of Lost In The Dream, frontman Adam Granduciel led the charge for his Philadelphia-based sextet as he holed up in studios in New York and Los Angeles to write, record, edit, and tinker – but, above all, to busy himself in work. Teaming up with engineer Shawn Everett (Alabama Shakes, Weezer), Granduciel challenged the notion of what it means to create a fully realized piece of music in today’s modern landscape. Calling on his bandmates – bassist Dave Hartley, keyboardist Robbie Bennett, drummer Charlie Hall and multi-instrumentalists Anthony LaMarca and Jon Natchez – continuously throughout the process, the result is a “band record” in the noblest sense, featuring collaboration, coordination, and confidence at every turn. Through those years of relocation, the revisiting and reexamining of endless hours of recordings, unbridled exploration and exuberance, Granduciel’s gritty love of his craft succeeded in pushing the band to great heights. Pitchfork proclaimed that, “Granduciel’s influence has become omnipresent in the indie world” and NPR has hailed A Deeper Understanding’s crystalline lead singles “Thinking Of A Place” (“epic, mood-shifting guitar jam”) and “Holding On” (“a pulsing jam that sounds deeply inspired by ’80s-era Bruce Springsteen”).

File Under: Indie Rock
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soul

Various: Soul of a Nation (Soul Jazz) LP
Soul Jazz Record’s compilation Soul of a Nation is released to coincide with the new exhibition of the same name now on at Tate Modern, London. The album shows how the ideals of the civil rights movement, black power and black nationalism influenced the evolvement of radical African-American music in the United States of America in the intensely political and revolutionary period at the end of the 1960s following the assassinations of Malcolm X, Martin Luther King and the rise of the Black Panther party. Featuring groundbreaking artists such as Gil Scott-Heron, Roy Ayers, Don Cherry, Oneness of Juju, Sarah Webster Fabio, Horace Tapscott, Phil Ranelin and many others, Soul of A Nation shows how political themes led to the rise of ‘conscious’ black music as new afro-centric styles combined the musical radicalism and spirituality of John Coltrane and radical avant-garde jazz music alongside the intense funk and soul of James Brown and Aretha Franklin and the urban poetry and proto-rap of the streets. The double gatefold vinyl album edition comes with full color inners, full sleeve-notes/photography and bonus download code.

File Under: Jazz, Funk, Hip Hop
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TROJAN

Various: Soul of a Nation (Soul Jazz) LP
Soul Jazz Record’s compilation Soul of a Nation is released to coincide with the new exhibition of the same name now on at Tate Modern, London. The album shows how the ideals of the civil rights movement, black power and black nationalism influenced the evolvement of radical African-American music in the United States of America in the intensely political and revolutionary period at the end of the 1960s following the assassinations of Malcolm X, Martin Luther King and the rise of the Black Panther party. Featuring groundbreaking artists such as Gil Scott-Heron, Roy Ayers, Don Cherry, Oneness of Juju, Sarah Webster Fabio, Horace Tapscott, Phil Ranelin and many others, Soul of A Nation shows how political themes led to the rise of ‘conscious’ black music as new afro-centric styles combined the musical radicalism and spirituality of John Coltrane and radical avant-garde jazz music alongside the intense funk and soul of James Brown and Aretha Franklin and the urban poetry and proto-rap of the streets. The double gatefold vinyl album edition comes with full color inners, full sleeve-notes/photography and bonus download code.

File Under: Jazz, Funk, Hip Hop
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…..Restocks…..

Alexisonfire: Old Crows/Young Cardinals (Dine Alone) LP
Gary Bartz Ntu Troop: Harlem Bbush Music (Milestone) LP
Black Sabbath: Paranoid (Rhino) LP
Death Cab For Cutie: Transatlanticism (Barsuk) LPT
Eyehategod: In The Name of Suffering (Emetic) LP
Eyehategod: Take as Needed for Pain (Emetic) LP
Fleetwood Mac: Rumors (Reprise) LP
Goat: Requiem (Sub Pop) LP
Goat: Commune (Sub Pop) LP
Hole: Live Through This (Universal) LP
Michael Jackson: Bad (Sony) LP
Kacy & Clayton: Strange Country (Big White Cloud) LP
King Gizzard & The Lizard Wizard: I’m In Your Mind Fuzz (Castle Face) LP
Michael Kiwanuka: Love & Hate (Universal) LP
Lumineers: s/t (Dual Tone) LP
Modest Mouse: The Lonesome Crowded West (Glacial Pace) LP
Modest Mouse: This is a Long Drive… (Glacial Pace) LP
Van Morrison: Astral Weeks (Rhino) LP
Neurosis: Eye of Every Storm (Neurot) LP
Oh Sees: A Weird Exits (Castle Face) LP
Oh Sees: Carrion Crawler (In The Red) LP
Angel Olsen: My Woman (Jagjaguwar) LP
OST: Beyond the Black Rainbow (Jagjaguwar) LP
OST: Singles (Sony) LP
Pink Floyd: Wish You Were Here (Pink Floyd) LP
Portishead: s/t (Universal) LP
Radiohead: Ok Computer OKNOTOK (XL) Blue LP
Run The Jewels: 1 (Mass Appeal) LP
Run The Jewels: 2 (Mass Appeal) LP
Arthur Russell: Calling out of Context (Audika) LP
Spiritualized: Lady’s And Gentlemen… (Plain) LP
Syrinx: Tumblers from the Vault (ReRVNG) LP
T. Rex: s/t (Rhino) LP
Television: Marquee Moon (Rhino) LP
War on Drugs: Lost in the Dream (Secretly Canadian) LP
Link Wray: s/t (Future Days) LP
Neil Young: Rust Never Sleeps (Reprise) LP
Neil Young: Live Rust (Reprise) LP
Zodiac: Cosmic Sounds (Rhino) LP
Various: Studio One Scorchers (Soul Jazz) LP

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…..news letter #806 – dog days…..

Ugh… so late with this today. Lots of sweet reissues this week. And loads of good used stuff hitting the bins and getting bought this week. Now that the summer festival season is dying down, maybe come down for a dig.

…..picks of the week…..

rocchi

Claudio Rocchi: Suoni di Frontiera (Die Schachtel) LP
Die Schachtel present the first vinyl reissue of Claudio Rocchi’s Suoni di Frontiera, originally released in 1976. A foundational album of electronic music, available again on vinyl for the first time since its original release. An unavoidable and formative element of Italy’s long history of avant-garde music is its resistance to category and definition. Even in the face of this, Claudio Rocchi’s stunning Suoni di Frontiera is an anomaly — a body of introspective synthesizer works, stretching out to the world beyond. Italian experimental and avant-garde music from this period is distinctly different from other contexts in Europe and America, in part because many artists would begin within the realms of popular music, and slowly pushed towards more ambitious creative territories as time wore on. Rocchi is no exception. He entered the public eye during the late 1960s and early ’70s, working within the idioms of psychedelic rock, folk, and prog. While some of Suoni di Frontiera’s elements are present in earlier and later works, nothing reaches the crystalline totality of its being. It is the lone, pure avant-garde gesture in Rocchi’s long and noted career. Infused with oscillating loops, astral synth excursions, and sharp collages of vocal snippets and electronics, the music of Suoni di Frontiera might remind some of early Cluster and Harmonia. But Suoni di Frontiera’s ambition and breadth is overwhelming. It achieves what few have: realizing the dream set forth by the pioneers of early electronic music and creating a new democratic architecture of sound, as creatively ambitious as it is accessible. It is a gesture of the avant-garde, which could have only emerged from the realms of pop — sixteen discrete works of acoustics instrumentation, electronics, processing, and synthesis, freestanding and intertwined as a towering whole. It’s a restless constellation, delving from one possibly to the next — pulsing, rhythmic tones, sheets of pure abstraction, fragments of voice and environmental sound, captured and spun wild by tape loops, beautiful ambiences, and space age sounds. Its reemergence holds the potential to reform many perceptions surrounding electronic music as a whole. Oren Ambarchi, from the liner notes: “Another crucial piece of the ’70s Italian puzzle has been unearthed for our pleasure. Dig in.” Newly remastered and pressed on heavyweight vinyl; Silver and gloss varnish print with printed inner sleeves housing a transparent anti-static record sleeve; Includes insert with notes in Italian and English; Edition of 500.

File Under: Electronic, Experimental
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noyesRob Noyes: The Feudal Spirit (Poon Village) LP
2017 repress. “Rob Noyes has been on the Eastern Massachusetts scene for a while, but what we’ve heard him play is music from within the context of electric bands, most of whom are loud as hell and exist somewhere along the rim of the post-core continuum. More recently, Rob has taken to displaying his solo acoustic guitar chops and they are massive. The Feudal Spirit is the first vinyl evidence of their ‘shoulders.’ Like Western Mass’s Tony Pasquarosa, who mines the same widely-variant style-pits, Rob’s approach to acoustic playing resembles his electric work only through shared-belief-in-a-strong-downstroke. On the way to developing his own compositional/performance approach, Noyes sometimes seems to have absorbed an almost infinite reservoir of influences. Apart from some superb Basho-like 12-string tunneling, most momentary fragments tend to recall legendary Limeys like John Renbourn (and through him, Davey Graham), because Rob’s overt melodic structures tend towards the non-bluesoid. But then you’ll maybe hear a note-sequence spiced like something dropped from the hot strings of Michael Chapman or even a powerful throng that makes you think of Wizz Jones. When that happens, you realize there’s more of a blues base to some of the songs than you’d been able to untangle. Mr. Noyes hits a vast array of sub-genres on this album, and he hits them all pretty damn hard. Rob’s playing carries the weight of many possibly-imaginary forebears, but the way he smears them all together shows a holistic mastery of touch and imagination that defies a lot of today’s players, who tend to shine in short bursts, then allow their dreams to outrun their technique. Rob Noyes has no such apparent limitations. Like Raymond Pettibon, whose artwork graces The Feudal Spirit’s cover, Rob’s able to create a true form-gobble, making some real beautiful noise in the process. Around the world, licensed Hodologists whisper, ‘Make mine Noyes.’ Why don’t you join them?” –Byron Coley, October 23rd, 2016, South Deerfield, MA. Screenprinted jackets — new EZ-open jacket for the OCD/record collector set! Cover art by Raymond Pettibon. 180 gram vinyl pressed at RTI; Lacquers cut by Bob Weston at Chicago Mastering Service.

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

abate

Maurizio Abate: Live at Elastico (Holidays) LP
Another wonderful live session by the multi-instrumentalist Maurizio Abate, captured by Ulrich Rois (Bird People) in 2014 during his exhibition at the old location of the art association eLaSTiCo — in the center of Bologna — then mixed and edited by Maurizio himself. To be considered a twin release of the Live From The Border EP published in 2012, this single-sided release features a twenty-minute track that builds a ritual and meditative soundscape with the processed sound of a hurdy-gurdy and a harmonica. Edition of 150.

File Under: Psych, Electronic, Rock
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amos

Amos & Sara: Invite to Endless Latino (War Extension) LP
Alga Marghen present a reissue of Amos & Sara’s Amos & Sara… Invite To ‘Endless Latino’, originally released by It’s War Boys on cassette in 1983. From anonymous: “Overhead comes this thrum-thrum-thrum. They look up to see a plane circling just off the island. The door facing them opens and out pop two figures, tumbling down into the water. Lazily, without a care in the world, the plane turns north and flies away. Of course, the guys start up the boat and head off to investigate. What just happened? Who jumps out of an aircraft at that height? In the water, they find two women. Both dead. Here’s the strange thing. Both the bodies, they beat up pretty bad but not only that. They both badly burnt. . . . I really got started on this thanks to my cousins, Luis and Ramon. My cousins are collectively known as Los Rubios. It ain’t a family name. . . . You heard of Bahia Blanca? My cousins, they run a small boat out of the harbour there. Shark fishing. That’s their thing. Back then, we’re talking ’76, it was just starting to take off. . . . One day they’re out on the boat. That particular day, they didn’t have no takers so they figure they’ll take the boat out anyway. Hake, gatuzo, squid — fishing to fill their own bellies. That’s when they hear the plane. Luis and Ramon race back to port. Pretty soon, a big crowd gathers. The harbour master comes running. ‘Ai, ai, muchachas,’ he groans. ‘This is a bad business. Seguro, a very bad business. You boys poking about in the hornets’ nest. Why you not leave these women to the sharks?’ While the Rubios are protesting, the local inspector arrives. He is angry beyond belief. He dismisses the harbour master and the crowd of onlookers with violent curses. . . . Overhead, in the place inhabited by saints and angels, a gentle half-hearted bossa starts up and then grinds to a halt. The silence is broken only by the sound of a shaker — it could be a rain stick — being crushed underfoot. And you will find me there at length, all the life in me rising like a wraith into the noonday sky, a dragonish mist that forms a garment for each of us to wear as we dance to Endless Latino!”

File Under: Post Punk, Rock, Experimental
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belfi

Andrea Belfi: Ore (Float) LP
Andrea Belfi (born 1979) is an international respected electroacoustic musician and composer. He began playing drums at the age of 14. He studied art in Milan, before becoming involved in experimental music and since 2002 he’s been in collaboration with a wide range of artists, currently residing in Berlin, Germany. His new album Ore is released on the new UK record label Float which was founded by Sofia Ilyas, who was previously the label manager at Erased Tapes Records. The new label exists parallel to Float PR, the London based agency dedicated to the promotion of unique artists and projects, and Andrea Belfi is the first signing. Titled Ore, the album places the drums as its centerpiece, while textures are embellished and mutated through electronic manipulations and dark, eerie sonic details. Over the years, Belfi has built a sound-world that artfully combines a modest drum set-up with an equally concise electronics component. He has searched long to produce and refine the acoustic timbres of his music, but has now reached a certain point of fulfilment, courtesy of his Saari drum-kit from Finland. Melded seamlessly with the acoustic elements are a Nord modular and sampler. On Ore, Belfi attains a masterful synthesis of these two sonic realms. Belfi has gained a reputation for his energetic and charismatic performances, both as a solo musician and within numerous collaborations. 2016 saw him tour with Nonkeen, the German three-piece band headed by Nils Frahm. Belfi became an instant highlight following a sold-out gig at London’s Barbican Centre, lighting the stage with an impressive and explosive drum solo that became one of the most memorable moments from the evening. “When I started the record I really wanted to find something very direct. I was looking for something very raw, something sonically and acoustically complex. The title Ore actually was suggested by my wife. I had to look up the meaning and loved the concept — something raw that you can extract, and the refinement into a precious material. It’s a very simple metaphor but there’s a lot there, you can just put that word out and you don’t have to explain too much. You give an input to the listener, and just leave it to the imagination.” Mixed by Francesco Donadello; Mastered by Nils Frahm.

 File Under: Electronic, Minimal
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bucknor

King Bucknor Jr. & Afrodisk: African Woman (Hot Casa) LP
Hot Casa present a reissue of King Bucknor Jr. & Afrodisk Beat 79’s African Woman, originally released in 1979. African Woman is a fantastic Afro-beat album from the Fela Anikulapo Kuti disciple and Kalakuta Republic member. A sublime spiritual and political session recorded in 1979 at the EMI studio in Lagos, Nigeria. Arranged and self-produced, Kingsley Bucknor’s second album, hopelessly obscure and impossible to find, ranks alongside the best Afro-beat albums in history. At the age of 19, King Bucknor Jr., also known as the Black Isaiah of Africa, released his second album backed by a 16-piece band called The Afrodisk, and ten background singers. Two long and hypnotic grooves with all the Afro-beat ingredients: fluid and complex drums patterns, strong horns, female voices on chorus, strong lyrics, beautiful keys, and horns solos. Essential for all Afro collectors and music lovers. Vinyl replica; Remastered by Carvery (UK); Includes inner sleeve with an interview.

File Under: Afro Beat
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costa

Gal Costa: India (Mr. Bongo) LP
A post-Tropicalia masterpiece from one of the movements key figures and true legends of Brazilian music, Gal Costa. Features a stellar line up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogério Duprat and Tenorio Jr. amongst others. Replica original gatefold including the cover that was banned by the Brazilian military government in 1973 during the brutal dictatorship. ‘India’ includes the incredible ’Pontos De Luz’ as sampled by Kaytranada on ’Lite Spots’ – one of our favourite Brazilian songs of all time. A wonderful album from start to finish, touching on MPB, folk, jazz, funk and rock with strong Tropicalia and Nordestino influences throughout. A record that we have long been wanting to reissue! Licensed courtesy of Universal Music Group Limited.

File Under: Brazilian, Tropicalia
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daphni

Daphni: FabricLive 93 (Fabric) CD
Daphni (aka Caribou, aka Dan Snaith) presents the 93rd installment of FabricLive. FabricLive 93 marks Daphni’s first mix CD and his first full body of work under the moniker since 2012’s critically acclaimed Jiaolong album, and most recently Caribou’s seminal standout 2014 album Our Love. This special FabricLive mix is composed of 23 original, unreleased Daphni tracks and four new Daphni edits, featuring tracks from Jamire Williams, Luther Davis Group, Pheeroan Ak Laff, and Container. “A lot of these tracks were recorded in situ in the mix itself,” Snaith says. “I’d put one track in place and instead of searching through existing music to find the track to follow it, I’d just make an entirely new one. The tracks on here pull from very diverse ends of the spectrum of music that I like and make.” Packaged in bespoke slipcase containing die-embossed tin.

File Under: Electronic, Experimental
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earthling

Earthling Society: Ascent to Godhead (Riot Season) LP
UK space/psych rock favorites Earthling Society return with their new album Ascent To Godhead, their second album of 2017. Ascent To Godhead is the fleetwood psychonauts’ second release on Riot Season, the first being their 2014 album England Have My Bones which got great reviews across the board. Whereas Zen Bastard was a re-imagining of ancient songs from the back catalog, Ascent To Godhead consists of brand new compositions improvised in the studio. No Hawkwind-esque generators are to be found, which is often found to be synonymous with the space rock genre. Instead, there is a calamitous howl more reminiscent of Birthday Party than Gong. Earthling Society’s unique song writing abilities remain however; where no song starts and ends the same, constantly morphing into something new. Jazz and Eastern rhythms are at the forefront of Ascent To Godhead, taking inspiration from Alice Coltrane, Sun Ra, Far East Family Band, Midori Takada, amongst others. This is no hippy claptrap from the sunshine playroom, it’s an album that ties your brain in knots, and oozes spiritual meaning. Also included is the long lost garage rocker “Can You Levitate?”. Recorded in 2009 and only unearthed earlier in 2017, Ascent To Godhead proves that Earthling Society were belting this stuff out long before the current psych scene. Alice Coltrane inspired, hand-painted artwork; Blue vinyl; Edition of 400.

File Under: Psych, Space Rock
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garrett

Garrett: Private Life (Music from Memory) LP
Garrett came from the inside of his own mind, from within a home recording studio somewhere on planet Earth. The Private Life of creative awareness and the music captured here is the visceral offering to all outside. Every one of us has a Private Life. This is Garrett’s.

File Under: Electronic, Funk, Soul
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greenspan

Greenspan & Taraval: s/t (Geej) LP
A strange confluence of sound that sounds part krautrock synth label Brain records, part Hyperdub techno haze and synth wormholes, with spectacular sound design that has banged at Berghain and sound-tracked winter night drives. Jeremy Greenspan is known mainly for his work with Junior Boys and Jessy Lanza. Taraval is a longtime touring member of Caribou, but both have released several 12″ and EPs of electronic exploration over the past few years. Inspired by synthesizer minimalists like JD Emmanuel, Cluster, and John Carpenter, the two attempted to create a type of dance music with hardware that was indebted to their influences, but did not feel intrinsically retrogressive. The idea was to make a type of raw synthesizer and drum machine music that could be listened to beside the hypermodern techno of Pearson Sound or Actress. The cover art is a tribute to a mysterious mural that looms over the Hamilton, Ontario area where the album was recorded. Each of the five tracks were edited down from much longer recording jams which were done with hardware sequencers in real time. The recording was done completely off-the-floor with no overdubs or added material after the fact. As this release might appeal to synthesizer hobbyists and enthusiasts, it seemed appropriate to compile a list of the instruments used in the original recordings: ARP Odyssey, Pioneer Toraiz SP-16, Eurorack Modular System, Roland JX8P, DSI Tempest, Simmons SDS-8, Roland SH101, Roland Jupiter 6 Yamaha CS50, Oberheim OB-XA.

File Under: Electronic, Krautrock, Kosmiche
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gruppo

Gruppo Di Improvvisazione Nuova Consonanza: Azioni/Reazioni (Die Schachtel) 5LP Box
Includes five LPs, DVD, and book; Edition of 500. The year 2007 saw one of the most remarkable findings in the long treasure-hunting history of Die Schachtel: the complete set of recordings of the early manifestation (1967-1969) of one of the most legendary improv group of all time, the Gruppo di Improvvisazione Nuova Consonanza. Rescued by the private archives of Walter Branchi, one of the original founding members — alongside Franco Evangelisti, Ennio Morricone, Ivan Vandor, Roland Kayn, Egisto Macchi, Mario Bertoncini, and John Heineman — the tapes were then restored in their entirety. Only a part of them were published in a CD-only boxset in an edition of 500, titled Azioni 1967-1969, which also featured a DVD with the original film Nuova Consonanza shot by Theo Gallher during the rehearsal and concert that the group held on March 19th and 20th, 1967, at the Galleria d’arte Moderna in Rome. Spanning from free-jazz to total abstract noise to wild electronic sounds, their music was — and remains — one of the most dynamic, original, and uncompromising expression of a period defined by intense experimentation and musical bravery, anticipating experiments to come in years following. Or, to put it simple, “They were utterly unique,” as per the words that John Zorn, who expressively wrote for this edition. To mark the ten-year anniversary of its original release, Die Schachtel present Azioni/Reazioni 1967-1969, the complete cycle of improvisations — which includes thirteen additional, never before published pieces — taken from the original tapes. Remastered by Giuseppe Ielasi.

File Under: Experimental, Improv, Italian, Morricone
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island people

Island People: s/t (Raster) LP
Gatefold double LP version. Island People is a new band project consisting of mastering engineer Conor Dalton, Grammy award winning producer David Donaldson, musician and DJ Graeme Reedie, and guitarist Ian “Chippy” Maciennan. On their first self-titled record, they present their collaborative work that evolved over the past three years. Being based in different cities, namely Berlin and Glasgow, files had to be exchanged back and forth between the band members in order to create tracks. Their delicate sound structures, field recordings, and other sound sources were heavily processed and rendered unrecognizable. Layer after layer, the tracks came into being quite naturally, not only reflecting their continuous way of working, but also incorporating their different and individual backgrounds: “During the whole creation of the album, we never realized our actions were quickly leading us into forming Island People, we were too busy having fun, making music and sharing ideas.” The result of their collaboration is a timeless music that is as open as a natural phenomenon, developing a certain feeling of euphoria over time. All in all, Island People is a pure listening record in the best tradition of ambient.

File Under: Electronic, New Age
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karkhana

Karkhana: For Seun Matta (Holidays) LP
Featuring some of the most innovative players from Beirut, Cairo, and Istanbul, Karkhana met for the first time in Beirut in 2014, bringing together influences from the three major experimental music scenes of the region and beyond. Through their live shows, the band’s seven multi-instrumentalists build a transcendental atmosphere developing what could possibly be called free Middle Eastern music. Shades and traces of shaabi, tarab, sufi, and much more are heard in the distinct blend of free jazz and psychedelic krautrock they’ve created. Recorded and mixed by Matt Bordin at Outside Inside Studio — in only two days — and mastered by Carl Saff at Saff Mastering Studio in Chicago, For Seun Matta is the first studio album by the band following the 7″ Nafas released on Omlott (2016) and Live At Metro Al-Madina released on Sagittarius A-Star (2015). Featuring Sharif Sehnaoui on electric guitar, Sam Shalabi (The Dwarfs Of East Agouza) on oud and electric guitar, Maurice Louca (The Dwarfs Of East Agouza) on organ and synth, Umut Çağlar (Konstrukt) on zurna, gralla, bamboo flutes, and percussion, Mazen Kerbaj on trumpet, Tony Elieh on electric bass, and with the recent addition of Michael Zerang on drums. “I wish I could track down more of this tantalising outfit’s music to share. . . . This Middle Eastern super group first got together to celebrate the music of Egyptian surf guitarist Omar Khorshid — who was also a key figure in Oum Kalthoum’s orchestra — but their remit has expanded somewhat and now they’re fully committed to outer-perimeter explorations in krautrock-leaning, cosmic free jazz” –John Doran, The Guardian. Edition of 500.

File Under: Free Jazz, Psych, Kraut Rock, Middle Eastern
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kink gong

Kink Gong: Tibetan Buddhism Trip (Akuphone) LP
Psalmody, small bells, big cymbals, gongs and drums — this puzzling collage of Tibetan Buddhist rites recordings is hypnotizing. It opens the way to the state of trance. The slight electronic arrangement reminds the listener that reality is not so far. The two twenty-minute tracks instantly convey an unknown and fascinating universe. Mantra chanting accelerates, horns become more insistent and a mystical atmosphere arises. With Tibetan Buddhism Trip, Akuphone starts to explore ritual and ceremonial music, here with a subtle mix of field recordings and electronic handlings. Over the years King Gong, aka Laurent Jeanneau, has specialized in the recording of ethnic minorities, particularly from South East Asia. He has recorded over 160 albums and his work is now largely well-known around the globe. An impressive collection allows him to manipulate, assemble, and reconstruct his field recordings in order to create new sound landscapes. Recorded in Tibet and Yunnan (China) between 2006 and 2013. Recomposed in Berlin in 2016. Includes insert with unseen pictures and download card including a live performance in Bristol.

File Under: Field Recording
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lean

Lean Left: I Forgot to Breathe (Trost) LP
LP version with screenprinted cover. Lean Left, the quartet of jazz drummer Paal Nilssen-Love and saxophonist Ken Vandermark with The Ex members Terrie Hessels and Andy Moor, present I Forgot To Breathe. Personnel: Paal Nilssen-Love – drums; Terrie Hessels – guitar; Andy Moor – guitar; Ken Vandermark – reeds.

File Under: Free Jazz
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jata

Marijata: This is Marijata (Mr. Bongo) LP
Marijata was a group made up of three members – Kofi ‘Electric’ Addison on drums, Bob Fischlan on organ and Nat Osmanu on guitar, hailing from Ghana. ‘This Is Marijata’ is the groups’ first LP; released originally on the Gapophone label – it is pure, rootsy, raw, driving African funk music of the highest order, now highly sought-after in both its original and previously reissued forms. Addison, Osmanu and Fischlan formed a band called the Sweet Beans with a young singer and guitarist, namely the legendary Pat Thomas. They released ‘False Lover’ in 1974 on Gapophone Records before recording ‘This Is Marijata’ and then ‘Pat Thomas Introduces Marijata’ shortly afterwards. ‘This Is Marijata’ is summed up perfectly by the text on the back cover: “Three young musicians of the Sweet Beans believe that in music and entertainment business, there is no room for mediocrity if one’s music is to win over a bigger audience and fame. How could they give the public a taste of the talent they had so meticulously nurtured since they began their musical careers without upsetting the current musical inclination in the country? Simple, Gapahone Records, quick to spot talent listened to the music of Kofi “Electric” Addison (Drummer) Bob Fischlan (Organist) and Nat Osmanu (Guitarist), liked it and the result, after month of hard work is what you have on this album – THIS IS MARIJATA. Backed by a group of hand-picked musicians, the whole album is exclusively the work of three young men who are trying to bring back some freshness and raw funk into the current flash-in-the-pan songs being recorded in this country. “I Walk Alone” a cool, scintillatingly slow number, displays some interesting instrumental works. “No Condition Is Permanent” and “Break Through” exhibit originality using the funk medium. Even though the vocal rendition sounds somewhat on the hoarse and gritty side, a strong impression is left on the mind of the listener that the boys have something going for them right in there. With the emergence of this album, I believe subsequent albums will breathe more freshness into the whole entertainment scene. Right on, brothers Marijata.”

File Under: Afro Beat, Soul/Funk, Highlife
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nww

Nurse With Wound: Dark Fat (Dirter) 3LP Box
Triple LP box set of Nurse With Wound’s 2016 release Dark Fat. Dark Fat is a celebration and documentation of ten years of NWW shows, but to call Dark Fat a live album is far too simplistic. It is an entirely new recording constructed by combining the most interesting moments of the past decade into unique tracks. M.S. Waldron is to thank as he is archival commandant of the NWW oeuvre, and since 2006 he has recorded every single thing. He has recorded all the live shows, sound-checks, rehearsals, off-stage events, and even covertly recorded the private conversations of the band. These recordings have been studiously and lovingly crafted into a unique sonic tapestry by Waldron and Steven Stapleton with delicate embroidery and filigree added by Andrew Liles and Colin Potter. This is now spread over six sides of luxurious vinyl and encased in a box with a gatefold insert, all featuring the art of Steven Stapleton aka Babs Santini. Listen in the Dark and soak up the Fat.

File Under: Experimental, Industrial

oliveira

Jocy De Oliveira: Estorias Para Voz, Instrumentos Acusticos e Eletronicos (Blume) LP
Blume present the first vinyl reissue of Jocy De Oliveira’s legendary debut Estorias Para Voz, Instrumentos Acusticos e Eletronicos, reissued for the first times since its original release in 1981. Defined by a body of singular music spanning seven decades, within the histories and continuing legacies of avant-garde practice, she is without equivalent. Her debut album Estórias Para Voz, Instrumentos Acústicos e Eletrônicos resonates through a shimmering body of organized sound, unveiling truths lingering in the shadows, the sins suffered by the Latin American avant-garde, with the actualities of its astounding heights. Oliveira began her career as a concert pianist. She left Brazil at young age to study in America and Europe, before being recruited by major orchestras across both continents, working under Stravinsky, and having pieces written for her and premiering of works by Berio, Xenakis, Santoro, Cage, and Manuel Enriquez. During the early 1960s, Oliveira shifted her efforts toward composition. She embarked on a process of folding organized sounds across nearly every context it could inhabit, blurring the lines between performance and composition, and incorporating diverse media well beyond the world of sound. In 1961, within a collaborative theater work written with Luciano Berio, Berio Apague Meu Spot Light, she instigated the first performance of electronic music staged in Brazil. Released in 1981, during the last years of her country’s military dictatorship, Estórias Para Voz, Instrumentos Acústicos e Eletrônicos was met by controversy before quickly sinking from view, heard by almost no one beyond Brazil’s borders. Among the most astounding realizations of electroacoustic process ever recorded, it is a series of sonic stories for voice, and acoustic and electronic instruments: prepared piano, violin, percussion, synthesizers, electric celesta, etc. The album’s singularity, culture, humanity, and introspection cannot be displaced; like its composer, Estórias Para Voz, Instrumentos Acústicos e Eletrônicos is Brazilian. Its draws on a diverse range of the country’s music and percussion traditions, as well as Indian raga structures, and Japanese Shōmyō singing, inspired in part by the sounds of immigrant communities within São Paulo, the city where Oliveira grew up. A landmark classic from the ’70s Brazilian electronic music scene. To quote Keith Fullerton Whitman, this is the “lost Tropicalia/psych/free-vocal/ring-modulator freakout/jam hybrid that you’ve only dreamt about!” Comes in a full-color cover with a printed inner sleeve housing a Nagaoka anti-static record sleeve; Includes original insert that functions as Obi; Red-colored vinyl.

File Under: Electronic, Classical, Brazil
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ghost

OST: Ghost in the Shell (WRWTFWW) LP
Standard Edition now available… We Release Whatever The Fuck We Want Records present the first ever official vinyl pressing of the soundtrack for Mamoru Oshii’s critically acclaimed and all around legendary science fiction anime film Ghost In The Shell (1995), adapted from Masamune Shirow’s groundbreaking manga series of the same name. The haunting score is composed by Kenji Kawai, one of Japan’s most celebrated soundtrack composers alongside Joe Hisaishi and Ryuichi Sakamoto, whose work includes Hideo Nakata’s Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai’s compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme “Making Of Cyborg”, Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film’s musings on the nature of humanity in a technologically advanced world. Ghost In The Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron’s Avatar (2009), the Wachowskis’s The Matrix (1999), and Steven Spielberg’s AI: Artificial Intelligence (2001). For fans of anime, manga, movie soundtracks, science fiction, ambient, folklore, Japan, Akira (1988), artificial intelligence, Midori Takada. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon).

File Under: OST, Electronic, Classical, Japan
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palestine

Charlemagne Palestine: Arpeggiated Bosenforfer + Falsetto Voice (Alga Marghen) LP
In 1974, Ileana Sonnabend commissioned Charlemagne Palestine to create a limited edition, double LP in conjunction with a performance to celebrate the opening of her new Soho gallery at 420 West Broadway. Charlemagne made several recording attempts, first at Swarthmore College in Pennsylvania where they had a Bösendorfer Imperial Piano in their theater. He recorded “Bösendorfer + Voice”, “Voice Piece” as well as some Bösendorfer tests, with Mayo Thompson as producer and Kurt Munkacsi as sound engineer. These ecstatic Swarthmore recordings, recorded late at night in the big empty theater space, represented the original elements on which Charlemagne Palestine later created the piano pieces for Four Manifestations on Six Elements. For more than 40 years since these recordings were made, Palestine never went back to listen to them, but recently on re-listening to these Swarthmore recordings with Alga Marghen, he found several blissful, arpeggiated piano and falsetto voice studies which he feels now deserve to be heard. Included in the Alga Marghen VocSon series, this LP of two previously unreleased 1974 recordings finally see the light of day. Edition of 405.

File Under: Avant Garde, Drone, Minimalism

porter

Porter Ricks: Anguilla Electrica (Tresor) LP
First full-length in seventeen years from the Chain Reaction/Force Inc. legends. Ever since their initial singles were released in the mid-1990s and became international calling cards for the Chain Reaction label, the Porter Ricks duo of Thomas Köner and Andy Mellwig have represented that crucible point in which techno music leaked into new social environments and became the background music for cutting-edge cultural critique. Their submerged “scuba” sound, presented in dark tone colors and reverberating to infinity, is now instantly identifiable as one of the “soundmarks” of Berlin club culture. Just as importantly, it is still a palpable aftershock of a pre-millenial genre explosion that saw deep dub, shimmering post-rock, abstract hip-hop, and art-damaged noise all drinking from the same well of inspiration. For proof of Porter Ricks’s enduring legacy, look no further than the fact that “dub techno” is now a stylistic movement that has expanded far beyond the confines of Berlin and the Basic Channel/Chain Reaction label alliance (where Mellwig’s mastering skills also played a starring role). Lurid traces of Porter Ricks’s aesthetic can now be found in the work of producers like Andy Stott and Miles Whittaker, showing the potential for the duo’s unique “aquatic” techniques to be applied to a variety of different musical contexts. Their new LP on Tresor, Anguilla Electrica, may be their first full-length release in seventeen full years, but it radiates with confidence and with a clarity and intensity rarely seen in a world so over-saturated with communications noise. It’s made clear at once that it’s a continuation of a sonic ideal rather than a tribute to what has already been achieved: the duo is not idly sitting back while their newer acolytes do their talking for them. This new LP is well worth the wait and is a life-affirming one in an uncertain and perilous time, drowning out daily anxieties like a rush of incoming surf — yet it is far more invigorating than relaxing. True to the Porter Ricks’s tradition, it will be just as exciting hearing this music as it will be to experience what new cultural mutations it leaves in its wake.

File Under: Electronic, Dub Techno
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rainforest

Rainforest Spiritual Enslavement: Fallen Leaves Camouflaged Behind Tropical Flowers (Hospital) LP
Marking six years of Rainforest Spiritual Enslavement’s cultish, elemental output, Dominick Fernow (Prurient) gives the project’s first ever release a vinyl pressing for the first time, coiling up two extended tracts of impure, unnatural gloom ranking amongst his most cherished works. Fallen Leaves Camouflaged Behind Tropical Flowers was originally released on tape in 2011 in an edition of 59. When RSE was first conceived with Fallen Leaves Camouflaged Behind Tropical Flowers in 2011, the project was shrouded in a veil of mystery which left many fiends guessing to its provenance — it seemed too far reduced to be identified as Fernow’s work, but also didn’t easily resonate with anyone of Hospital Productions’ usual suspects, instead holding a unique line of stygian slow techno that sounded like some our bleakest, febrile fantasies come to life. Soon enough RSE’s creator and navigator was indeed revealed to be Fernow, and the project became regarded among his most prized golems by those in the know, not least because it was starkly defined in contrast to his myriad other pseudonyms — Vatican Shadow, Prurient, Christian Cosmos, Force Publique Congo, and so on — by dint of its perceived restraint and glowering minimalism. Perhaps because of that stringent, meditative asceticism, the hypnotic grip of RSE has remained undiminished and perhaps as strong as ever on this new vinyl edition, where the predator heartbeat and keening tonal groans of “Life Would Transform” sound more pensive and narcotically effective than ever, and the borderland industrial chug and clag of “Skull Covered In Moss” seems to be seated deeper into its dank gloom, emulating a location recording of a burial-by-mud in some godforsaken no-man’s-land, with lurking parakeets and mechanical birds awaiting their turn on your soon-to-be carrion. RIYL: Coil, Demdike Stare, Prurient, Brian Eno / Jon Hassell’s Fourth World (1980). Remastered by Paul Corley; Cut at Dubplates & Mastering, Berlin. Edition of 500.

File Under: Electronic, Ambient, Industrial
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regis

Regis: Gymnastics (Downwards) LP
For the 21st anniversary of Regis’s pivotal debut album, the Brum techno overlord has remade the scene of the crime from original stems and salvaged 8-track tapes. The unyielding results effectively present a doctored version of his seminal — some may say game-changing — record, featuring new studio versions and unreleased sequences. It’s basically a stronger, fitter version of his most prized LP, loaded with sounds as brutally functional as the city which birthed them. Originally recorded in September 1996 in Room 406, Digbeth, Birmingham aka Scorn’s studio — sandwiched between Tony De Vit and Broadcast’s recording spaces — Regis used one drum machine, one synth, and one FX unit to nail home a back-to-basics approach to techno; one inspired as much by the direct immediacy of Chicago house as the febrile DJ sets of Jeff Mills, but also drawing a crucial “X factor” from his background as a bit of a hooligan, with form in a number of post-industrial, EBM, and punk units. When Gymnastics first hit the ‘floor, it was considered shocking anathema to the swell of manicured, proggy arrangements which were by then dominating the spotlight of British dance in clubs and the media. It was loopy, stripped-to-the-bone, and shark-eyed, always moving forward and without the faintest recourse to melody or harmony — simply reveling in the gnashing tension and swerve of raw, clattering drum machines, and monophonic synth jabs. Big Beat or trance it fucking well wasn’t. 21 years later its lip-biting force is now felt stronger than ever. From the grumbling refusal of “We Said No” and the austere wall-banger “Allies” that boot off the album, through the 16th note nag of “Translation” to the rictus jag of “Sand” and the metallic bite of “The Black Freighter”, this is timeless, primal dance music that still causes friction wherever it’s deployed. James Brown is dead. Long live Regis. New reworked artwork (original featured the Twin Towers photographed in 1996). Remastered and cut by Matt Colton.

File Under: Electronic, Techno
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reich

Steve Reich & Ensemble Modern & Synergy Vocals: Music For 18 Musicians (Victory) LP
A stunning version of Steve Reich’s masterpiece of musical minimalism Music For 18 Musicians (1974-1976), performed live at Tokyo Opera House in 2008 by Ensemble Modern and Synergy Vocals, featuring the composer as guest performer. LP housed in a deluxe die cut jacket with printed insert. In the 1960s, with Terry Riley and Philip Glass, Reich gave pulse back to experimental music. He discovered the tape-based techniques of looping and phasing, using recordings of fragments of speech, and then molecules of musical material. ” (…) When Steve Reich released Music For 18 Musicians (ECM, 1978), it was a consolidation and major leap forward in the pulse-based music that the minimalist progenitor had been exploring on earlier compositions including ‘Four Organs’ (1969), a piece that relied on nothing more than a six-note chord, yet was a near flat-out sonic assault. 18 Musicians was an altogether more complex and sophisticated work, with a broader textural palette based largely on tuned percussion — piano, vibraphone, marimba and xylophone — but also working with maracas, voice, strings, and clarinets to create a sweeping, hour-plus long suite that was hypnotic, melodic, and eminently accessible. With the mathematical precision by which its eleven sections and wrapping ‘Pulses’ develop, it’s a demanding suite to play (…)” –John Kelman, All About Jazz, 2008

File Under: Avant Garde, Minimalism

sakata

Akira Sakata/Manuel Mota/Giovanni Di Domenico/Mathieu Calleja: Jomon (Holidays) LP
Japanese saxophone transgressor Akira Sakata meets with his long-time collaborator and Fender Rhodes virtuoso Giovanni Di Domenico, Portuguese guitarist Manuel Mota, and drummer Mathieu Calleja for a session recorded at Les Ateliers Claus in Brussels. Named after the Jomon period of the Japanese prehistory — when Japan was inhabited by a hunter-gatherer culture rich in tools, clay pottery, and jewelry made from bone and stone — the record features three tracks: “Jomon” (縄文), “Kaen” (火焔), and “Dogu” (土偶). The Dogu (literally: “clay figures”) were small humanoid and animal figurines made during the Jomon period for religious purpose: it may have been believed that illnesses could be transferred into the Dogu, which was then destroyed, clearing the illness, or any other misfortune. The record itself is a musical healing ritual invoking a powerful demon with Sakata’s throat singing, unleashing then slowly hypnotizing it in the second half of the album, putting it back into its vault before it’s too late. Beautiful artwork made with Sakata’s hand-painted Kanji characters. Edition of 250.

File Under: Free Jazz

sanders

Pharoah Sanders: Izippho Zam (My Gifts) (Everland) LP
Everland Jazz present a reissue of Pharoah Sanders’s Izipho Zam (My Gifts), originally released in 1973. “Popular and increasingly in demand, Izipho Zam (My Gifts) falls into the ‘rare’ category among record collectors and is a gift to fans of master Pharoah Sanders. This demand is partially galvanized by the fact that ‘Prince Of Peace’ has become an inspirational mine to hip hop artists and is much loved by samplers. Izipho Zam is Pharoah Sander’s third album, initially recorded in January 1969, it was originally released on the Strata-East label in 1973. On Izipho Zam, Sanders and his band take you on a journey into another world providing an amazing experience! Passionate, intense and free, Sanders saxophone especially, is exquisite, pouring out its soul telling a story of its own. Hailed by peers as the best tenor saxophonist in the world, Pharoah Sanders is a legend in jazz music. He is regarded as one of the pioneers of free jazz and is the mentor of jazz giant, saxophonist Robert Stewart. Born in 1940 into a musical family as Farell Sanders in Arkansas, he first played the clarinet before switching to tenor saxophone in high school. After high school, he moved to California to study music and art. In 1961, Sanders moved to New York where he often played gigs with a number of free jazz dignitaries including Billy Higgins, Sun Ra and Don Cherry. His name ‘Pharoah’ was given to him by Sun Ra, who was his bandleader then. It was during one of these gigs that he met John Coltrane who became his mentor. While playing with Coltrane, Sanders inevitably rose to prominence due to his very distinctive tenor saxophone sound.” –Rachel Kinoti Licensed by Strata-East Recordings.

File Under: Spiritual Jazz
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omega

Squadra Omega: Nervoso (Holidays) LP
Squadra Omega teams up again revealing itself in the shape of a trio composed of — exactly as for the session which gave birth to Il Serpente Nel Cielo (2015) — OmegaFrank (drums), OmegaG8 (bass, electronics), and OmegaMatt (guitar, organ, sax, electronics). An improvised session recorded live by Matt Bordin at Outside Inside Studio, where the Squadra goes nervously free — constantly suspended and harmonically non resolved — following a trail of skilled atonal jazz rock guitar tunes leading to moments of dazed electronics. Definitely not an easy-listening album, wonderfully rendered. For fans of early ECM records. Masterful cut made by Daniel Krieger at SST in Frankfurt. Edition of 250.

File Under: Electronic, Jazz, Psych

tical

H.Tical: Impact: Synthesized Sound & Music (Intervallo) LP
Intervallo present a reissue of H. Tical’s, aka Armando Sciascia, Impact: Synthesized Sound And Music, originally released in 1971. From the very first second, Impact: Synthesized Sound And Music is a difficult, icy release, embracing many cornerstones of what would become known as industrial music. These 16 sonic experiments are totally devoted to VCS3 synthesizers, which are the main architects of whirling escapes, white noise, and sonic landscapes in the mood of early Warp releases. Impact: Synthesized Sound And Music was originally released via Armando Sciascia’s Vedette label in 1971, under the alias H. Tical. It’s a really peculiar library music album, filled with incredibly contemporary sounds and atmospheres. Unlike Distortions by Blue Phantom (1971), whose super groovy and almost hard-prog tracks are all credited to H. Tical, this is a totally different sonic planet – and it’s difficult to figure out what kind of images could be paired with such an extreme experiment, which is a one-of-a-kind effort in Sciascia’s more traditional career as a composer. Moreover, the musical delirium is enhanced by the usual beauty of the titles, such as “Colluvium”, “Metastasis”, “Trigonos”, “Intercosmic”, “Rubidio”, or “Laser”, mixing Latin and English. This is a wonderful, alienating album made of “static” music, totally estranged from the idea of movement. A true desert island album, or better said, an abandoned planet album. Edition of 400.

File Under: Library, Italian
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trad

Trad, Gras Och Stenar: Tack For Kaffet (So Long) (Subliminal Sounds) LP
Limited clear vinyl edition. Gatefold double LP version. The long-awaited new album from the legendary pioneers of transcendental psychedelic rock music and DIY culture in general. Tack För Kaffet (So Long) is a tribute to the deceased band members and dearest friends Torbjörn Abelli and Thomas Mera Gartz. It becomes something of a farewell show for the old Träd, Gräs Och Stenar because all the old and new members, including founder Bo Anders, Torbjörn and Mera, and Reine Fiske (Dungen, The Amazing), are all contributing to this album. The sounds were captured on tape in their music workshop in the countryside and consists mainly of improvised moments where the sounds travels beyond time and space, something that has been TGS hallmark over the years. Perhaps there’s a form of melancholy over some of the album, much depending on how cruelly and suddenly Mera and Torbjörn passed away, but also on a little lighter and crazier whim. Everything is recorded live so there are no euphemistic circumstances, rather everything is pared down, bared bone drones, sounds traveling in the magical improvised unknown with no makeup, just as life can be when the feeling has control. A manifestation of improvised timelessly organic music and free creation. Real life!

File Under: Psych
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univers zero

Univers Zero: Heresie (Sub Rosa) LP
Sub Rosa present a reissue of Univers Zero’s second album Heresie, originally released in 1979. 2010 remixed version (Cuneiform Records). A classic of chamber rock music, featuring heavy use of dissonance and dark, brooding, and extremely complex melodies. Comes on limited edition orange and gold vinyl; Includes insert; 380 gram sleeve. “This music on this LP might have little to do with rock, and might also be a massive downer, but the quality of the writing and playing is extremely high. Michel Berckmans’ solo work on oboe and bassoon work is magnificent, and Patrick Hanappier’s string playing (violin and viola) also demonstrates the precision of a trained classical musician, along with demonic avant-garde scraping and howling on ‘Jack The Ripper.’ Best of all, Univers Zero never cheapens the effect of the music with any of the stock cartoon licks which are associated with the gothic genre today. Group members sound deadly serious about what they’re doing, which might call their sanity into question, but which makes for an incredibly powerful listening experience. In fact, Heresie is a stunning one-of-a-kind item that has never been duplicated by anyone — including Univers Zero.” –William Tilland, AllMusic

File Under: Experimental, Prog
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vaccina

Lino Capra Vaccina: Echi Armonici da Antico Adagio (Die Schachtel) LP
Die Schachtel present unreleased material from Lino Capra Vaccina on Echi Armonici da Antico Adagio. For fans of the Italian avant-garde, few names inspire the loyalty and devotion offered to the percussionist and composer Lino Capra Vaccina, a perfect emblem of the country’s extraordinary movement of musical minimalism. He first gained note as a member of Aktuala, creating a hybrid of rock, avant-garde, and ancient musics while incorporating a diverse number of sonic traditions from across the globe: African, Middle Eastern, Indian, etc. Vaccina’s career as a composer has been marked by two distinct features: an incredibly high bar of quality and ambition, and a tragically slim recorded output. Following his departure from Aktuala, he worked extensively with others — Juri Camisasca, Franco Battiato, etc. — and within the short-lived super group Telaio Magnetico, but his astounding solo efforts have been slow to emerge. In 1978, he released the legendary LP Antico Adagio (DS 027CD/027-1LP), and wouldn’t be heard from again until 1992’s equally extraordinary L’Attesa. Fortunately, the Milan based imprint Die Schachtel has embarked on a multifaceted project of reissuing Vaccina’s hard-to-find LPs for a new generation, as well as offering a range of stunning, unreleased archival recording. Echi Armonici da Antico Adagio falls into the latter category, but it is nothing short of a momentous event. Echi Armonici da Antico Adagio draws on the same body of recordings from which Vaccina’s masterpiece Antico Adagio also grew, entering an already shimmering stage. The album is a revelation, a lost, towering artifact of the Italian avant-garde. It features two sidelong works of pulsing, hypnotic, ritualistic drone with Vaccina’s percussion — gongs, bells, and cymbals — threaded by sustained tones, generated by the voices of Juri Camisasca and Dana Matus. Flirting with the outer-reaches charted by Buddhist and African music, it is a trance-inducing, meditative, cosmic world of sonic interplay. Sheets of resonance, stunning harmonic interplay, and intricate rhythms rise as one. Both performances — immersive, beautiful, deeply moving, rewarding, and intellectually rigorous — reveal themselves slowly at every return. Nearly forty years after its rhythms, tones, and ambiences imprinted themselves onto tape, Echi Armonici da Antico Adagio is unquestionably one of the most important albums to appear in 2017. Silver and gloss varnish print with printed inner sleeves housing a transparent anti-static record sleeve; Edition of 300.

File Under: Experimental, Avant Garde, Electronic
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girls

Various: Girls in the Garage 1 (Past & Present) LP
Prior to Joan Jett, Patti Smith, Courtney Love, and other era-defining women in rock, there were the girls in the garage. Like their male counterparts discovered, being in a band was not only cool and alluring, it was sexual and ultimately political, without making a “political” statement. The garage band was a medium that enabled a voice to be heard, an adolescent fury of angst and frustration or plain old hormones. Girls In the Garage captures the raw essence of those juvenile dreams played out through guitars, drums, mics and amplifiers. Prevailing gender roles would be tested, as rock ‘n’ roll became someone else’s domain. The arrival of rock ‘n’ roll and the teenager not only belonged to the boy next door, it aroused the aspirations and emotions of girls. Although it’s been said that it was rare for a girl group to play on their own records in the mid-1960s, they were not alone. On both sides of the Atlantic, cynical and shrewd producers largely employed session musicians, afraid of any conceivable faults at the hands of such young and innocent hands, male and female. The ones who didn’t were bold visionaries that believed not only in a new generation’s ambitions, but capabilities too. As the rise of a female presence in rock ‘n’ roll rose through the appearance of figures such as The Vejtables’ Jan Errico, the Honeycombs’ Honey Lantree, and the fabulous Maureen Tucker (whose deliberately primal technique is such an undervalued part of the Velvet Underground’s sound), so too did the rise of all-female bands. Liverpool’s Liverbirds and Hull’s Mandy And The Girlfriends gave weight to the idea that it was “normal” and paved the way for likeminded girls to drop the dream boy and pick up the guitar. Although, the prevailing attitude amongst both major and independent record labels was never going to be inspiring or welcoming, like the wailing blues mamas such as Memphis Minnie or Jessie Mae Hemphill, times were-a-changin’ and girls didn’t just want to have “fun”. Emerging groups such as the Pleasure Seekers, White Boots, Ace Of Cups, The Bittersweets, and The Luv’d Ones were playing rock ‘n’ roll on their own terms whilst breaking new ground — whether they were trying to or not. Features: Denise & Co., The Puppets, The Models, The Chymes , The Bittersweets, The Interpreters, The ID, The Glass Opening, The Belles, The Luv’d Ones, Kim And Grim, Lydia Marcelle, The Continental Co-Ets, The Beatle-Ettes, Cathy Rich, and Althea And The Memories. Comes on 180 gram yellow colored vinyl; Includes full-color four-page booklet.

File Under: Garage

natura

Various: La Natura e L’Uomo (Intervallo) LP
Intervallo present a reissue of La Natura E L’Uomo, originally released in 1973. Intervallo’s third reissue in the incredible series of nature-themed libraries originally released in the first half of the ’70s by Cardium, Chic, Nereide, Musical, Rhombus, Spring, and Weekend labels. Real hardcore collector items which gave birth to a small cult during the last four decades. La Natura E L’Uomo, (Italian for “nature and mankind”), first came out in 1973; despite being part of the same series as Biologia Marina (1973) and Ittiologia (1973) (part of Intervallo’s reissue series), it is actually a different affair, in which the avant-garde urge partly leaves room for sweeter, acoustic atmospheres. But there are also amazing examples of ambient experimentations such as “Protozoi” or “Venus”, both featured in two versions. The main characters of this release are pretty much the same ones we met in the other volumes: Alessandro Alessandroni, Franco Tamponi, and Amedeo Tommasi. La Natura E L’Uomo also introduces two new names: Marco Di Marco, author of the tracks with a more definite easy listening mood, is a pianist and a jazz composer from Bologna, while the alias Kema hides Alessandroni’s wife, the amazingly talented Giulia De Muittis, who was an equally formidable force. She and her husband are responsible for the most enticing tracks of the album: “Bassa Marea”, “Pescatori”, and “Venus”. Edition of 400.

File Under: Italian, Library

…..Restocks…..

Tim Buckley: Goodbye And Hello (Rhino) LP
Coil: New Backwards (Important) LP
Judy Collins: WIldflower (Rhino) LP
Darkthrone: A Blaze in the Northern Sky (Peaceville) LP
Aretha Franklin: Aretha Arrives (Rhino) LP
Golem: Orion Awakes (Mental Groove) LP
Grateful Dead: Smiling on a Cloudy Day (Rhino) LP
Joy Division: Closer (Rhino) LP
Joy Division: Unknown Pleasures (Rhino) LP
La’s: s/t (Rhino) LP
Metallica: … And Justice for All (Elektra) LP
Metallica: Kill ‘Em All (Elektra) LP
Roberto Musci: Tower of Silence (Music From Memory) LP
Outkast: Atliens (Legacy) LP
Psychic TV: Force The Hand of Chance (Angry Love) LP
Tragically Hip: Trouble at the Henhouse (Universal) LP
Tragically Hip: Up to Here (Universal) LP
Whitehorse: Panther In The Dollhouse (Six Shooter) LP
Amy Winehouse: Back to Black (Universal) LP
Amy Winehouse: Frank (Universal) LP
Amy Winehouse: Lioness (Universal) LP
X-TG: Desert Shore/Final Report (Industrial) LP
Yamasuki: Le Monde Fabuleux Des Yamasuki (The Great Thunder) LP

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…..news letter #805 – mmm flavor country…..

Well! I’ve decided to try something different with the audio links in news letter today. Instead of Soundcloud/Youtube, I’m giving Spotify a try. They seem to have a lot more stuff than Soundcloud and or Youtube. So, we’ll see how this works, if you have any input, love it, hate it, didn’t know there were audio links, let me know. Anyway, Warm Jets will be in tomorrow. And Shooting Guns are awesome as always. Come for a dig.

….. picks of the week…..

hctwj

Brian Eno: Here Come the Warm Jets (Astralwerks) LP
***HIGHEST RECOMMENDATION*** In tomorrow...  Brian Eno presents deluxe gatefold, 2LP heavyweight vinyl editions of his classic releases Here Come The Warm Jets, Taking Tiger Mountain (By Strategy), Another Green World and Before and after Science. Each album is now spread over two 180-gram vinyl discs, which play at 45 RPM and have been mastered at half-speed by Miles Showell at Abbey Road Studios, ensuring these seminal works sound better than ever before. Each album also contains an Obi, download voucher and Abbey Road Half Speed Master certificate. With experimentalism, conceptual art theory and use of the accidental as a foundation, these albums broke through the boundaries of popular music at the time. Elements of prog/psych/art rock, avant garde and 50s rock ‘n’ roll were combined with an array of cultural and philosophical ideas to create fresh sounding music, that was both visionary and captivating. Alongside George Martin and The Beatles’ work on Sgt. Pepper’s, Eno is arguably the other most pre-eminent practitioner of ‘studio as instrument’ ever. His unconventional recording techniques have resulted in a canon of work that places him alongside other iconic producers like Brian Wilson, Lee Scratch Perry and Phil Spector. As these albums progress chronologically, a nascent form of music begins to emerge. The ideas we hear in this early work continue to reveal themselves in Eno’s later ambient and electronic experiments. 1974 debut Here Come The Warm Jets’ hybrid of glam, prog and art rock continued in a vein similar to Eno’s previous albums with Roxy Music, but further upped the experimental ante. In developing the album’s words and music, Eno used unusual methods, including dancing for his band members – having them play accordingly, and singing nonsense syllables to himself, then forming those into actual words, phrases and meaning – a technique revisited across all these albums. The lyrics on Here Come The Warm Jets are macabre with an underlying sense of humor. They are mostly free-associative and have no particular meaning – another recurring method. Eno enlisted sixteen guest musicians to play on the album, including Robert Fripp and John Wetton of King Crimson, Simon King from Hawkwind, Bill MacCormick of Matching Mole and Quiet Sun, Paul Rudolph of Pink Fairies, Phil Manzanera and Andy MacKay from Roxy Music and Chris Spedding. Eno selected them on the basis that he thought they were incompatible with each other musically. He stated that he “got them together merely because I wanted to see what happens when you combine different identities with the knowledge that there might be accidents, accidents which will be more interesting than what I had intended.”

File Under: Rock, Classics, Essential Grooves, Glam, Pop
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guns

Shooting Guns: Flavor Country (Riding Easy) LP
While Canadian sextet Shooting Guns is known (and oft-nominated) for their film soundtrack work (like Netflix hit WolfCop), Flavour Country is the band’s fastest, heaviest and most visceral material—a collection of anthems to jettison from this universe into the multiverse. The album features some of the band’s most atmospheric sounds: there are slight hints of Ennio Morricone’s Spaghetti Western twang amidst the looping Meddle-era Pink Floyd heavy psych and driving drone reminiscent of Bobby Beausoleil’s belladonna laced soundtrack to Kenneth Anger’s Lucifer Rising. But for the most part, the band is out for blood, regardless of tempo. Album opener “Ride Free” kicks off with a blistering wall of guitars, blaring and rattling out of the gate like mutant progeny to fellow Canadian biker-rock heroes Steppenwolf duly firing all of the guns, exploding into space and returning to hunt down every last one of us. It accelerates from there: “French Safe” sounds like an unhinged battalion of musicians driving full throttle like a scene from a George Miller Road Warrior movie. Biting, lengthier tracks like “Simian Shelf” and the title track occupy the heavy end of the psychedelic spectrum, haunting the foggy moor between early, bluesy Sabbath-styled doom riffery and heavy pulse-riding kraut-rock.

File Under: Metal, Stoner, Rawk
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…..new arrivals…..

blackout

Blackout: Horse (Riding Easy) LP
Ask any New Yorker what makes them special and they’ll all tell you something different. But there’s something very particular about a city so condensed with a vast range of humanity all facing myriad daily challenges that gives its rock music a brash, direct aggression unlike other places. Case in point, NYC trio Blackouts take on doom and stoner rock is filled with a gritty, mechanistic heft unlike bands of their ilk from anywhere else. Subsumed within the greasy grooves of The Horse there are echoes of NYC heavy legends like Helmet, Cro-Mags, Judge, Prong and others not as intentional homage, but rather a vibe that permeates and inadvertently gives its bands a unique power that few can match. After a brief hiatus between the March 2015 release of their self-titled sophomore album on Riding Easy Records, Blackout has regrouped and (ahem) gotten back on The Horse for an 8-song blast of riffs that does not fuck around. On one fateful day in July 2016, with a handful of mushrooms and a bottle of tequila, vocalist/guitarist Christian Gordy set out to write an entire new Blackout record. Following the departure of original drummer Taryn Waldman earlier that year, the bands fate was uncertain. But, Gordy’s writing foray resulted in a wellspring of inspiration and by happenstance he contacted drummer Adam Taylor who had just parted with his band Ghost Punch. Within two months of banging out riffs with bassist Justin Sherrell, Blackout was back in action. The Horse was recorded over 4 days in September 2016 at Spaceman Sound in Brooklyn’s Greenpoint neighborhood, which the band describes as a whirlwind session laced with loads of buds, Petey’s burgers and lipstick. Or, described by blackout themselves: What you have before you now is a messy plate of meat, slathered in weird sauces. A haunted steak from Centaurus A to sink your tingling fangs into. Sit back, crack a semi cold one, maybe get some snacks and turn this motherfucker up to 8.

File Under: Indie Rock, Pop
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change of heart

Change of Heart: Smile (Label Obscura) LP
Label Obscura is proud to announce the reissue of one of the most important Toronto independent rock albums of the nineties. This Summer, Change Of Heart’s seminal 1992 album Smile will finally see its first release on vinyl, as a double LP. Originally released twenty-five years ago this summer by Cargo Records, Smile is a sprawling, twenty-one song album which was recorded in early January, 1992 at Toronto’s Reaction Studios. Said album was originally envisioned to be released as a double record, much like many of the classic records that influenced its creation, including the Minutemen’s Double Nickels on the Dime and Husker Du’s Zen Arcade, but due to budgets constraints at Cargo it was only ever released on compact disc and cassette. Re-assembled and remastered from the original master tapes by album producer Michael-Philip Wojewoda, Smile will be available as as a limited edition on coloured vinyl, limited to 300 copies.

File Under: Rock, Alternative, CanCon
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guardians

OST: Guardians of the Galaxy Vol 2 (Hollywood) LP
Guardians of the Galaxy Vol. 2 is filled with great action, humor and performances, but it is also infused with a new mixed tape and soundtrack, a dynamic that resonated deeply with audiences in the first film as evidenced by the success of the soundtrack album. The Grammy-nominated Guardians of the Galaxy soundtrack reached No. 1 on the U.S. Billboard 200 chart, becoming the first soundtrack album consisting entirely of previously released songs to top the chart. The album has also been certified Platinum by the R.I.A.A. Once again, music plays an important role in the telling of the story in Volume 2. Set to the all-new sonic backdrop, Marvel Studios’ Guardians of the Galaxy Vol. 2 continues the team’s adventures as they traverse the outer reaches of the cosmos. The Guardians must fight to keep their newfound family together as they unravel the mystery of Peter Quill’s true parentage. Old foes become new allies and fan-favorite characters from the classic comics will come to our heroes’ aid as the Marvel Cinematic Universe continues to expand. Director James Gunn explains, “We had Awesome Mix Volume 1 last time, and this time we have Awesome Mix Volume 2. It was so important that it’s actually part of the film’s title this time around. As most people know, Quill’s mom made the first tape for a slightly younger boy, and she made the second tape for a slightly older boy. So, in many ways the songs reflect the story. The songs are a little bit deeper in some ways; a little bit less pop in some ways. Some of the choices are a bit more eclectic; some of the choices are a bit more popular. But we have a real amazing group of songs that, like in the first movie, I wrote into the script. They are a part of the storytelling. Each song is very specific to the scene where it’s placed.” On the importance of the score, which often gets overlooked in a film heavy with popular songs, Gunn adds, “The one thing that is underappreciated is how important Tyler Bates’ score is to the first film. We still use the score from the first movie while shooting this film and it doesn’t get the respect it deserves because it gets so overshadowed by the soundtrack. There’s some beautiful score on that first soundtrack, and I know that the music we’ve written for the second film is even better than what we did for the first film. Tyler Bates has absolutely outdone himself, and we’re giving something very special to people with the music in this film, both the pop songs and the actual score.”

File Under: OST, Classics
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preoc

Preoccupations: Cassette (Flemish Eye) LP
In late 2013, Preoccupations – then known as Viet Cong – released a small-run Cassette EP only available on tour. Over the course of a year, Matt Flegel and Scott Munro worked in their basement studio with a mess of old and run down equipment to build a set of fresh material. Joined by bandmates Daniel Christiansen and Michael Wallace, the band completed work on a debut Cassette. What emerged from the studio was a mixture of sharply-angled rhythm workouts and euphoric ‘60s garage pop-esque melodies, balanced with a penchant for drone-y, VU-styled downer moments, and became a hard-to-find classic. Preoccupations’s first ever release, Cassette, is now being reissued on 12″ vinyl.

File Under: Indie Rock
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shindig

Shindig! #69 Mag
Shindig issue no. 69 contains features on a.o. Steve Marriott, Television Personalities, Paul Weller and Jimi Hendrix. Of course you also get the usual sections such as Shindiggin’, What’s hot on the Shindig! turntable, Thoughts & Words, letters and emails, It’s A Happening Thing, and much more.

File Under: Reading

omar

Omar Souleyman: To Syria, With Love (Mad Decent) LP
Syrian musician Omar Souleyman’s new album, To Syria, With Love, is set for release June 2 via Mad Decent. The follow up to 2015’s Bahdeni Nami marks Souley man’s third full-length studio record. In support of the new release, Souleyman will tour the U.S. in May, playing select dates including New York, Los Angeles, Detroit and Salt Lake City as well as festival performances at Form Arcosanti in Arizona and MoogFest in North Carolina. To Syria, With Love is a departure musically and lyrically from his previous material, with focus on more elaborate keyboard and techno elements. Completely setting politics aside, Souleyman consciously shares this personal ode to his native country with an emphasis on his emotional connection to the land and people but not without heartache in view of the nation’s current state.  “It’s been six years I’ve been away, and I’m tired of looking for home and asking about my loved ones. My soul is wounded and it’s like having dust in my eyes,” Souleyman says.

File Under: Dabke, Electronic, Syria
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television

Television: Live at the Old Waldorf (Rhino) LP
The second release in the RSD Vinyl Club series. This special RSD Vinyl Club title will be released on 2 x 140g black vinyl. An American rock band, formed in New York City in 1973, Television was part of the early 1970s New York underground rock scene. Live At The Old Waldorf (San Francisco 6/29/78) was originally given the Rhino Handmade treatment back in 2003 on CD only in an edition of 5,000 units. That release sold out in days. The 180g 2LP white vinyl set of 3,000 units for RSD 2011 also sold out. This title is very popular and in high demand on the Internet. This is a one time RSD Vinyl Club pressing, with a minimum of 2000 pieces required to press. This is a one time RSD Vinyl Club pressing with a minimum of 2000 pieces required to press.

File Under: Art Rock, Punk
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nuggs

Various: Transparent Days: West Coast Nuggets (Rhino) LP
The crucible of the 1960’s rock revolution lay squarely on the Pacific rim of the Americas. From Vancouver and the Pacific Northwest down through the San Francisco Bay area and the massive suburban sprawl of California’s southland, literally thousands of life-changing discs spewed forth from the smallest garage to the most state-of-the-art studio facility. It was truly rock music’s renaissance period, and the recorded evidence still has the capacity to thrill and enthral. This carefully curated selection of curios from the Warner Brothers family of catalogues is a celebration of the arcane and the acknowledged, the unheard and the unsurpassed, all with a direct tie to the West Coast. As a wise man once said: “It’s a nugget if you dug it!”

File Under: Psych
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…..Restocks…..

Arcade Fire: Funeral (Merge) LP
Arcade Fire: Neon Bible (Merge) LP
Broadcast: Future Crayon (Warp) LP
Broadcast: Haha Sound (Warp) LP
Broadcast: Tender Buttons (Warp) LP
Nuno Canavarro: Plux Quba (Drag City) LP
Cigarettes After Sex: s/t (Partisan) LP
Daft Punk: Random Access Memories (Columbia) LP
Daft Punk: Tron: Legacy (Disney) LP
Lee Fields: Special Night (Big Crown) LP
Lee Fields: My World (Truth & Soul) LP
Lee Fields: Faithful Man (Truth & Soul) LP
Future Islands: Far Field (4AD) LP
Led Zeppelin: I (Warner) LP
Led Zeppelin: II (Warner) LP
Led Zeppelin: III (Warner) LP
Led Zeppelin: IV (Warner) LP
Madlib/Freddie Gibbs: Pinata (Madlib) LP
Metallica: s/t (Elektra) LP
Mr. Bungle: Disco Volante (Music on Vinyl) LP
Night Beats: s/t (Trouble in Mind) LP
Outkast: ATLiens (Arista) LP
Replacements: Twin/Tone Years (Rhino) Box
Replacements: Sire Years (Rhino) Box
Spacemen 3: Sound of Confusion (Fire) LP
Spoon: Hot Thoughts (Matador) LP
Stars of the Lid: Tired Sounds of (Kranky) LP
Waxahatchee: Out in the Storm (Merge) LP
White Stripes: Get Behind Me Satan (Third Man) LP

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…..news letter #804 – enophile…..

What an exciting time to be alive! This week we finally see the reissue of Brian Eno’s four pop masterpieces! (Granted ‘Here Come the Warm Jets’ is late) This has been the biggest peeve of mine for years! These albums are completely essential. But not only did they reissue them, but they are double 45rpm audiophile pressings! I’m pretty curious as there’s never been an audiophile pressing of anything I know well enough to be able to judge if there is anything to this double 45rpm thing. SO, I strongly recommend you buy em, cuz they rule.

…..picks of the week…..

AGW

Brian Eno: Another Green World (Astralwerks) LP
***HIGHEST RECOMMENDATION!!!*** In tomorrow…. Brian Eno presents deluxe gatefold, 2LP heavyweight vinyl editions of his classic releases Here Come The Warm Jets, Taking Tiger Mountain (By Strategy), Another Green World and Before and after Science. Each album is now spread over two 180-gram vinyl discs, which play at 45 RPM and have been mastered at half-speed by Miles Showell at Abbey Road Studios, ensuring these seminal works sound better than ever before. Each album also contains an Obi, download voucher and Abbey Road Half Speed Master certificate. With experimentalism, conceptual art theory and use of the accidental as a foundation, these albums broke through the boundaries of popular music at the time. Elements of prog/psych/art rock, avant garde and 50s rock ‘n’ roll were combined with an array of cultural and philosophical ideas to create fresh sounding music, that was both visionary and captivating. Alongside George Martin and The Beatles’ work on Sgt. Pepper’s, Eno is arguably the other most pre-eminent practitioner of ‘studio as instrument’ ever. His unconventional recording techniques have resulted in a canon of work that places him alongside other iconic producers like Brian Wilson, Lee Scratch Perry and Phil Spector. As these albums progress chronologically, a nascent form of music begins to emerge. The ideas we hear in this early work continue to reveal themselves in Eno’s later ambient and electronic experiments. From its release in 1975 to today, Another Green World has been heaped with accolades. At the time, Village Voice described “the aural equivalent of a park on the moon” and Rolling Stone called it “a major triumph, an important record – and also a brilliant one,” whilst recently Q dubbed it “breathtakingly ahead of its time.” The album’s music veers from the experimental sounds of Eno’s previous albums – based loosely around rock – to the more meditative, synth-oriented instrumental minimalism of his subsequent work. Produced by Eno and Rhett Davies, like his previous solo efforts, Eno had several guest musicians contribute to Another Green World: Robert Fripp, John Cale, Phil Collins and his fellow brand X member Percy Jones. Unlike his previous albums, Eno worked on more solo material, including 6 songs in which he plays all the instruments himself; “In Dark Trees,” “The Big Ship,” “Another Green World,” “Sombre Reptiles,” “Little Fishes” and “Spirits Drifting.”

File Under: Rock, Classics, Essential Grooves, Ambient, Experimental
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pcaPye Corner Audio: Sleep Games (Ghost Box) LP 
Pye Corner Audio’s darkling synthetic transmissions had been hovering under the radar for a couple of years before 2012’s Black Mill Tapes collection on Type brought them to a wider and grateful audience. Now, Martin Jenkins finds himself equally lauded by the likes of Sandwell District’s Juan Mendez and Minimal Wave’s Veronica Vasicka as by the UK hauntological set – a testament to the scope and adaptability of his stygian productions. Nonetheless, this album release feels right at home on Ghost Box, and it follows Jenkins’ contribution to the label’s 7″ Study Series last year. If The Black Mill Tapes focussed on the unheimlich but decidedly driving meta-techno side of the Pye sound, Sleep Games gives as much time to exploring its more abstract and oneiric peripheries. Nonetheless, rhythm is foregrounded throughout: from the woozy, tape-warped Boards of Canada-ism of ‘Sleep Games’, via the Xander Harris/Umberto-esque giallo-disco chug of ‘The Black Mill Video Tape’ through to the distant, dubby pulse of ‘Palais Spectres’ and the rolling toms of ‘Underneath The Dancefloor’. Eschewing the tweeness which has arguably softened the impact of recent Ghost Box releases, Sleep Games is refreshingly drug-hazed and zonked-out yet shark-eyed, minimalist and full of post-apocalyptic, cold-wave menace: you can more easily imagine this stuff soundtracking a car ride through the deserted industrial zones of coastal America than a ramble round the Belbury parish and its bucolic environs. At the same time, this feels like a Ghost Box release through and through: ‘Print Through’ is a radiophonic seance right from the grimoire of Eric Zann, ‘Deep End’ has the school textbook sci-fi sigh of classic Belbury Poly and ‘Yesterday’s Enemy’ the occult public service broadcasting vibe of early Advisory Circle.

File Under: Electronic, Ambient, Synth Dreams
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…..new arrivals…..

cade

Arcade Fire: Everything Now (Sonovox) LP
Limited ‘language’ cover variants now available! Free posters while supplies last! Everything Now is the fifth full-length offering from Quebec art-rock outfit Arcade Fire and follow-up to 2013’s Grammy-nominated Reflektor. The thirteen track release features the dance-friendly, David Bowie-esque title track lead single “Everything Now” and was produced by Arcade Fire, Thomas Bangalter (Daft Punk) and Steve Mackey (Pulp), with co-production by Markus Dravs (The Suburbs, Coldplay, Mumford & Sons). The album was recorded at Boombox Studios in New Orleans, Sonovox Studios in Montreal, and Gang Recording Studio in Paris. “There’s sort of an everything-nowness to life, I feel like almost every event and everything that happens surrounds you on all sides,” frontman Win Butler explained to BBC Radio 1. “It’s trying to capture some of the experiences of being alive now in all its flaws and all its glory.” 12″ black heavyweight vinyl in a gatefold sleeve, with a folded lyric sheet insert.

File Under: Indie Rock, Pop
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buckley

Tim Buckley: Goodbye and Hello (Rhino) LP
50th anniversary, 180 gram mono reissue! One of the great rock vocalists of the 1960s, Tim Buckley drew from folk, psychedelic rock, and progressive jazz to create a considerable body of adventurous work in his brief lifetime. Often cited as the ultimate Tim Buckley statement, Goodbye and Hello is indeed a fabulous album. Contains ‘Once I Was’ and ‘Pleasant Street.’ Original artwork.

File Under: Folk, Psych, Rock
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prunes

Electric Prunes: s/t (Rhino) LP
50th anniversary, purple vinyl mono reissue! When it comes to garage bands from the ‘60s, few delivered debut albums as immediately addictive as these guys. Side 1 kicks off with “I Had Too Much to Dream Last Night,” and Side 2 starts with “Get Me to the World on Time,” both classics.

File Under: Garage, Psych
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ttm

Brian Eno: Taking Tiger Mountain (By Strategy) (Astralwerks) LP
In tomorrow…. Brian Eno presents deluxe gatefold, 2LP heavyweight vinyl editions of his classic releases Here Come The Warm Jets, Taking Tiger Mountain (By Strategy), Another Green World and Before and after Science. Each album is now spread over two 180-gram vinyl discs, which play at 45 RPM and have been mastered at half-speed by Miles Showell at Abbey Road Studios, ensuring these seminal works sound better than ever before. Each album also contains an Obi, download voucher and Abbey Road Half Speed Master certificate. With experimentalism, conceptual art theory and use of the accidental as a foundation, these albums broke through the boundaries of popular music at the time. Elements of prog/psych/art rock, avant garde and 50s rock ‘n’ roll were combined with an array of cultural and philosophical ideas to create fresh sounding music, that was both visionary and captivating. Alongside George Martin and The Beatles’ work on Sgt. Pepper’s, Eno is arguably the other most pre-eminent practitioner of ‘studio as instrument’ ever. His unconventional recording techniques have resulted in a canon of work that places him alongside other iconic producers like Brian Wilson, Lee Scratch Perry and Phil Spector. As these albums progress chronologically, a nascent form of music begins to emerge. The ideas we hear in this early work continue to reveal themselves in Eno’s later ambient and electronic experiments. 1974’s Taking Tiger Mountain (By Strategy) is a loose concept album with topics ranging from espionage to the Chinese Communist revolution. To help guide production of the album, Eno and the album’s cover artist Peter Schmidt developed the highly influential Oblique Strategies cards which proffered instructions intended to aid creativity. They were also used on subsequent albums and are still consulted by Eno and many others to this day. Unlike Here Come the Warm Jets Eno used fewer guest musicians, instead opting for a core band consisting of Phil Manzanera, Andy Mackey, Brian Turrington and Freddie Smith of The Winkies, Robert Wyatt, Phil Collins of Genesis and Brand X, members of Randi & The Pyramids, The Simplistics and Portsmouth Sinfonia (an orchestra in which Eno had once played clarinet.)

File Under: Rock, Art Rock, Electronic
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baas

Brian Eno: Before and After Science (Astralwerks) LP
In tomorrow…. Brian Eno presents deluxe gatefold, 2LP heavyweight vinyl editions of his classic releases Here Come The Warm Jets, Taking Tiger Mountain (By Strategy), Another Green World and Before and after Science. Each album is now spread over two 180-gram vinyl discs, which play at 45 RPM and have been mastered at half-speed by Miles Showell at Abbey Road Studios, ensuring these seminal works sound better than ever before. Each album also contains an Obi, download voucher and Abbey Road Half Speed Master certificate. With experimentalism, conceptual art theory and use of the accidental as a foundation, these albums broke through the boundaries of popular music at the time. Elements of prog/psych/art rock, avant garde and 50s rock ‘n’ roll were combined with an array of cultural and philosophical ideas to create fresh sounding music, that was both visionary and captivating. Alongside George Martin and The Beatles’ work on Sgt. Pepper’s, Eno is arguably the other most pre-eminent practitioner of ‘studio as instrument’ ever. His unconventional recording techniques have resulted in a canon of work that places him alongside other iconic producers like Brian Wilson, Lee Scratch Perry and Phil Spector. As these albums progress chronologically, a nascent form of music begins to emerge. The ideas we hear in this early work continue to reveal themselves in Eno’s later ambient and electronic experiments. Produced by Eno and Rhett Davies, over 100 tracks were written for 1977’s Before and After Science with only 10 making the album’s final cut. The musical styles featured range from energetic and jagged to more languid and ethereal. The album marks Eno’s last foray into rock music in the ‘70s as a solo artist, with all his remaining records of the decade showcasing more of his ambient music, which was hinted at on the second half of Before and after Science. Unlike Eno’s previous albums, which were recorded in a very short time, Before and after Science was two years in the making. During this two-year period, Eno was busy working on his solo ambient albums Music for Films and Discreet Music, as well as Bowie’s Heroes and Low. On Before and after Science Eno worked with Fred Frith, Jaki Liebezeit of Can, Cluster, Dave Mattacks of Fairport Convention, Andy Fraser of Free, Percy Jones, Phil Collins, Robert Fripp, Paul Rudolph of Hawkwind, Bill MacCormick from Matching Mole / Quiet Sun , Phil Manzanera and Robert Wyatt who went under the pseudonym of Shirley Williams.

File Under: Rock, Electronic, Ambient
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aretha

Aretha Franklin: Aretha Arrives (Rhino) LP
50th anniversary, 180 gram mono reissue! Seriously, how many artists can successfully pull off covers of the Rolling Stones, Question Mark and the Mysterians, and Willie Nelson and do so credibly? Bow down before the Queen of Soul!

File Under: Soul
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las

The La’s: s/t (Polydor) LP
Originally released in 1990 on the Go! Discs label, The La’s equally enigmatic and exalted self-titled debut is a tasty nugget of classic British pop (Kinks, Small Faces) matched with the post-punk jangle of groups like the Smiths and XTC. Predating the second British invasion by a number of years, this, the sole album by the La’s features the classic “There She Goes” along with eleven more slices of pure pop goodness. “Upon its release, The La’s was immediately hailed by critics and adored by college radio. The harmonies and hooks are indelibly tied to early 60s pop, with a strong tip of the hat to another set of Liverpudlians. The band’s sound, despite the obvious linkage to a bygone era, never sounds dated, maintaining a fresh, unique identity without ever becoming derivative or ironic.” – Len Comaratta, Consequence of Sound

File Under: Rock, Pop, Post Punk
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love

Love: s/t (Rhino) LP
50th anniversary, 180 gram mono reissue! After gigging around the Los Angeles scene for three years, Arthur Lee was ready for something different. Inspired by seeing The Byrds live, he decided to merge their folk-rock sound with the driving R&B he had been playing to create a new group, dubbed Love. Recruiting guitarists Johnny Echols and ex-Byrds roadie Bryan Maclean, bassist Ken Forssi and drummer Alban “Snoopy” Pfisterer, Love began recording their eponymous debut LP in January 1966. Their first single, Bacharach/David composition “My Little Red Book,” spotlights an insistent, menacing riff that sounds nothing like what their contemporaries were committing to vinyl. Other cuts highlight the writing talents of Lee and the band members, notably on Lee’s anti-drug essay “Signed, D.C.” and Maclean’s “Softly to Me.” Also included is their version of the rock standard “Hey Joe,” rivaling The Leaves’ hit version for power and sporting some lyric alterations. The group, which lived communally at the time in a house formerly owned by Boris Karloff (they are pictured in the house’s garden on the LP cover), quickly coalesced into one of the West Coast’s most influential and exciting groups; here is where it all began.

File Under: Garage, Psych
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naomipunk

Naomi Punk: Yellow (Captured Tracks) LP
The 25 tracks on Yellow, conceived as a double album from day one, were self-recorded steadily throughout 2015-2017 at various locations. Much of the material was derived from what the band called The Scorpion Suite, a state of mind reached only by the alternative version of Naomi Punk they call The Scorpions (disambiguated). Many Scorpion Sessions were conducted by The Scorpions, each member performing their predetermined roll in a project half-aspiring to the register of licensing music, half-aspiring to musical novelty. The self-referential musical language of The Feeling (2012) was wrung out into the starker, live-informed Television Man (2014). On Yellow this language becomes a means, not an end. Integrated into the album are glimpses of live recordings, sounds of equipment being pushed around, hard rock sample libraries, sounds of the flapping wings of the album’s host (“I Found My Angel Wings” is embedded in thematic variation throughout), windy field recordings, emulsive synthetic woodwinds, a busted car stereo, a few four-track acoustic ballads, and more than a few puzzles and jokes. Much of the record conjures this notion of the undoing of ‘society’, at least in a western societal sense, and its supercession via the natural world; the revenge of Mother Earth.

File Under: Punk, Rock
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valerian

OST: Valerian (Idol) LP
Inspired by the cult French comic book from the 70s, Valerian and the city of thousand planets, represents the biggest European budget of all time (180M€) and will have a US launch budget (90M$) equal to Star Wars, Disney or Marvel. Leading roles are Cara Delevingne and Dana Dehaan and support roles are Rihanna, Clive Owen, Herbie Hancock, Kris Wu and Alain Chabat! It will be released in more than 300 theaters in Canada in 3D & real 3D. The amazing score is composed by very well-known French composer Alexandre Desplats (Harry Potter, Twilight, The Curious Case of Benjamin Button, Grand Budapest Hotel and many more). It was recorded in the prestigious Radio France Studio 104 with the National French Orchestra (97 musicians) and the Choeur de Radio France (40 choristers) and has a continuous and determining presence in the movie.

File Under: OST
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stone sour

Stone Sour: Hydrograd (Roadrunner) LP
Hard rockers Stone Sour, led by Slipknot frontman Corey Taylor, return with their fifth full-length slab Hydrograd. Recorded at Sphere Studios in North Hollywood, CA with producer Jay Ruston, Hydrograd comes preceded by the epically heavy lead tracks “Fabuless” and “Song #3.” Taylor on the new album, “This album is great because it’s got elements of everything. It’s got the heavy energy of the ’80s, there’s punk moments, there’s hard rock moments, all the great amalgam of music. There’s even jazz and hip-hop moments. It’s really, really cool. It’s probably the coolest album I’ve made since the first Slipknot album, let’s put it that way. It’s dope, dude. And, hey, I feel very confident making that statement, because it’s so good.”

File Under: Rock, Slipknot
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kit

This is the Kit: Moonshine Freeze (Rough Trade) LP
This Is The Kit – the musical project which holds exceptional Paris-via-Bristol songwriter Kate Stables close to its heart – have earned the adoration of peers including Guy Garvey, The National, and Sharon van Etten. ‘Moonshine Freeze’, is undoubtedly their most compelling and accomplished to date. Produced by John Parish (PJ Harvey, M Ward, Perfume Genius), it began in the immediate wake of its predecessor, ‘Bashed Out’, when days after coming off tour last November, Stables and her band (Rozi Plain, Jamie Whitby-Coles, Neil Smith and Jesse D Vernon) headed into Geoff Barrow’s Invada studios in Bristol. Aaron Dessner of The National also features on six of the album tracks. Stables’ chiaroscuro lyrics, and the detailed arrangements that have earned her fans in fellow musicians and thoughtful listeners, are here in full bloom, of course. But the songs themselves encompass more space and volume than ever before, with choruses at once inexplicable as well as singalong; the odd Motown-style horn chart cropping up here and there, in unexpected, but utterly welcome, interludes; sounds that veer from delicate to dusty to swelling in a moment. With Moonshine Freeze, This Is The Kit have struck a balance between the esoteric and the accessible, and have brought together a collection of brilliant songs with tremendous potential. Though the album’s songs were already written before heading into the studio, Stables says she had no fierce vision for how they should sound, preferring to let them take shape with the input of her band and Parish. “I’m not yet someone who says ‘I want this album to sound like an 80’s French nightclub’,” she says. “All I can do is write the songs and then step back from them and see what themes or patterns there are, then bring those patterns out so it’s a coherent piece of work, sonically and in terms of feeling.” Sonically, Moonshine Freeze is a beguiling mixture of great musical sophistication and something more guileless —children’s games, incantations and snatches of nursery rhymes. Stables’ voice too is a remarkable thing: in its angles there lies an exquisite strangeness reminiscent  of Will Oldham, Magnolia Electric Co, Robert Wyatt, Karen Dalton.

File Under: Folk
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wray

Link Wray: s/t (Future Days) LP
Recorded in a shaky makeshift chicken shack in rural Maryland, Link Wray’s eponymous 1971 solo album is a compelling and forward-looking piece of honest, handmade Americana. This album is vastly different from his previous work, foregoing instrumentals entirely. Instead, Wray, left with only one lung following a bout with tuberculosis in 1956, gives us his raw voice, full of spit and vinegar, as he blends elements of country, rock ‘n’ roll, roots, folk and gospel marked with fuzzy guitar and booming percussion. He kicks off with a track, “La De Da”, that may be the greatest song the Stones never wrote. Elsewhere, the single “Fallin’ Rain” channels Dylan at his most political, with lyrics about “stabbings and shootings and young men dying all around.” Link Wray proved to be the only album that the guitarist issued in his own name to hit the American charts during his nearly 50-year recording career. Although it didn’t receive much critical acclaim at the time of its release, Link Wray has seen a resurgence in recent years and developed a cult following, with artists from Nick Cave to The Neville Brothers recording versions of its tracks. Link, along with brothers Vernon and Doug began playing together professionally in 1942, their rowdy instrumental single “Rumble” charting at number 16 in 1958. Following a string of hits on Philadelphia-based Swan Records, Vernon began to serve as the family’s producer, eventually starting his own studio; first in the basement of his home and then–after his wife Evelyn complained about the noise–in a converted shack on the property. It was there that Link, Vernon and producer Steve Verroca found a sound that marked “a return to simplicity.” This carefully remastered reissue will take you right back to that chicken shack, and to sessions so electric you can almost feel the atmosphere.

File Under: Country, Rock, Blues
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…..Restocks…..

Courtney Barnett: The Double EP (Mom & Pop) LP
Courtney Barnett: Sometimes… (Mom & Pop) LP
Buena Vista Social Club: s/t (World Circuit) LP
Electric Wizard: Dopethrone (Rise Above) LP
Electric Wizard: Come My Fanatics (Rise Above) LP
Guided By Voices: Alien Lanes (Matador) LP
Nick Hakim: Green Twins (ATO) LP
Jason Isbell: Southeastern (Sony) LP
Jason Isbell: The Nashville Sound (Thirty Tigers) LP
King Crimson: In the Court of the Crimson King (Pangyric) LP
King Crimson: In the Wake of Poesiden (Pangyric) LP
King Crimson: Starless And Bible Black (Pangyric) LP
Morrissey: Vauxhall & I (Parlophone) LP
Morrissey: Your Arsenal (Sire) LP
The National: Boxer (Beggars) LP
Patti Smith: Horses (Legacy) LP
Jack White: Blunderbuss (Thirdman) LP

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…..news letter #803 – blue pants…..

Well, we’re still waiting on a shipment from 2 weeks back, so… that’s a drag. But other things are still coming in, so at least there’s that. And really, the only thing anyone is going to want for the next couple of weeks is the new Arcade Fire anyway, right? Take a break from the heat and come have a dig, we keep it real chilly in here.

…..pick of the week…..

belbury

The Belbury Poly: The Owl’s Map (Ghost Box) LP
Belbury Poly is Jim Jupp, co-founder of the Ghost Box label with Julian House and a notorious lover of analog electronics circa 60s/70s such as the Radiophonic Workshop or Raymond Scott. ‘The Owl’s Map’ originally broke through the space-time continuum in 2006, setting another flag point in the development of Hauntological thinking. In comparison to the fractal sonic tapestries of Julian House, Jupp’s sonics tend towards synth-driven sequences with slightly longer track lengths, we’re not talking Tangerine Dream style side-long trips, but more commonly hovering around the pop-perfected 3 min mark. In both its aesthetic and sound, ‘The Owl’s Map’ unnervingly harks back to the same kind of educational TV-for-schools programmes which were viewed by at least two generations of UK schoolchildren, programmes whose mystical/mythical undercurrents and fantastical subject matter were hugely reinforced by their accompanying electronic soundtracks. For many UK children, these programmes were the first time we would experience electronic music placed in a context like this, and at such a formative age would irrevocably alter our relationship with music. This is the subliminal stuff that probably soundtracked many a nightmare/dream, which may go some way to explaining the huge impact it had on certain corners of underground music today.

File Under: Pseudo Library, Electronic, Radiophonic
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…..new arrivals…..

arcadefire

Arcade Fire: Everything Now (Sonovox) LP
Available with either the limited edition Night Version cover with coloured vinyl, or the black vinyl Day Version. Free posters while supplies last! Everything Now is the fifth full-length offering from Quebec art-rock outfit Arcade Fire and follow-up to 2013’s Grammy-nominated Reflektor. The thirteen track release features the dance-friendly, David Bowie-esque title track lead single “Everything Now” and was produced by Arcade Fire, Thomas Bangalter (Daft Punk) and Steve Mackey (Pulp), with co-production by Markus Dravs (The Suburbs, Coldplay, Mumford & Sons). The album was recorded at Boombox Studios in New Orleans, Sonovox Studios in Montreal, and Gang Recording Studio in Paris. “There’s sort of an everything-nowness to life, I feel like almost every event and everything that happens surrounds you on all sides,” frontman Win Butler explained to BBC Radio 1. “It’s trying to capture some of the experiences of being alive now in all its flaws and all its glory.” 12″ black heavyweight vinyl in a gatefold sleeve, with a folded lyric sheet insert.

File Under: Indie Rock, Pop
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avey

Avey Tare: Eucalyptus (Domino) LP
Eucalyptus is the new studio album written and produced by Animal Collective’s Avey Tare. Conceived on Hawaiian mornings, written on a sunlit bedroom afternoon in Los Angeles, practiced in the dark early hours of the California twilight, recommended listening for dawn or dusk. Recorded by Animal Collective’s Deakin (Josh Dibb), featuring chamber orchestration arranged by Eyvind Kang, musicians Angel Deradoorian and Jessika Kenney, Eucalyptus is an immersive album length electroacoustic movement through leaves, rocks and dust. Double LP packaged in gatefold Stoughton tip-on jacket with download card.

File Under: Indie Rock, Animal Collective
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azymuth

Azymuth: s/t (Farout) LP
Far Out Recordings present a reissue of the seminal debut album from Azymuth, Azimüth, originally released in 1975. Having never seen a vinyl release outside of Brazil, Azimüth is considered a milestone in Brazilian music. Azymuth — Jose Roberto Bertrami, Ivan Conti, and Alex Malheiros, as well as Ariovaldo Contesini — formed in the late ’60s just as Os Mutantes released their debut record (1968). Whilst Mutantes were honing a psychedelic “Amazonian” version of western pop music, Azymuth were creating a futuristic, electric interpretation of US jazz — also driven by the same rootsy Brazilian “swing” that Mutantes had harnessed. Bertrami was the drive behind Azymuth’s sound — a control freak and musical genius obsessed with the latest technology who wanted to use it to push the boundaries of music in a way that no one else in Brazil had done. His use of keyboards has drawn comparisons between Azymuth’s work and Herbie Hancock’s early ’70s output, yet with its Brazilian swing Azymuth’s electric jazz sound is unmistakably their own. Conti is an impulsive and an incredibly energetic drummer. Alex Malheiros, who learned his trade playing from the master of Brazilian swing Ed Lincoln, is one of Brazil’s original groove masters. Bertrami rose to fame as an arranger in the mid-60s, and by the late ’60s he was arranging for the queen of Brazilian music, Elis Regina. Released in summer 1975, the album was a minor commercial success selling 200,000 copies. Opening track “Linha do Horizonte” — a sublime piece of melancholic electronic saudade where deep cinematic synths melt into gently strummed acoustic jazz guitar — was chosen for a TV novella and went on to sell half a million, propelling Azymuth onto the Brazilian music scene. The rest of the album doesn’t disappoint — “Melô Dos Dois Bicudos” sees Azymuth plugging them into the Brazilian national grid for a slice of electrified psyched out samba funk with crashing military drums, shrieking sirens and psych synths. “Brazil” is a lolloping bass led groover with Bertrami’s melody giving the track a charming, innocent naivety, and “Caça A Raposa” is a boogie jazz funk groover. Azimüth is the album that kick-started it all for them, the record that was the blueprint and definition of their “samba doido/crazy samba” sound. Comes in a gatefold sleeve; 180 gram vinyl; Edition of 500.

File Under: Jazz, Latin Funk
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boris

Boris: Dear (Sargent House) LP
“We don’t feel comfortable calling Dear a return to our slow and heavy style,” says Tokyo’s amplifier worshipping experimental metal institution Boris. “We’ve been heavy since day one.” And it’s true. From the droning thunder of their Absolutego debut and through the cinematic crescendo of albums like Flood, the bombastic licks of the Heavy Rocks records, the punk rage of Vein, the bottom-dwelling psychedelia of Akuma no Uta and Pink, and the grimy thump of Attention Please and New Album, Boris has always attempted to search out new ways to level listeners with their sound. In the 25th year of their existence, the trio delivers Dear, an album they describe as “heavenly-far beyond heavy.” Though Boris has traversed a broad swath of sonic territories, they have always been consistent in their embracing of excess, pushing their myriad of approaches and stylistic forays to points of intoxicating absurdity. But a time came in the early years of their third decade where the band wondered if there were any new horizons to explore. Consequently, it was decided that the band would begin jamming on material for what was planned to be a record that served as a formal goodbye to fans. In a strange twist of fate, being unencumbered by expectations and having an open-ended approach to the writing process reinvigorated Boris. The renewed vitality yielded an album that fortifies their monolithic wall of sound while also allowing the individual band members to explore the nuances and intricacies of minimalist riffs played at maximum volume. Songwriting for Dear initially yielded three albums’ worth of material by the end of 2015, but as the band was slated to spend a large chunk of 2016 on their “Performing Pink” worldwide tour, they decided to hold off on releasing any new material. The tour further rekindled their passion, and when the band returned home they wrote several more songs and scaled the three records down to one. “At the very first moment, this album began as some kind of potential farewell note of Boris. However, it became a sincere letter to fans and listeners…you know, like ‘Dear so-and-so, this is the new album from Boris’ or something like that. We feel so grateful we can release this album in our 25th anniversary year.”

File Under: Metal
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castle

Lynn Castle: Rose Colored Corner (Light in the Attic) LP
Though most of the world may not know the songs of Lynn Castle, she is an artist whose work stretches across seven decades. She has created a diverse and vast (albeit mostly unreleased) discography of pop, folk, country, gothic, rock, punk, blues, and children’s songs. Light In The Attic Records is very excited to continue its Lee Hazlewood Archive Series with Rose Colored Corner, a collection of intimate recordings Lynn Castle made with Jack Nitzsche in 1966 and her complete recorded output with Lee Hazlewood on LHI Records. For the first time ever Lynn is sharing recordings from her personal archive and telling her story. In the 1960s Lynn became the first lady barber in LA just as long hair on men became hip. By day she was styling The Monkees, Boyce and Hart, Del Shannon, Sonny & Cher, the Byrds and countless others…by night she was writing songs. Despite lacking the desire to self promote and a crippling insecurity that made it hard to sing in front of anyone, her songs managed to bend the ears of such industry heavyweights as Phil Spector, Jack Nitzsche and Lee Hazlewood. “It was so hard to get me to sing,” explained Castle. “I had buried it so low, I didn’t think I was good at all. Lee heard my songs and thought I was fabulous. He said, ‘Oh my god, you’re really good! Let’s cut a record.’ Her sole 1967 45 “The Lady Barber” b/w “Rose Colored Corner,” released on Lee Hazlewood Industries is a slice of psychedelic pop heaven. A full length album was never completed, but her sparse demos with Jack Nitzsche give the listener a peek of what one might have sounded like. If you are familiar with Nitzsche’s mid-60s work with Tim Buckley, Bob Lind, and Buffalo Springfield…you can squint your ears and imagine her songs bejeweled with lush strings, finger cymbals, and delicate harpsichord. Instead, the songs remained unheard until now. Just because her songs weren’t recognized at the time doesn’t diminish their magic. This music is meant to be found and heard. Though commercial success may remain elusive, sometimes strange premonitions are realized… “When I was young, making music in the ‘60s, I had this strange thought that one day I would be this old woman, and young people would come find me and tell me that my music meant something to them.” – Lynn Castle

File Under: Folk, Country, Psych, Lee Hazlewood
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fife

Timothy Fife: Black Carbon (Death Waltz Originals) LP
Full length 3 Track solo album from Timothy Fife recommended for fans of Tangerine Dream, Vangelis and early Brian Eno. Sydney At Night is a brooding dark synth monster as eerie as it is unsettling, Low Plain Landscape is a hauntingly beautiful 13 minute ambient workout and rounding out the LP is Black Carbon itself, an intense hard edged synth track that bubbles with intensity and heavily processed voices that sounds like an alien radio broadcast.

File Under: Electronic, Ambient
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floating

Floating Points: Reflections: Mojave Desert (Luakabop) LP
Floating Points’ short film and soundtrack – Reflections: Mojave Desert – finds Sam Shepherd and his band in a thrilling sonic exploration of environment under an endless desert sky. It is the first in a planned series of environmental recordings by Floating Points to be filmed and recorded at different locations around the world. Reflections: Mojave Desert was made in 2016, as Floating Points traveled to the Mojave to rehearse in between US touring. Immediately struck by the distinct sonic tapestry created by the rock formations and valleys, they set up a recording operation and filmed this new work at the base of the natural sculptures they encountered. The music of Reflections mirrors the landscape: soaring and vast, dynamic and intimate, centered around two longer works and shorter pieces that create an immersive and seamless 27-minute experience. Reflections begins with chords played on a Rhodes Chroma and recorded with a surround sound microphone. Throughout the filming, microphones were placed throughout the landscape to capture the natural sonic textures of the desert: the undulating sound of wind, a bird call, the rustling of bushes and more created a backdrop on which much of the record rests. The music softly shifts from the Fender Rhodes introduction to “Silurian Blue,” an expansive improvised full band piece that balances refined restraint with explosiveness. In one scene, “Kites,” Floating Points aka Sam Shepherd walks through a valley with a super directional microphone, swinging it back and forth as a synthesizer loop gets faster to showcase the natural reverb and shifting phase of sound waves. “Kelso Dunes” signals the film’s final act: the sky grows dark, lasers flash, the band and rocks gleaming in the pitch black around them. 180g vinyl pressing with accompanying DVD and download code.

File Under: Electronic, Jazz, Rock
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fedup

Fucked Up: Zanzibar (Fucked Up) LP
“Zanzibar” is Fucked Up’s instrumental score to the 1928 silent film “West Of Zanzibar.” First performed in 2010 for Toronto’s Images Festival, this record was recorded in studio over 2011-2013. 2xLP includes digital download.

File Under: Punk, Instrumental
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gaussian

Gaussian Curve: The Distance (Music From Memory) LP
In the spring of 2016, Gigi Masin, Jonny Nash and Marco Sterk got together in the studio for the first time since they recorded Clouds, the critically acclaimed debut album from their Gaussian Curve project. By the time they reconvened in Sterk’s new studio in Amsterdam, a stone’s throw away from the temporary, second-­‐floor space where they recorded Clouds, much had changed. When they first got together in March 2014, it was for a spontaneous, weekend-­‐long exploration of shared musical passions. They were merely three new friends expressing themselves, and having huge amounts of fun in the process. By the time they got together again last year, the album they recorded on that famous weekend had taken on a life of its’ own. To their surprise and delight, Clouds had become one of the most admired ambient albums of the 21st century. They’d initially reconvened in the studio to rehearse for their first live performances. It soon become clear that all three members were brimming with ideas for new Gaussian Curve material. Over the four days that followed, and fuelled by the same spontaneous working method that drove Clouds, a new album began to take shape. Although their methodology remained the same, the inspirations were different. Whereas Clouds was intimate by design, The Distance reflects more on spaciousness, distance and time. It is instantly recognizable as a Gaussian Curve record, but feels different in scope and tone. The Distance is a different musical beast to its’ predecessor, but shares the same timeless, emotion-­‐rich feel that made Clouds such a hit. While the fundamental ingredients remain the same – Masin’s masterly piano and synthesizer work, Nash’s blissful, meandering guitar.

File Under: Ambient, Electronic, New Age
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signal

Wojciech Golczewski: The Signal (Death Waltz Originals) LP
Wojciech Golczewski’s second LP on Death Waltz Originals is actually a prequel to his 2015 debut Reality Check and the second part of a proposed trilogy to be finished in 2018. This time out the emphasis is on super minimal widescreen sci-fi ambience. The record is absolutely epic in scope and features lush synth arrangements with melody lines that bubble just under the surface creating a multi layered listen that is perfect for late nights and dark rooms.

File Under: Electronic, Synth
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mc5

MC5: The Motor City Five (Run Out Groove) LP
The MC5, born out of the ashes of industrial Detroit, recorded only 3 full length albums and lasted less than a decade but left an indelible stain on the world of Rock & Roll both musically and culturally. Like their Detroit brothers The Stooges, they helped lay the initial ground work for the punk movement with a simple, hard driving, high energy, loud and gritty style of Rock that includes elements of garage rock, hard rock, blues and psychedelic rock. Whether proven or otherwise, they influenced a laundry list of hard rockers such as Bad Brains, Black Flag, the Damned, Circle Jerks, Husker Du, The Melvins, The Dead Kennedys, The New York Dolls, Soundgarden, Rage Against the Machine, Pearl Jam, the White Stripes and many more. They are widely considered one of the most important and influential hard rock bands of the era. This limited, numbered, color vinyl, Run Out Groove release is the first legitimate vinyl compilation of the band’s Elektra and Atlantic recordings and belongs on every Rock collector’s shelf, if not for the sonic music assault then the audacious packaging alone. This record provides a killer ensemble of tracks from their halcyon days, including the original uncensored version of “Kick Out the Jams.” Stick alive with the MC5 and f%@! Run Out Groove!

File Under: Rawk, Punk

modern art

Modern Art: Oriental Towers (Lion) LP
Another entry from the darkly enchanting minimal synth-pop and psych-tinged world of The Modern Art. As an introduction to the world of Coil and Current 93 collaborator (and Sun Dial main man) Gary Ramon and his orbiting bandmates, you can’t do better. Formed by Ramon in the early 1980’s, Modern Art released two albums on vinyl, and a significant amount of impossible-to-find cassettes. Some of this material was compiled in a highly regarded 3-LP (sold out) box set, made in 2013 by Vinyl on Demand. This remastered reissue of “Oriental Towers,” their second cassette album, originally released in 1983, also includes three previously unissued tracks from that session. On this album you will find examples of what was going on in England during the pinnacle of the post-punk scene—an inspired time that encouraged young musicians to develop music influenced by the likes of Joy Division, Cabaret Voltaire, Throbbing Gristle and Clock DVA.

File Under: Electronic, Minimal Wave, Industrial
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SP01_Gatefold

Ennio Morricone: Giornata Nera Per L’ariete (Spettro) LP
Fourth and last reissue of this Spettro invasion and, obviously, a tribute to the greatest Italian maestro of original soundtracks, none other than Ennio Morricone himself. Giornata Nera per l’Ariete (The Fifth Cord in english) is a 1971 Italian giallo film directed by Luigi Bazzoni. The Italian title, which in its literal meaning reads “Black Day for the Ram”, in its typical figurative meaning could translate as “A Bad Day for Aries”, reprising Dario Argento’s practice of using animals in the titles of his thriller films. The film is based on a novel with the same name by D.M. Devine, stars Franco Nero as the main charachter and strangely has remained a cult for a few fans despite being a good and weird giallo flick and an amazing photography by Vittorio Storaro. The soundtrack, like many Morricone’s scores of the same period is disturbing and tense, dark and unnerving like his best moments, and it features the legendary Gruppo di Improvvisazione Nuova Consonanza as backing band in several tracks.

File Under: OST, Maestro
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tp0004c_Double_Gate_Cover_only

OST: Evil Dead 2 (Waxwork) LP
Waxwork Records is thrilled to announce the 30th Anniversary soundtrack release of the 1987 horror cult-classic, Evil Dead 2. Directed by Sam Raimi and featuring Bruce Campbell reprising his role as Ash Williams, Evil Dead 2 is known not only as the quintessential entry of the Evil Dead Trilogy, but also of 1980’s cult-classic horror cinema as a whole. Evil Dead 2 remains the outstanding follow up to 1981’s The Evil Dead, picking up where the first film leaves off, with even more blood, possession, dismemberments, deadites, and with generous elements of slapstick comedy. The music by composer Joseph Loduca (The Evil Dead, Army Of Darkness, Ash Vs. Evil Dead) is the sophisticated follow up to the first film’s outstanding soundtrack, engrossing the listener in classic orchestral horror, electronic cues, and haunting lullaby compositions.

File Under: OST, Horror
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fifth element

OST: Fifth Element (Mondo) LP
The Fifth Element is essential Science Fiction cinema. And Eric Serra’s music for for the film goes above and beyond the duties of your average film score. Not only is the soundtrack responsible for a wildly vast tonal spectrum – name another film that bounces from comedic montage, to straight-faced Opera, to action adventure in the span of 15 minutes – but he makes it feel, and sound effortless. It is a truly unique listening experience.

File Under: OST, Sci Fi
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wizards

OST: Wizards (Wyrd War) LP
Wyrd War very proudly presents the original motion picture soundtrack to Ralph Bakshi’s animated masterwork Wizards, on vinyl for the very first time! Ostensibly Bakshi’s “family film,” this almost impossibly PG rated post-apocalyptic “fantasy epic of peace and magic” emerged like a strange fungus through fissures in the Hollywood machine in 1977 to psychedelicize unsuspecting audiences with slouching android assassins, nearly nude fairy wenches, supernatural siblings skirmishing for world domination between slugs of cheap wine, demonic dog soldiers belly-crawling through skeletal landscapes of airbrushed fog, and, perhaps most memorably, terrifying genocidal elfin warfare punctuated with Leni Riefenstahl stock footage, all perfectly choreographed to a beautifully ethereal sci-fi jazz soundtrack seemingly scorched with atomic energy. Such music! Composer Andrew Belling delivered one of the first truly musical scores for a major Hollywood film composed almost entirely for ARP 2500 and ARP 2600 synthesizers. 40 years after its theatrical release, the music of Wizards continues to fascinate, perplex and inspire viewers, like a beautifully handcrafted Rorschach test of the late 20th century’s excesses, hopes and increasingly foreboding anxieties of things to come.

File Under: OST, Animation
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darius

OST: Zuntata Arcade Classics 2: Darius (Ship to Shore) LP
In celebration of the 30th anniversary of the original arcade release, Ship to Shore PhonoCo. is proud to present the vinyl edition of Hisayoshi Ogura’s score to Taito’s Darius. One of the most heralded soundtracks in the expansive Zuntata canon, Darius sounds as fresh and innovative as it did when its sounds filled arcades back in 1987. Ogura’s score combines pulsing rhythms with an experimental, avant-garde bent, giving Darius’ high octane action a unique counterpoint.

File Under: OST, Video Games
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pattern

The Pattern Forms: Peel Away the Ivy (Ghost Box) LP
The debut album from The Pattern Forms, a collaborative project between Ed Macfarlane and Edd Gibson of Friendly Fires and Jon Brooks of The Advisory Circle. Following on from the Other Voices 03 single in 2015, this is an album that perfectly melds blissful pop with more exploratory electronics, its roots lying in the artists’ shared love of soundtracks and electronic library music of the 70s and 80s. It should appeal to fans of both bands.

File Under: Electronic, Pseudo Library
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perrey

Jean-Jacques Perrey: Et son Ondioline (Forgotten Futures) LP
Jean-Jacques Perrey (1929-2016) was a pioneer of electronic pop music celebrated for his uniquely whimsical sampled soundworld, his groundbreaking style of rhythmic tape editing, and his early use of the Moog modular synthesizer. Perrey was also the world’s only virtuoso of the Ondioline, a remarkable French proto-synthesizer from the 1940s. Jean-Jacques Perrey et son Ondioline focusses on this early period of Perrey’s musical life, exploring his intimate relationship with this unusual and expressive instrument. The compilation features never-before-released collaborations with Angelo Badalamenti and Dick Hyman, early arrangements from test pressings of beloved Perrey tunes, and cuts from highly collectible albums of early library music he recorded. Also featured is a rare extended demonstration of the Ondioline, which receives its first commercial release. A must for dedicated fans, and a vibrant introduction for new listeners, this release canvasses Perrey’s unparalleled mastery of the Ondioline, points towards his later sample and Moog work, and illuminates a heretofore little-explored melancholy side to his recorded work. Curated by long-time Perrey fan and recent collaborator Wally De Backer (Gotye), this is the first release on Forgotten Futures, a new record label set up by De Backer to excavate lost works by pioneering producers and musical instrument inventors.

File Under: Early Electronic
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NEW 12"TEMP_4-21-2016

Popol Vuh: Agape-Agape Love-Love (One Way Static) LP
Born as Florian Fricke’s brainchild, Popol Vuh needs little introduction, the band stayed active between the late 1960s & late 1990s (until Florian’s passing in 2001). Regarded as pioneers in avant-garde German electronic music, their early works practically laid down the foundations for ‘Kosmische Muzik’ (Space Music) with the then new sounds of the Moog synthesizer joined with ethnic percussions. Later the group evolved to include all kinds of instruments (both electric and acoustic alike) shrouding their music in a spiritual & introspective mystical aura. Popol Vuh influenced many other European bands with their uniquely soft but elaborate instrumentation, which took inspiration from the music of Tibet, Africa and pre-Columbian America. With music sometimes described as “ethereal”, they created soundscapes through psychedelic walls of sound, and are regarded as precursors of contemporary ‘world music’, as well as of ‘new age’ and ‘ambient’. Popol Vuh regularly contributed soundtracks to the films of Werner Herzog that include classics like ‘Aguirre’, ‘Nosferatu’, ‘Heart Of Glass’ & ‘Cobra Verde’. ‘Agape-Love’ was one of Florian Fricke’s favorites, at a point in his life where he was inspired by 13th century Persian poet Rumi. Still utilizing a choir for Gregorian chant-like ethereal intensity — though they sing in Byzantine scales – the band delves deeply into the drone world of Fricke’s sacred music muse. This is an album of many moods/feelings & is a worthy, devastatingly beautiful outing (both introspective & intense at the same time). Out of print since 1983 and never released outside of Europe, now back available as a gorgeously packaged deluxe vinyl edition. Strictly limited to 700 copies (black vinyl), this release also comes with an exclusive bonus track & an insert with extensive liner notes. Next to the black vinyl pressing, a color vinyl variant (#300 copies) will also be made available exclusively through Light In The Attic & Mondo in North America and through Transmission Records in Europe.

File Under: Electronic, Ambient
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pca

Pye Corner Audio: The Spiral (Death Waltz Originals) 10″
Pye Corner Audio return to Death Waltz Originals with a stunning 7 inch double pack featuring 6 brand new and exclusive tracks featuring his trademark sci-fi electronica. ‘Do You Hear Them’ pulses with a dance floor verve you’ve not yet heard from PCA bouncing along a killer 4/4 beat with a super melodic bass riff on top, ‘The Spiral’ begins with a riff on the classic Axel F bass synth and it’s super hyped drums and refrain could be placed in any classic 80s action movie you already love. The other tracks are more contemplative and will sound familiar to anyone that owns any of the PCA Black Mill Tapes series.

File Under: Electronic
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Precision-12-22-Jacket

Teenanger: Teenager (Telephone Explosion) LP
“Teenager” is many things: The fifth Teenanger album, a collection of thirteen songs, a thinly-veiled investigation into Canada’s Telecom stranglehold and its effect on consumer spending, an ode to simpler and more violent times, proof that climate change exists, a fraudulent scheme to ensure maximum ROI, and more than anything, a gigantic cry for help. Teenanger are musical baristas.They have made you a customized non-dairy Unicorn Frapuccino of a record that combines all of punk’s best sub-genres: art-punk, post-punk, ambient-punk, synth-punk, peace-punk, garage-punk, bunk-punk, punk-core, plaid-punk, nu-punk and of course, punk-punk.

File Under: Punk
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toitoitoi

ToiToiToi: Im Hag (Ghost Box) LP
Im Hag is the debut Ghost Box album for Berlin based Sebastian Counts’ ToiToiToi, following on from his single for the label’s Other Voices series in 2015. It’s very detailed and lovingly produced music, crafted from electronic, synth, sampled and acoustic sources. Its a wunderkammer of an album crammed with original ideas. All at once managing to be witty, spooky, melodic and abstract.

File Under: Electronic, Pseudo Library
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hip

Tragically Hip: In Violet Light (Universal) LP
Tragically Hip: Music at Work (Universal) LP
Tragically Hip: Phantom Power (Universal) LP
In tomorrow…. Phantom Power, Music @ Work, and In Violet Light; available on vinyl for the first time. Re-mastered for vinyl by Bob Ludwig at Gateway Studios.

File Under: Rock

link

Link Wray: Mordicai Jones (Tidal Wave) LP
Fred Lincoln ‘Link’ Wray, Jr. (1929-2005) born of Shawnee Native American parents was an American rock and roll guitarist, songwriter and vocalist who became popular in the late 1950s. Though he began in country music, his musical style went on to consist primarily of rock and roll, rockabilly and instrumental rock. Building on the distorted electric guitar sound of early records, his 1958 instrumental hit “Rumble” (banned in New York and Boston for fear it would incite teenage gang violence) popularized “the power chord” which laid the foundation to modern rock music. Tiring of the corporate music machine, in the 1970s he began recording albums using a three-track studio he converted from an outbuilding on his brother’s property that his father used to raise chickens. This is where the ‘Mordicai Jones’ sessions were recorded in 1971, making it part of what we now know as the ‘Shack Trilogy’ together with the albums ‘Link Wray’ & ‘Beans And Fatback. ‘Mordicai Jones’ is made out of fantastic energetic Americana blended blues, country, gospel, soul and folk-rock. The songs on this album have a tough and heartfelt vibe that sets it apart from the more pastoral country-rock albums of the time. Link Wray leaves a legacy as big as his career: Rolling Stone placed Wray at No. 45 of the 100 greatest guitarists of all time and in 2013 he was a nominee for the Rock and Roll Hall of Fame. Pete Townshend of The Who once said, “If it hadn’t been for Link Wray and ‘Rumble,’ I never would have picked up a guitar.” Other musicians citing him as a major influence are Iggy Pop, Neil Young & Jimmy Page (amongst others).

File Under: Blue, Country, Rock
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afroqon

Various: Afrosonique Vol. 1 (Africa Seven) LP
Launched in early 2015 by a collective of crate diggers, Afro music-heads and vinyl- buying obsessives, Africa Seven’s aim is to spread the love and knowledge for African music in all its forms. In the wake of this effort, Afrosonique Vol.1 is the ideal first installment of a series of compilations bridging African tracks from the 70s and 80s with the most talented artists of today into a remix and re-edit series. Compiled by veteran UK producer Tony Thorpe (Moody Boyz, KLF), one of the most important figures of the UK dance underground movement, the album brings together a rich ensemble of producers and artists from different genres and music scenes. From Warp’s long-time signee Plaid, DJ Food, top DJs John Talabot & Pional to broken beat legend IG Culture, the compilation promises to bring a modern twist to Africa’s most iconic tunes. This selection of artists also includes great names of the likes of Deep Medi’s Silkie and Appleblim from the historical dubstep night FWD>> at Plastic People. A younger generation of talents like Marcel Lune, Jabru, Redpine & Solo and EVM128 has also taken part in this cutting-edge project, bringing its own personal touch to this unique compilation. Using his most famous alias ‘Moody Boyz’, Thorpe himself has added his own artistic signature, remixing the iconic Bunzu Soundz’s Zinabu – a rolling cut of the finest UK Afro-dub house. Africa remains the key theme and unifying principle of this work. With no multi-tracks available, the artists have gone through an incredible work of editing and overdubbing – almost remixing the original works. The result is a frenetic and fresh blend of styles ranging from modern Afro-jazz cuts to heavyweight dancefloor gear, almost spiritual hypnotic club anthems and low-tempo dreamscapes. Originals have been picked up from Africa Seven’s ever-expanding catalogue of reissues from the ‘70s and ’80s hailing from Cameroon, Nigeria and Sierra Leone among other African countries. The selection includes rare tracks such as Bunzu Soundz ’Zinabu’, Manu Dibango ‘Les Cavaliers’ and Afro National’s ‘Jokenge’. In a time in which African music is coming back prominently as one of the primary influences of electronic music, Afrosonique Vol.1 effortlessly goes full circle bringing together the original energy of African classics with the disruptive talent of today’s innovators.

File Under: Electronic, Afrobeat, Funk, Psych
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boombox

Various: Boombox 2 (Soul Jazz) LP
Soul Jazz Records’ Boombox 2 is a new selection of early rap music from the period 1979-83, with barely a household name in sight. Featured here are some the earliest hip-hop records that came out of New York City following the enormous commercial success of the first ever rap record, “Rapper’s Delight” by the Sugarhill Gang, in September 1979. Artists and producers alike tried to jump aboard the new commercial possibilities of hip-hop. By the end of the year there were 30 hip-hop singles, all released by independent New York labels. The following year there were over 100 more, and so on. Boombox 2 tells the story of how hip-hop went from its evolutionary roots in the Bronx through DJs Kool Herc, Grandmaster Flash and Afrika Bambaataa through to this second phase where veteran music producers – Paul Winley, Peter Brown, Joe Robinson and others – all based in Harlem, began to put rap on vinyl for the first time. Harlem is also where the separate worlds of disco and hip-hop met through the styles and influence of earlier ‘uptown’ DJs – DJ Hollywood and Eddie Cheba. In similar fashion these veteran Harlem-based producers instinctively tapped into a long lineage of African-American rhythm and blues, soul and disco. The album features many early and rare cuts from the first generation of early rap artists including Lovebug Starski (as Little Starsky), Busy Bee, Eddie Cheba, Kool DJ AJ as well as many other little known artists. Boombox 2 is a triple-vinyl set plus download code.

File Under: Hip Hop

girls

Various: Marylebone Beat Girls (Ace) LP
This follow-up to our recent “Love Hit Me! Decca Beat Girls” and “Scratch My Back! Pye Beat Girls” releases comprises superior 60s she-pop from the EMI group of record labels – Parlophone, Columbia and HMV – headquartered in Marylebone in the heart of London’s West End. The collection is available in 12-track LP and 24-track CD formats. The LP edition is pressed on 180g orange vinyl in a heavy duty sleeve with comprehensive notes and rare photos on the inner bag. The CD version comes with a bumper booklet featuring expanded notes and extra photos. Most of the female acts signed by EMI were teenagers completely tuned in to the current pop trends. Scottish duo the McKinleys, R&B club habituée Julie Driscoll (cover star of the vinyl version), talent show winner Billie Davis (the CD cover girl) and Midlands pub singer Beverley Jones took original material from London’s Tin Pan Alley and American covers and gave them an abrasive, vigorous kick that made for fabulous 45s. They may not have had quite the polish of their US counterparts, but the rough’n’ready sound of the Marylebone Beat Girl was precisely her appeal. Among the many highlights are ‘Dancing Yet’, a Dobie Gray-style discotheque number by Liza & the Jet Set; ‘Like The Big Man Said’ by Toni Daly, a cover of Italian star Caterina Caselli’s ‘L’uomo D’oro’ with edgy English lyrics by Peter Callander; and Billie Davis’ groovy gender-switched update of Chuck Willis’ R&B nugget ‘Whatcha’ Gonna Do’. Compilation and notes by Ace Records’ in-house girl-pop buffs Mick Patrick and Sheila Burgel.

File Under: Mod, Beat

tumbleweed

Various: Sing it High, Sing it Low: Tumbleweed Records (Light in the Attic) LP
In February of 1971, Larry Ray and Bill Szymczyk fled an earthquake and a debauched L.A. music scene to claim their own slice of utopia in Denver, Colorado. After meeting and bonding at ABC-Dunhill, where Ray landed as general manager, and where Szymczyk had breezed in from New York — fresh off his first real hit as a burgeoning engineer/producer with BB King’s “The Thrill is Gone” — they’d often daydreamed about starting their own label. In Denver, Ray and Szymczyk settled on the name Tumbleweed Records, and through industry connections they secured multi-million-dollar financing from Gulf + Western, whose head honchos believed they were bankrolling the hippie movement’s next big thing. But instead of producing the next Janis Joplin or Jimi Hendrix, Ray and Szymczyk turned their sights on idiosyncratic wunderkinds like Pete McCabe, moody songwriters Robb Kunkel and Danny Holien, psych-folk rocker Arthur Gee, all the while providing a platform for more established musicians like Albert Collins and Dewey Terry (of Don & Dewey fame), while launching the career of Michael Stanley. It was the best of times, it was the worst of times, and, per Szymczyk, it was a “bitchin’ disco time.” Drugs, parties, poetry, celebrities, money—Tumbleweed had it all, except airplay and distribution. Two years after its storied start, the label was finished. Ray would go on to various opportunities, including producing five country albums alongside Bill Halverson, while Szymczyk would soon skyrocket to fame after producing The Eagles’ Hotel California. Yet most of Tumbleweed’s artists have been relegated to thrift store bin obscurity—until now. This landmark release not only showcases Ray’s vision and Szymczyk’s early work, but begins a major reappraisal of Tumbleweed’s catalog by bringing these songs out of the shadow of the Rocky Mountains and back into the spotlight.

File Under: Country, Folk
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…..Restocks…..

Alabama Shakes: Sound & Color (ATO) LP
Arawak: Accade a… (Golden Pavilion) LP
Badbadnotgood: IV (Arts & Crafts) LP
Bon Iver: For Emma, Forever Ago (Jagjaguwar) LP
Bon Iver: s/t (Jagjaguwar) LP
Budos Band: III (Daptone) LP
Sam Cooke: Night Beat (Music on Vinyl) LP
CCR: Chronicle (CCR) LP
Constantine: Day of Light (Constantine) LP
D’Angelo: Voodoo (Modern Classics) LP
Digable Planets: Blowout Comb (Modern Classics) LP
Dur Dur Band: s/t (Awesome Tapes From Africa) LP
Roky Erickson: The Evil One (Light in the Attic) LP
Ex Eye: s/t (Relapse) LP
Focus Group: Stop Motion Happening (Ghost Box) LP
Godspeed You Black Emperor: Lift Your Skinny Fists (Constellation) LP
Nick Hakim: Green Twins (ATO) LP
Lee Hazlewood: Cowboy in Sweden (Light in the Attic) LP
Lee Hazlewood: LHI Years (Light in the Attic) LP
Kendrick Lamar: Good Kid.. (Aftermath) LP
Kendrick Lamar: To Pimp A Butterfly (Aftermath) LP
LCD Soundsystem: Sound of Silver (DFA) LP
Les Amazones d’Afrique: Republique Amazone (Real World) LP
Magnolia Electric Co: Josephine (Secretly Canadian) LP
Magnolia Electric Co: Fading Trails (Secretly Canadian) LP
Magnolia Electric Co: Trials & Errors (Secretly Canadian) LP
Magnolia Electric Co: What Comes After The Blues (Secretly Canadian) LP
Jason Molina: Let Me Go, Let Me go (Secretly Canadian) LP
Jason Molina: Pyramid Electric Co (Secretly Canadian) LP
Morphine: Cure for Pain (Modern Classics) LP
NWA: Straight Outta Compton (Universal) LP
Oasis: (What’s the Story) Morning Glory (Big Brother) LP
Ol’ Dirty Bastard: Return to the 36 Chambers (Get on Down) LP
William Onyeabor: Who Is… (Luakabop) LP
Pye Corner Audio: Stasis (Ghost Box) LP
Rodriguez: Coming From Reality (Light in the Attic) LP
Gil Scott-Heron: The Revolution Will Not Be Televised (BGP) LP
Wayne Shorter: Juju (Blue Note) LP
Songs: Ohia: Didn’t It Rain (Secretly Canadian) LP
Songs: Ohia: Ghost Tropic (Secretly Canadian) LP
Songs: Ohia: s/t (Secretly Canadian) LP
Thin Lizzy: Bad Reputation (Universal) LP
Tops: Sugar at the Gate (Arbutus) LP
Neil Young: Harvest (Reprise) LP
Various: The Drum Library: The Lost Volumes (Super Break) LP

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…..news letter #802 – smoke…..

Yow, the air sure is thick out there. Well, it’s a fairly light week around here as one would expect this time of year. Still, a few nice things in and we’re trying to make some headway though our backlog of used stuff in the back room. If you aren’t away this weekend, be sure to come in for a dig….

Oh, and unfortunately, we have to close up early today, so we’ll be closed at 6. But back to normal hours tomorrow. Sorry for any inconvenience.

…..picks of the week…..

conrad

Tony Conrad: Ten Years Alive on the Infinite Plain (Superior Viaduct) LP
In tomorrow… Ten Years Alive On The Infinite Plain is the quintessential work of artist/filmmaker/composer Tony Conrad. Comprised of both film installation and minimalist score for amplified strings, Ten Years leaps across genre and medium to connect his revolutionary structural filmmaking with the experiments in long-duration sound that Conrad had begun in the 1960s as part of the Theatre of Eternal Music. “Ten Years began with image before sound,” writes Andrew Lampert, “a row of quadruple projections arranged side-by-side, all the shuffling stripes cascading into each other. Over the next two hours the music throbbed and the projectors incrementally shifted inwards, their beams gradually uniting to form one pulsating, overlapping picture.” For its 1972 premiere at New York’s The Kitchen, Ten Years included Conrad on violin as well as Rhys Chatham and Laurie Spiegel performing on instruments of the composer’s own making. Chatham played the Long String Drone – a 6-foot long strip of wood with bass strings, electric pickup, tuning keys, tape, rubber band and metal hardware – while Spiegel carried out an arrhythmic bass pulse throughout. Superior Viaduct is honored to present this previously unreleased recording of Ten Years Alive On The Infinite Plain’s breathtaking premier performance. As Chatham recounts in the liner notes, “When I first listened to this recording after not hearing it for over 40 years, it transported me back to the early Kitchen and the heyday of early minimalism, played outside the Dream Syndicate.”

File Under: Drone, Avant-Garde
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zamrock2Various: Welcome to Zamrock 2 (Now Again) LP/CD
In tomorrow… “By the mid-1970s, the Southern African nation known as the Republic of Zambia had fallen on hard times. Though the country’s first president Kenneth Kaunda had thrown off the yoke of British colonialism, the new federation found itself under his self-imposed, autocratic rule. Conflict loomed on all sides of this landlocked nation. Kaunda protected Zambia from war, but his country descended into isolation and poverty. This is the environment in which the ’70s rock revolution that has come to be known as Zamrock flourished. Fuzz guitars were commonplace, as were driving rhythms as influenced by James Brown’s funk as Jimi Hendrix’s rock predominated. Musical themes, mainly sung in the country’s constitutional language, English, were often bleak. In present day Zambia, Zamrock markers were few. Only a small number of the original Zamrock godfathers that remained in the country survived through the late ’90s. AIDS decimated this country, and uncontrollable inflation forced the Zambian rockers that could afford to flee into something resembling exile. This was not a likely scene to survive — but it did. Welcome To Zamrock!, presented in two volumes, is an overview of its most beloved ensembles, and a trace of its arc from its ascension, to its fall, to its resurgence. Explore Zambia’s liberation and its impact on the country’s rock revolution. The book, written by Eothen Alapatt and Leonard Koloko is the first investigation into the Zamrock scene, and is filled with original record artwork and rarely-seen photos of Zamrock’s best ensembles.”

File Under: Psych, Zamrock
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…..new arrivals…..

benni

Benni: I & II (Goner) LP
In tomorrow… Hailing from an H Class planet far across the cosmic highways, Bênní makes “hi-NRG New Age” music. A pivotal member of bands Wizzard Sleeve / Gary Wrong Group, Heavy Lids, Roman Gabriel Todd’s Beast Rising Up Out Of The Sea, and many more, Bênní was born from Benny Divine’s personal need for new music to listen to while driving his space craft long distances. Tired of Van Halen’s 5150 and Zebra’s self-titled album on his journeys, he began creating sci-fi landscapes and ethereal soundtracks of his own. Often times primitive, the music can go from Vangelis to John Carpenter, to ’80s dungeon electro band Warning and into vintage arcade game circuitry within the blink of an eye. “The thing to me that has always kinda set the Memphis / New Orleans punk scenes apart from other places is that music and musicianship always outweighs high concept or the typical sneering “fuck you” attitude of other places. Benny Divine is a musician with a capitol M and its no accident that within a year of his coming to New Orleans (from less than an hour up the Gulf), he began to influence the local landscape as much as any of us who had been here and doing it for decades. Benny is special, especially for a young dude. He never overplays; he always listens; he’s funky as a church lady; and his memory for parts and complicated song structure is unmatched in anyone I have ever worked with…. Plus he’s chill as fuck. There is a reason that he is in almost every good band in the entire city right now. So yeah… if any of you Memphis bitches get funny ideas about stealing him away from us, there will be a straight-up lazy drunken army riding up the river to forcibly take him back.”

File Under: Electronic, New Age, Punk
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cosmic

Cosmic Dead: Eccie Bam Yas, E? (Monorail Music) LP
In tomorrow… Formed in 2010, The Cosmic Dead are a quartet from Glasgow, Scotland who share their music through good vibes and better vibrations. Known for their improvised, chaos-strewn, Buckfast-smashedagainst-the-wall take on space music, they have roamed from Roadburn to Las Vegas, Dundee to Bangalore. Each album is a document of the time and space the group find themselves in, a tangible artefact hewn from a psychedelic continuum orchestrated by The Cosmic Dead. Eccie Bam Yas, E? began life as a more meditative piece than the rocket-fuelled out-rock the band are more associated with. Spliced and reformed by the band, taken from jams and improvised sets taken from the Rainbowhead recordings in Kyle of Lochalsh, a small village in the North of Scotland near the Isle of Skye. In this remote setting the band recorded a myriad of improvised pieces inspired by their rural surroundings and the material has been scattered across three albums; Easterfaust (2014), Rainbowhead (2016) and Eccie Bam, Yas E? (2017). Beginning with an eldritch drift that roams the stereo field, phasing in an out from another realm, “Smash The Sash” melts into an electronic rock piece powered by keyboardist Lewis Cook’s analog synth sequence and drummer Julian Dicken’s pummelling drum work. The cumulative effect reminds the listener of early Krautrock experiments, like first line-up Tangerine Dream playing Tanzmusik with early, rock-band Kraftwerk while epic show-stealer “Fleein’ From The Polis” brings the stringed instruments centre stage, Bassist Omar Aborida duets with James MacKay’s warped guitar playing to create weaves of sound across a moody rhythm section. Side B opens with “Buckfast Aye,” a brooding exploration with stereo-panned guitars a-flutter before the band take the listener into a slow-paced burner that brings the group’s psychedelic craftsmanship into play. The set ends with a full on trip. “Lynx Africa” builds the group’s sound into a space-rock jam that reminds the listener of classic mid-70s Hawkwind or the more long-form music White Hills built their early career on. What’s without question on Eccie Bam Yas, E? is that the group are telepathic in their playing and psychopathic in their purpose. Monorail Music of Glasgow are proud to announce a new imprint with the intention of documenting our global community and the many forms it takes.

File Under: Psych
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une

Death in June: Symbols & Clouds (Ner) LP
In tomorrow… Finally re-assembled onto 1 single CD and a double LP, the best of 1992’s “But, What Ends When The Symbols Shatter?” and 1995’s “Rose Clouds Of Holocaust” albums plus 2 rare single tracks from the same period, which is generally considered one of the high points in Death In June’s career. (All these songs were previously available on the 2009 limited stone commemorative edition “Symbols And Clouds Euro Cross”.) The Double Vinyl LP comes in a foil-blocked gatefold sleeve and includes a double-sided poster, a choice of colours plus a DIJital download card.

 File Under: Industrial, Neofolk
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fall

The Fall: Perverted By Language (Superior Viaduct) LP
In tomorrow… The Fall returned to Rough Trade in 1983 to release a pair of singles (“The Man Whose Head Expanded” and “Kicker Conspiracy”) and Perverted By Language, their sixth proper studio album. Perverted By Language hints at the band’s shift towards a distinctly pop approach, one that they would perfect via their Beggars Banquet output that immediately followed. Yet again, the force and panic of their initial Rough Trade recordings remains the foundation for much of the album. A transitional recording in the absolute best sense, Perverted By Language is The Fall both as they were and as they would become. The emergence of Brix Smith is often cited as the impetus for The Fall’s move toward outward pop, and she first makes her first appearance with the band on Perverted By Language. Nowhere is her presence felt more than on “Hotel Blöedel,” where she handles lead vocal duties alongside Mark E. Smith whose mangled violin accompaniment roots the song’s cold romanticism in his unmistakable brand of strange. “Garden” provides a new take on The Fall’s stretched-out tendencies—using ringing, clean guitars to build a nearly 10-minute epic more subtly than ever before. The opener, “Eat Y’self Fitter,” is wholly classic Fall: a playfully circular bass line drives the album’s strongest vocal spout, complete with emphatic breaks where Mark E. Smith issues the song’s spiteful decree with equal parts glee and scorn. Superior Viaduct’s edition is the first time that Perverted By Language has been available on vinyl domestically.

File Under: Punk
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focus

The Focus Group: Stop Motion Happening (Ghost Box) LP
The Focus Group return with a dreamlike kaleidoscope. Like the zonked soundtrack to a disorientating Saturday morning kid’s show with strange animations, fun facts, your poetry and all the latest pop-psych sounds. The Focus Group is the work of Ghost Box co-founder Julian House. His graphic design has graced sleeve art by Broadcast, Stereolab, Oasis, Primal Scream, Can and many others. House’s music reflects his collaged design work; it’s woven together from fragments of electronics, heavily processed samples and exotic instrumentation. It’s an uncanny and atmospheric sound that invokes memories of British psychedelia, Italian horror movies and Eastern European animation. The lavish CD and LP packaging is designed by Julian House. The 180gm LP includes a free download card. “…the spirit of a certain experimental, baroque psychedelia is alive in every one of these tunes.” The Quietus “…this is an archaeology of emotion, a philosophically motivated exploration of the power of not just one’s childhood memories, but of the collective unconscious.” The Wire

File Under: Electronic, Pseudo Library
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helio

Heliocentrics: Sunshine Makers OST (Soundway) LP
From the makers of the academy award winning “Searching for Sugarman”. Two warriors for peace, a vat of chemicals and an LSD cookbook. What could possibly go wrong?  Original score by The Heliocentrics, including bonus tracks that were not included in the documentary itself. The Heliocentrics are a group for which genres are meaningless and boundaries invisible. Since first appearing on DJ Shadow’s 2006 album The Outsider the group have gone on to release a string of records that float through jazz, hip-hop, psych, krautrock, and musique concrete whilst collaborating with numerous genre heavyweights from Mulatu Astake to Gaslamp Killer and picking up prestigious fans along the way, such as Madlib and the recently departed David Axelrod.

File Under: Funk, OST
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gaby

Gaby Hernandez: Spirit Reflection (Mr. Bongo) LP
‘Spirit Reflection’ is the third album LP from Los Angeles singer-songwriter Gaby Hernandez. Blissful layers of instrumentation, electronics, vocal harmonies and folkloric percussion intertwine with west coast feel to create a unique, beautiful and multi-layered album. The album features a stellar line-up of LA talent; jazz star Kamasi Washington, Stuart Howard (AKA Lapalux), Kelis and Gaslamp killer collaborator Dexter Story, plus Ninja Tune, Plug Research and Soul Jazz artist Carlos Niño, Miguel Atwood-Ferguson and Gabriel Reyes-Whittaker all accompany Gaby, with stunning results. Even before Spirit Reflection had been finished, the demo mixes caught the ear and gained support from Gilles Peterson, Lefto, Toshio Matsuura (U.F.O.) and JRocc (Beat Junkies). Born, raised and based in Los Angeles and of Chilean descent, Gaby Hernandez has been writing and recording since 2001. She was a founding member of the ‘creative music ensemble’ Build An Ark alongside others including Carlos Niño, Dexter Story and Dwight Trible. Gaby was the only vocalist on Teebs’ debut Brainfeeder release Ardour. She made major contributions to AmmonContact’s Ninja Tune releases New Birth and With Voices, plus The Life Force Trio’s Plug Research album Living Room. She was also the vocalist on Dimlite’s Outernational Duet – released as part of his highly acclaimed Sonar Kollektiv longplayer This Is Embracing. Hernandez was invited by Mia Doi Todd to sing on the Jonathan Wilson produced song Canto de Iemanja, which was included on Todd’s City Zen record Cosmic Ocean Ship and the Red Hot + Rio 2 compilation, which also featured Beck, Seu Jorge, Aloe Blacc, David Byrne and Madlib. Among her main musical comrades is the prolific multi-instrumentalist, composer and producer Dexter Story, for whom Hernandez sang on the track Water Bearer from his LP Seasons, on Kindred Spirits. David and Graham from Mr Bongo met Gaby and Carlos Nino at the end of their hugely successful Arthur Verocai album launch and rare record sale at the RAPPCATS venue in LA. “Gaby and Carlos passed us a copy of ‘Spirit Reflection’.and we put it on the deck. It immediately grabbed us and we couldn’t stop listening to it. When we got back to the UK we got in contact straight away and signed the album. We’re very proud to be releasing it”… “…this is a future classic, an ‘album’ in the truest sense of the word. Brilliant.” says Graham.

File Under: Latin, Funk, Soul
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echo

Lord Echo: Harmonies (Soundway) LP
Harmonies is the new long player from underground super-producer Lord Echo. Hotly anticipated for the last few years by his growing entourage of fans, many were frustrated by his descent into obscurity in the industrial backwaters of New Zealand where he lived alone and went completely insane trying to complete the record. But those frustrations are finally at an end, and the wait was worth it – for fans at least. The new album solidifies his already distinctive mutations of reggae and rock steady with disco, African soul, techno and spiritual jazz. In other words, the Lord has returned from the wilderness with a bounty for his followers. Eat of the bread of life and enjoy access to his crazy World of Sound.

File Under: Jazz, Electronic, Funk
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lowe

Robert Aiki Aubrey Lowe: Two Orb Reel (More Than Human) LP
Brand new full-length by modular synth experimenter Robert Aiki Aubrey Lowe (Kranky/DDS/Type/Holy Mountain), with this one revolving around the concept of a soundtrack for African science-fiction. It’s an alien trek of a record, soundtracking emotions of wonder, fear and transcendence. “Lowe has made some of the most transcendent music of recent times (‘cerebral music in the best sense of the word’)” – Music & Literature. Vinyl limited to 500 copies and packaged in a gatefold sleeve with an insert of original artwork by Robert Lowe.

File Under: Electronic, Ambient
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nance

David Nance: Negative Boogie (Ba Da Bing) LP
In tomorrow… David Nance, Omaha veteran of warble and hiss, returns with Negative Boogie, his new concoction of chug, throb and greasy swagger. On this album, Nance trades in his beaten up Tascam 488 for the bullet-proof, glass walls of A.R.C. Studios. What exactly is the negative boogie? Well, it’s a bit like Canned Heat but with Pere Ubu’s queasy rhythms and someone playing five finger fillet with Swell Maps. Ensconced in his ivory tower and soundproof rooms, Nance reached for unlikely weapons to tear down his own lofty experiment. He had his pick of rare guitars, cowbells, steel drums, vintage amps, Crazy Horse microphones, mellotron, and the restless but indefatigable rhythm section of Kevin Donahue and Tom May. They started at sunrise and recorded fifteen songs by midnight. Maybe it’s his Midwestern work ethic, maybe he’s a sonic cheapskate. Maybe it’s just the sound of negative boogie. These songs stab and flow into one other like a perfectly orchestrated classic. They are drenched with Nance’s most biting and comic lyrics to date, peaking on “D.L.A.T.U.M.F. Blues (Don’t Look At This Ugly Mother Fucker Blues)”. And ripping through the entire thing is the cracked power he yanks out of the guitar, a veritable The Good, The Bad And The Ugly of riffage. This is a departure for Nance. It’s bigger and grander but it’s far from easy music. It’s his Plastic Ono Band, his For Your Pleasure, his fever dream of Rocket from the Tombs. But this of course is only a press release, written by a team of robots using words programmed to seduce you. Did it work?

File Under: Indie Rock
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nilsson

Molly Nilsson: Imaginations (Night School) LP
In tomorrow… That we live in a world changed is beyond question. Since 2015’s Zenith, Berlin-based songwriter Molly Nilsson has surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political landscape and imagining something better. For an artist who has so successfully created her own environment and gradually let in others, her eighth studio album Imaginations directly engages with her surroundings, engendering change and allowing love in. This album dreams big, recasting storming, stadium-sized pop into the internal language of the solo auteur. It’s not escapism, it’s a kaleidoscope and an alternative view, an agent of change. Nilsson’s vision is perhaps more forceful than the emotionally fragile moments of her previous album, exemplified on “Memory Foam,” a bright, driving pop song that belies themes of nostalgia and the past, reminding us that Nilsson alone can make one feel so welcome in loneliness. If there’s overt anger in songs like “Money Never Sleeps,” an anthem for a post-capitalist utopia, seams of optimism are also sewn into the album’s genetic code. Any revolutionary will tell you that anger alone achieves nothing— Nilsson’s mission is to offer some alternatives we can hold close. For example, “Not Today Satan” is a song about accepting love as the agent of change: “Don’t be sad, but do get mad at all the small men who act so tall, in the end they always fall; there ain’t no sin in giving into love, that’s just how we’re winning the fight.” Love can be visceral, a weapon with which to fight the power. Recasting her interior monologue as a prism through which to see the world, Nilsson imagines a means to live differently and to reject the status quo. This is an optimism about the future when one needs it the most. “New boys, new girls… give me your smile and I’ll give you mine.” Clearly, the world is living through a transformation but with alchemists like Molly Nilsson, no one is alone in the process.

File Under: Electronic, Synth Pop
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phoenix

Phoenix: Ti Amo (Glassnote) LP
In tomorrow… Ti Amo is Grammy-winning French act Phoenix’s first album since 2013’s critically lauded Bankrupt! Produced by the band and recorded at La Gaîté Lyrique (Paris) with the help of long time collaborator Pierrick Devin, the band describes Ti Amo as “an album about simple pure emotions: love, desire, lust and innocence, it’s also a record about our European, Latin roots, a fantasized version of Italy: a lost paradise made of eternal Roman summers (hyper-light, hyper-clarity, pistachio gelato), juke-boxes on the beach, Monica Vitti and Marcello Mastroiani, fearless desire and Antique marble statues.” The New York Times calls Ti Amo “the band’s most unabashedly romantic record yet” and it’s ushered in by lead single “J-Boy,” a brilliant, shimmering explosion.

File Under: Indie Rock
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radiohead

Radiohead – Ok Computer OKNOTOK (XL) DLX Box
Rescued from defunct formats, prized from dark cupboards and brought to light after two decades in cold storage… OK Computer: the original twelve track album, three unreleased tracks and eight B-sides, all newly remastered from the original analogue tapes. Inside a black box emblazoned with a dark image of a burned copy of OK Computer are three heavyweight 180 gram black 12″ vinyl records and a hardcover book containing more than 30 artworks, many of which have never been seen before, and full lyrics to all the tracks except the ones that haven’t really got any lyrics. Under this weighty tome are yet more surprises: a notebook containing 104 pages from Thom Yorke’s library of scrawled notes of the time, a sketchbook containing 48 pages of Donwood and Tchock’s ‘preparatory work’ and a C90 cassette mix tape taken from OK Computer session archives and demo tapes.

File Under: Rock, Electronic
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sheer mag

Sheer Mag: Need to Feel Your Love (Wilsuns RC) LP
In tomorrow… A tear in the firmament. Beyond the noxious haze of our national nightmare—as structures of social justice and global progress topple in our midst—there lies a faint but undeniable glow in the distance. What is it? Like so many before us we are drawn to the beacon. But only by the bootstraps of our indignation do we go so boldly into the dark to find it. And so SHEER MAG has let the sparks fly since their outset, with an axe to grind against all that clouds the way. A caustic war cry, seething in solidarity with all those that suffer the brunt of ignorance and injustice in an imbalanced system. Both brazen and discrete, loud yet precise, familiar but never quite like this—SHEER MAG crept up from Philadelphia cloaked in bold insignia to channel our social and political moment with grit and groove. Cautious but full of purpose. What is it? By making a music both painfully urgent and spiritually timeworn, SHEER MAG speak to a modern pain: to a people that too feel their flame on the verge of being extinguished, yet choose to burn a bit brighter in spite of that threat. With their debut LP, the cloak has been lifted. It is time to reclaim something that has been taken from us. Here the band rolls up their sleeves, takes to the streets, and demands recompense for a tradition of inequity that’s poisoned our world. However, it is in our ability to love—our primal human right to give and receive love – that the damage of such toxicity is newly explored. Love is a choice we make. We ought not obscure, neglect, or deny that choice. Through the tumult and the pain, the camaraderie and the cause, the band continues to burn a path into that great beyond. But where are we headed? On Need To Feel Your Love, they make their first full-length declaration of light seen just beyond our darkness. Spoken plainly, without shame: It is love.

File Under: Punk
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torske

Bjorn Torske & Prins Thomas: Square One (Smalltown Supersound) LP
In tomorrow… Norway’s cosmic house forefather Bjorn Torske collaborates with Prins Thomas, a disciple from Torske’s long lineage of inspired Nordic producers, on their first full-length together, Square One.

File Under: Electronic
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waxahatchee

Waxahatchee: Out in the Storm (Merge) LP
Out in the Storm is the blazing result of a woman reawakened. Her most autobiographical and honest album to date, Out in the Storm is a self-reflective anchor in the story of both Katie Cruchfield’s songwriting and her life. The album tells the story of taking control of a volatile situation, embracing flaws, and exploring a new sonic freedom. The album was tracked at Miner Street Recordings in Philadelphia with John Agnello, known for working with some of the most iconic musicians of the last 25 years, including Dinosaur Jr. and Sonic Youth. Agnello and Crutchfield worked together for most of December 2016, along with the band: sister Allison Crutchfield on keyboards and percussion, Katherine Simonetti on bass, and Ashley Arnwine on drums; Katie Harkin, touring guitarist with Sleater-Kinney, also contributed lead guitar. At Agnello’s suggestion, the group recorded most of the music live to enhance their unity in a way that gives the album a fuller sound compared to past releases, resulting in one of Waxahatchee’s most guitar-driven releases to date. Crutchfield’s voice oscillates between effortless grace and commanding righteousness, taking the listener with her on an explicitly personal journey. CD packaged in 4-panel uncoated digipak with foil stamp and printed insert. Regular LP version in uncoated jackets with foil stamp, black dust sleeve, a poster and download. Deluxe LP version in uncoated gatefold jackets with silver foil detail, black dust sleeve, full fold-out poster, downlaod and a bonus ten track disc pressed on white vinyl.

File Under: Indie Rock
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…..Restocks…..

Alabama Shakes: Sound & Color (ATO) LP
Captain Beefheart: Safe As Milk (Buddha) LP
Death: For the Whole World to See (Drag City) LP
Jacques Dutronc: L’opportuniste (Sony) LP
Bill Evans Trio: Waltz for Debby (Original Jazz Classics) LP
Bill Evans: Undercurrents (Waxtime) LP
Full of Hell: Rudiments of Mutilation (A389) LP
Herbie Hancock: Empyrean Isles (Blue Note) LP
Herbie Hancock: Maiden Voyage (Blue Note) LP
Herbie Hancock: Speak Like a Child (Blue Note) LP
Herbie Hancock: Thrust (Music on vinyl) LP
Fela Kuti: Zombie (Knitting Factory) LP
Kyuss: And the Circus Leaves Town (Elektra) LP
MF Doom: Mmm.. Food (Rhymesayers) LP
Lee ‘Scratch’ Perry: Return of the Super Ape (VP) LP
Queens of the Stone Age: …Like Clockwork (Matador) LP
Run DMC: Raising Hell (Get on Down) LP
Raymond Scott: Soothing Sounds for Baby (Music on Vinyl) 3LP
Sigur Ros: ( ) (Krunk) LP
Snoop Doggy Dogg: Doggy Style (Death Row) LP
Television: Marquee Moon (
White Zombie: La Sexorcisto (Music on Vinyl) LP
White Zombie: Astro-Creep 2000 (Music on Vinyl) LP

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…..news letter #801 – heat…..

Apparently any minute the skies will open and start throwing baseball sized hail, but for now, it’s just hot as hell out, and this week, there’s a lot of head hitting the bins as well! As always, some KILLER reissues, but also some big new releases, namely DAMN… how long have you been waiting for that one? Don’t sleep, who knows when we’ll see more…

…..picks of the week…..

musciRoberto Musci: The Loa of Music (Soave) LP
In tomorrow… Soave present the first vinyl reissue of Roberto Musci’s The Loa Of Music, originally released in 1984. The Loa Of Music is the debut recording project of Milanese composer and musician Roberto Musci, inspired by voodoo religion, Vever (the magical voodoo paintings), and Loas, the dark and magic spirits. The deep charm of non-western music led Musci to travel for many years across Africa, India, and Asia, studying rhythms, scales, performance, and interpretation of the most varied traditional and indigenous music. He made many field recordings and collected ethnic instruments that would then be combined with synthesizers and electronics in The Loa Of Music. Recorded in 1983, the project originally had 80 minutes of music, but only half was released on the original LP. For the first time, Soave have pressed the complete recording sessions from the original tapes of this phenomenally ambitious masterpiece that entirely refuses the well-trod path — distilling a remarkable range of sonic reference and reality. A work of field recording, musique concrète, electronics, synthesis, and instrumentation, pulling from countless musics from across the globe, the result is nothing short of brilliant and stunningly beautiful. A near perfect work — an egoless gesture, which rather than attempting to find consensus, offers every voice equity and cohabitation — harnessing the history music, with all of its cultural diversity, as a vision for a more ideal future. Geographies and their sounds intertwine, while Musci’s interventions and instrumentation thread a path. Ambiences ripple, sounds and voices converse in a vision of unity that may only exist within sonic realms. Unquestionably seminal, and one of the most important works to emerge from Italy in the last 50 years. Never before issued on vinyl since its original release, this will surely not to be around for long.

File Under: Ambient, Field Recording, Ethnographic
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ghostKenji Kawai: Ghost in the Shell OST (WRWTFWW) LP+7″
In tomorrow… Limited edition LP version. Regular LP in soon. Includes 7″ and extensive 24-page liner notes; Japanese obi; Sleeve with silver gilt printing. We Release Whatever The Fuck We Want Records present the first ever official vinyl pressing of the soundtrack for Mamoru Oshii’s critically acclaimed and all around legendary science fiction anime film Ghost In The Shell (1995), adapted from Masamune Shirow’s groundbreaking manga series of the same name. The haunting score is composed by Kenji Kawai, one of Japan’s most celebrated soundtrack composers alongside Joe Hisaishi and Ryuichi Sakamoto, whose work includes Hideo Nakata’s Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai’s compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme “Making Of Cyborg”, Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a timeless and unparalleled soundtrack that admirably echoes the film’s musings on the nature of humanity in a technologically advanced world. Ghost In The Shell is widely considered one of the best anime films of all time and its influence has been felt in the work of numerous movie directors, including James Cameron’s Avatar (2009), the Wachowskis’s The Matrix (1999), and Steven Spielberg’s AI: Artificial Intelligence (2001). For fans of anime, manga, movie soundtracks, science fiction, ambient, folklore, Japan, Akira (1988), artificial intelligence, Midori Takada. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes in two versions: a standard LP and a limited collector’s edition which comes housed in a sleeve with silver gilt printing and includes the LP, a bonus 7″, Japanese obi, and extensive 24-page liner notes.

File Under: OST, Anime, Japanese
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…..new arrivals…..

atobe

Shinichi Atobe: From the Heart, It’s a Start, A Work of Art (Demdike Stare) LP
In tomorrow… From The Heart, It’s A Start, A Work Of Art has its origins in early 2000, before Chain Reaction released the legendary Ship-Scope 12″. Three of the tracks here are taken from an acetate cut at Dubplates & Mastering at that time, but which wouldn’t see the light of day until now, including another batch of tracks taken from original masters. Only five copies of that acetate were ever made, so this is the first time any of these tracks are available for public consumption, and they rank among the finest and most distinctive in either the Chain Reaction or Shinichi Atobe’s vaults. The material is effectively some of the Japanese producer’s earliest work, showcasing the sort of tender, feminine pressure that would bubble up on the Ship-Scope EP and later be revealed in his new productions, Butterfly Effect and World yet, for many reasons, they would lay sunk in his archive for the next 17 years. The tracks taken from that acetate are labeled “First Plate 1-3” and really are quite remarkable, having taken on so much character and added weight over the years that the incidental crackle of surface noise imbues proceedings with an added dimension that’s hard to fathom. It basically sounds like a lost transmission making its way from Paul-Lincke-Ufer at the turn of the millennium to a new, completely changed world all these years later. The patina of crackle lends a mist-on-bare skin feeling akin to summer garden parties at Berghain in the stepping “First Plate 1”, and gives a foggier sort of depth perception to the hydraulic, Maurizian heft of “First Plate 2”, but it’s the submerged euphoria of “First Plate 3” that hits the hardest; a heady, bittersweet reminder of days gone by. The other four tracks are crisply transferred from master tapes, relinquishing a sublime, impossible to categorize house variant that recalls everything from DJ Sprinkles to Ron Trent, yet with that weird, timeless production tick that by now has become something of a signature for this most distinctive and hard to categorize producer. Buoyant dub house and techno with lush, gaseous synths and keys. Remastered by Matt Colton from original tapes and worn actetates — grit included; Limited copies.

File Under: Electronic, Techno, Chain Reaction
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baroncini

Angelo Baroncini & Bruno Battisti D’Amario: Music For Movement (Sonor Music) LP
In tomorrow… Sonor Music Editions present a reissue Angelo Baroncini and Bruno Battisti D’amario’s Music For Movement, originally released in 1969. Another terrific jam and a very obscure Italian library record, originally released on Roman Record Company label, the label responsible for Droga (1972), Traffico (1972), and the Viaggio Attraverso I Problemi Dell’Uomo series. The music is signed by the great guitar players and composers Angelo Baroncini and Bruno Battisti D’Amario, D’Amario being the unmissable guitar man of maestro Ennio Morricone. Crazy early fuzz beats with fast western swings, experimental rock distractions, rhythmic movements, with totally insane acid guitar and sitar riffs and a huge underground psychedelic mood. A truly inspired and deep session recorded for some impossible TV synchronization purpose. Holy grail alert. Original sleazy stereo recording restored sound. Edition of 500.

File Under: Library, Psych
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braen

Braen & Raskovich: Drammatico (Sonor Music) LP
In tomorrow… Sonor Music Editions present a reissue Drammatico, originally released in the early ’70s. An absolute Italian library holy grail and maybe the most desired item of the genre, originally released on Panda Records. This totally insane library album conceived by maestro Alessandro Alessandroni and Giuliano Sorgini, under their pseudonyms Braen and Raskovich respectively, is surely their highest point of collaboration. This is a concept album where the music is just out-of-this-world and way ahead of its time, nothing is quite comparable. War-themed and dramatic music, ranging from the most evil electronics to dark fuzz distortions and huge hip hop beats, all driven by a mental, psychedelic madness. A record coming from hell — an unbelievable session remastered from the original master tapes. Enjoy the trip! Remastered from the original Panda Records master tape; Exclusive liner notes by Marsellus Wallace; Revised by Alfonso Carrillo (RendezVous, LA); Edition of 500.

 File Under: Library, Psych
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cosmic jokers

Cosmic Jokers: Galactic Supermarket (Victory) LP
In tomorrow… Victory present a reissue of The Cosmic Jokers’ Galactic Supermarket, originally released on Komische Musik in 1974. Julian Cope’s review of the album on Head Heritage: “Starting with a heavy piano-drums groove like John Cale and Terry Riley’s ‘The Protégé’ from their classic LP Church Of Anthrax, The Cosmic Jokers return to their trip with an un-cosmic dub beginning, melodicas and guitars spinning off all over the place. Gille Letmann says a couple of words before the breakdown into Clangerland, a place where goofy synthesizers call to each other over exquisite mellotrons and tinkling spacey grand piano. Again, it’s just two huge tracks — this time the ever shifting ‘Kinder Des Als’ and the title track ‘Galactic Supermarket’. The female voices take a while to assimilate after the austerity of the first Cosmic Jokers LP, and the opening track wanders around for a while before ascending to its righteous groove. The women scream ‘Schnell Schnell!’ and the helicopter drums of Harald Grosskopf propel us once more into a hectic frantic major-chord trance out. It’s the sheer unbalance that makes this record such a delight. At times, Klaus Schulze’s synthesizer is so loud that it swamps everything in its path. The title track ‘Galactic Supermarket’ begins like one of Van Der Graaf Generator’s greatest and most drawn out riffs. A slow 6/4 bass licks over ominous Pawn Hearts style shifting chords. Again, the piece is slow to begin, as though they are searching for harmony but each musician is confused and solitary. Manuel Göttsching freaks out in a fury of wah-guitar madness, forcing the others awake, but this really is a down-in-the-mouth scene and the whole Trip descends further and further until… an inevitable slow burning groove gets itself together and the scene whips itself up into a Shake Appeal Flip Out. The LP takes a little longer to get into than The Cosmic Jokers, but give it time and it’s in your head forever. Those piercingly loud Klaus Schulze synthesizers which sound so bizarre the first time… You’ll be waking up with them in your head, whistling them in the street, people will think you’ve lost your fucking mind. Right On.”

File Under: Krautrock, Kosmiche, Psych
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dead mauriacs

Dead Mauriacs: Beaute Des Mirages (Discrepant) LP
In tomorrow… Mysterious French outfit The Dead Mauriacs return to Discrepant in full exotic wind force after their sell-out cassette, Cocktails Pour La Fin Des Temps (2016). Beauté Des Mirages picks up on the same themes of frantic, abstract exotica and concrete cocktails the French act is known for. Running for two, long 18-minute sides full of fake(?) vintage atmospheres and armchair jungle hallucinations, Beauté Des Mirages is an abstract journey into a beautiful (and sometimes scary) world of mirages. All perfectly illustrated by yet another mesmerizing artwork collage by US artist Evan Crankshaw.

File Under: Exotica, Collage
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ditmas

Bruce Ditmas: Visioni Sconvolgenti (Dead-Cert) 10″
In tomorrow… With roots in the early developments of modular synthesis and free jazz and revered amongst the most discerning collectors of international jazz, electronic music, and American avant-garde, the experimental drummer known as Bruce Ditmas occupies a firm branch on contemporary experimental music’s family tree. As the one time romantic partner (and artistic collaborator) of sound poet Joan La Barbara (later to be Miss Morton Subotnik) and the stand-out session drummer for both Robert Mason’s mutant synth Stardrive project and Gil Evan’s legendary Jimi Hendrix tribute band, Ditmas is best savored as the first recorded solo artist to utilize Robert Moog’s lesser-known Moog Drum controller — an instrument which over the course of two 1977 independent LPs (Aeray Dust and Yellow) would become synonymous with his blooming reputation. Raised in Miami, nurtured in New York City, and willingly exploited internationally, Bruce’s public life as a child prodigy-cum-world jazz crusader (drawing similarities with the likes of France’s Jacques Thollot) has seen him spread his select discography over many imprints, including Joan La Barbara’s own Wizard Label, Enja, and ECM — socializing with sound designers like Suzanne Ciani and collaborating on projects penned by Annette Peacock, Paul Bley, and his long running collaborator Enrico Rava. Spending the last thirty years travelling between America and Italy as a full-time jazz musician whilst working with inter-communal music initiatives, film directors, and theater groups, Bruce has retained the same maverick passion and macabre creative influences channeling brutalism, futurism, science fiction, and psychological horror through his percussive mantra and avant-garde approach to instrument manipulation and recontextualization. The selected titles on Visioni Sconvolgenti are extracted from various recordings made over the last three decades, comprising field recording techniques and percussive manipulation resulting in gritty tonal soundscapes and angular sonic sculptures, while drawing theoretical comparisons with European proto-industrial units like Germany’s Faust, Swiss electronic jazz pioneer Bruno Spoerri, Czech sonic illustrator Milan Grygar, and sprawling generation of Parisian musique concrète informed anti-melodic luminaries. Reflecting a lifelong career in active melodic drum exploration and vivid existential sound design, Visioni Sconvolgenti provides an alternative, darker, meditative, glimpse into the work of a proactive composer at his non-conformist best in the uninhibited confides of his own home analog studio. Artwork by Andy Votel. Cut at Dubplates & Mastering; Edition of 500.

File Under: Electronic, Experimental
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ocora

Charles Duvelle & Hisham Mayet: Photographs of Charles Duvelle: Disques Ocora & Collection Prophet (Sublime Frequencies) 2CD+Book
In tomorrow… Disques Ocora, a French label dedicated to capturing and publishing the sounds of folkloric culture from around the world, is held in the highest possible regard in the realms of professional and amateur ethnomusicology. Instigated in 1958 by Pierre Schaeffer, the founder of musique concrète, Disques Ocora’s sterling reputation is largely built on composer and musicologist Charles Duvelle’s pioneering field recordings, as well as his now-iconic photographs and graphic design. Charles Duvelle’s work is indisputably one of the most important contributions to the human understanding of the rich biodiversity of our planet’s music and language. In 1977, his field recordings from Benin were selected by Carl Sagan for inclusion on the Voyager Golden Records, which were carried into outer space by the Voyager spacecraft to stand as an example of humanity’s highest musical expressions for the universe’s unknown listeners. Sublime Frequencies’ most ambitious project to date, this 296-page fine-art photography book comprises an exhaustive collection of Charles Duvelle’s field photography from 1959 to 1978 (188 black-and-white and 58 color photographs), demonstrating that this master musicologist had an equally unerring eye for photography; Includes a photo index listing the details of each photograph. It also contains an exhaustive interview with Charles Duvelle by Hisham Mayet, detailing the history of the label and offering Duvelle’s unique insights into the discipline of field recording (French and English facing text). The package includes two full-length CDs of archival recordings (some of which have never been published) selected, compiled, and fully annotated by Duvelle himself. Most of the tracks on CD one (Africa) are complete versions of truncated tracks from OOP Ocora LPs. CD two, which includes performances by Sohan Lal, Kheo Oudon, and Madurai Ramaswami Gautam, is focused on material from Asia (music from India and Laos), with two long tracks that have never been released (a third track is a complete unedited version). The material focuses on the five regions surveyed during his time with Ocora: West Africa, Central Africa, Indian Ocean, Pacific Islands, and SouthEast Asia. It includes “Disques Ocora / Charles Duvelle Discography, 1959-1974”, a complete overview illustrated with 94 full-color album thumbnails, “The Prophet Collection, 1999-2004” a discography of Duvelle’s post-Ocora label illustrated with 41 full-color album thumbnails, “Eastern Music in Black Africa”, a 17-page report prepared by Charles Duvelle at the request of UNESCO (February 1970), and a review of the Ocora catalogues (1964-1973). In a tribute to Disques Ocora’s exquisite design sensibility, the book is printed on 170 gsm Lumisilk matte art paper and bound in grey buckram with gold foil stamping on the cover and spine. The front cover includes a tipped-on glossy photograph by Charles Duvelle. Hardcover book; 10″x10″; 296 pages; 4.5 lbs. Produced and edited by Hisham Mayet.

File Under: World, Books

ersen

Ersen: Dunden Bugune (Pharaway) LP
In tomorrow… Pharaway Sounds present a reissue of Ersen’s debut album Dünden Bugüne, originally released in 1977. Ersen is one of Anatolian rock’s most sheerly talented vocalists. Ersen spent time in Moğollar, 3 Hür-El, and Cem Karaca’s Kardaşlar before cementing his reputation as the front man of Dadaşlar. His voice can range from one that has a soft edge (where he swallows his notes a bit, like a muezzin would), to growling belt-outs that could have fronted any ’80s metal act. Ersen and his ever-changing backup band wore Slade haircuts and loud jackets with rainbow pants or silver platform shoes, and they grew their moustaches just as long as the Beatle-bangs of their western counterparts. Synth-wizz, funk breaks, and fuzzed-out prog riffage back one of Anatolian rock’s best vocalists — Turkish psych-rock with some amazing funk drums and fuzzed-out guitars. Comes in gatefold sleeve with original artwork; Includes insert with liner notes by Angela Sawyer (Weirdo Records); Remastered sound.

File Under: Turkish, Psych
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ersen1

Ersen: Ersen 2: Omur Biter Yollar Bitmez (Pharaway Sounds) LP
In tomorrow… Pharaway Sounds present a reissue of Ersen’s second album Ersen 2 – Ömür Biter Yollar Bitmez, originally released in 1978. Go back to Anatolia once more and hear the unhinged guitar and electric baglama behind Turkish psychedelia’s charismatic singer Ersen. He was discovered by Cem Karaca, was connected to Moğollar and 3 Hür-El, and even switched backing bands with Cem before finally hitting the charts with his own group Dadaşlar. There are loads of B sides and burly moves on these ’70s singles which make up his second LP. Wicked funk drums, fuzzy guitars, organs, and the powerful voice of Ersen. Includes “Zalim”, the killer psych-funk track made famous by Gaslamp Killer’s edit. Ersen’s very last name, Dinleten, means “listen”, and that’s exactly what you should do. Original artwork; Includes insert with liner notes by Angela Sawyer (Weirdo Records).

File Under: Turkish, Psych
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gunnvile

Steve Gunn/Kurt Vile: Gunn Vile (3Lobed) LP
Kurt Vile and Steve Gunn collaborated on record in 2015 for their contributions to Three Lobed Recording’s Parallelogram series. That previously ornate and limited title is now released in a non limited format standing along and outside of that prior collection. The two artists, originally connected by mutual friends and geographic proximity, have long pushed the other’s continued artistic development. Despite sharing many live stages over the years, this collaborative album represents the first time that the two have worked together in the studio. Vile’s side sees him recast tracks by John Prine (“Way Back When”) and Randy Newman (“Pretty Boy,” featuring some truly electric guitar flourishes from Gunn) as if they were KV originals. The theme of reinvention continues with Vile tearing through a solo banjo rendition of his “Red Apples” (originally from his God Is Saying This To You… LP), retitled here as “Red Apples For Tom Scharpling.” Gunn takes on a late period Nico track, “60/40,” and pulls a lysergic rocker out of the track’s goth-ish roots. The bulk of Gunn’s contribution is the epically winding “Spring Garden,” a track in the vein of some of his other longform guitar excursions. Featuring signature contributions from Vile and Mary Lattimore, this hypnotizing cut is unmistakably a new classic in Gunn’s catalog.

File Under: Indie Rock, Folk
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happy meals

Happy Meals: Full Ashram Devotional Ceremony Volume IV – VI (So Low) LP
In tomorrow… Optimo Music presents a new offshoot label, So Low, named after the night of the same name in Glasgow, run by Becky Marshall, Iona McHale, JD Twitch, and Katie Shambles. The label’s inaugural release is from Glasgow’s much-loved Happy Meals, a duo comprised of Suzanne Rodden and Lewis Cook. Full Ashram Devotional Ceremony Volumes IV-VI is the duo’s second album release, following 2014’s acclaimed Apero on Glasgow’s Night School label. Full Ashram is the name of Happy Meals’ recording studio. The Devotional Ceremony is Happy Meals connecting with their cosmic inner selves. They realize their Full Ashram Devotional Ceremony as banishing demons, devils, and ill will. Devote your soul to the positive forces before the misguided, suffering spirits pull you down and wipe you out. While the album is comprised of individual tracks segueing into each other, for full salvation, it is recommended to be listened to as one continuous piece.

File Under: Ambient, New Age
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hoyoux

Jean Hoyoux: Planetes (Cortizona) LP
Deluxe reissue on vinyl of this much sought after release by Jean Hoyoux including 8 (!) inserts. This 1982 Belgian ‘Kosmisch’ stunner was originally issued by ‘CRETS’ or Centre de Recherche et d’Etudes. The seven extended pieces form a course of ‘sound therapy’ similar in tone to Angel Rada’s ‘hand played’ explorations in rubato-rooted forms. The largely tonal pieces – recorded using string and choir synthesizers, vocoders, drum machines, etc. along with a heavy battery of phasing and time-based effects-lands somewhere between a ‘library music’-styled mood excursion and a genuinely transformative mind melter that ranks as one of the more obscure entrants into the…obscure electronic music canon. (Keith Fullerton Whitman)

File Under: Ambient, Electronic, New Age, Kosmisch
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johnson

Ragnar Johnson: Ethiopian Urban & Tribal Music (Sub Rosa) LP
In tomorrow… Sub Rosa present a reissue of volume one (Mindanoo Mistiru) and two (Gold From Wax) of Ethiopian Urban And Tribal Music, both originally released as two distinct LPs on Lyrichord in 1972. Mindanoo Mistiru and Gold From Wax were recorded by Ragnar Johnson. Ethiopia contains many diverse peoples and many styles of music. It was still an empire in July and August of 1971 when these recordings were made. Over 70 languages and 200 dialects are spoken in Ethiopia. In much of the music, lyrics are more important than instrumentation, and the transmission is oral. The urban musicians, the bagana, and Mary Armeede, were recorded in Addis Ababa. Ethiopian urban musicians come from many parts of the country and are familiar with, and adapt to, styles of regions other than their own. The Afar divination chants and flutes were recorded in the Danakil desert. The Anuak toum and Nuer harp, lament and dance were recorded near the Sudan border. The Konso dance and the Gidole Fila flute dance were recorded near the Kenya border. Mindanoo Mistiru means “What is the Unknown?”. Gold From Wax refers to the two layers of meaning in Amharic poetry. File under: Le Coeur du Monde.

File Under: Field Recording, Ethnographic

kirby

Leyland Kirby: Memories Live Longer Than Dreams (HAFTW) LP
In tomorrow… 2017 repress; Originally released in 2009. The third of the three 2LP editions in James Leyland Kirby’s When We Parted My Heart Wanted To Die series. The synthetic luster of Memories Live Longer Than Dreams already appeared cracked and damaged the first time around, and in 2017 its phosphorescent glow remains a beacon of shelter for contemplation and secluded mind-drift, offering a surreal, nostalgic night-light to the gloomy and confused world it diagnosed and predicted nearly ten years ago. Written during James Leyland Kirby’s forlorn purgatorial years spent in Berlin during the period which shaped the modern world as we know it — a time when global financial institutions collapsed, YouTube’s all-encompassing archive was beginning to spill over, and Facebook and Twitter were starting to enmesh the entire planet — this final instalment finds Kirby channeling osmotically absorbed visions of the future, as spelt out by Vangelis, Lynch and Badalamenti, Eno, and Kirby’s own The Caretaker alter ego, into a waking dream sequence of quietly anguished sound poems for the contemporary echo chamber, relinquishing a traversal of the hive mind’s private fears and shared nightmares rendered in ghostly scrolls of synth noise and sweepingly emotive cinematic gestures. It effectively diagnoses a sort of cultural malaise that was perhaps embryonic in 2009, as the golden age of dance/pop form and optimism which resulted in radical acts such as V/Vm and the Ccru was now left shimmering in the rearview, with the momentous energy of its accumulated, independent scenes being diffused into institutions or calcifying into hyper commercialism, leaving little or no room for ambiguity, irony or subversively socialist thought within its increasingly binary wake; a wake which has now bifurcated into extreme left and right-leaning politics with a gulf of misunderstanding in between. Keening and reeling away his own thoughts on the matter in that inter-zone of negative space, Kirby draws on ever tightening coils of cultural feedback loops and the infidelity of memory to parse, process, and secrete a slow, plasmic ooze of melancholic musical form that perhaps best represents the feelings of our age; of our shared future occluded by an inglorious or illusive past that promised much, yet never paid up.

File Under: Ambient
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lamar

Kendrick Lamar: Damn (Aftermath) LP
In tomorrow… In five whirlwind years, Kendrick Lamar has gone from being hip-hop’s hottest rising star to one of the most important voices of his generation. And as his latest album, DAMN., proves, he shows no signs of stopping. His third No. 1 in a row, the hotly anticipated release sees Lamar make another about-turn after the fearlessly creative excursions of 2015’s To Pimp A Butterfly. If DAMN. is a more stripped-back, direct album, it’s also another utterly compelling one. With his laidback flow and thought-provoking lyrics, it finds Kendrick at the very top of his game, making the personal political – and vice versa – and ensuring that he leads the charge, at a time when the world very much needs a voice like his.

File Under: Hip Hop
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melvins

Melvins: A Walk with Love & Death (Ipecac) LP
Legendary rock outfit the Melvins return with a double album, A Walk With Love and Death. The dual release, finds the trio of Buzz Osborne, Dale Crover and Steve McDonald showcasing two distinct sides of the band’s music: Death, a proper Melvins’ release, and Love, the score to the Jesse Nieminen directed, self-produced short also titled A Walk With Love and Death. “This was a huge undertaking,” explained band ringleader Buzz Osborne. “All three things: the album, the soundtrack and the film are benchmarks for us.” Drummer Dale Crover adds, “A Walk With Love and Death is one giant, dark, moody, psychotic head trip! Not for the faint of heart. You’ll sleep with the lights on after listening.” The albums, which include guests Joey Santiago (The Pixies), Teri Gender Bender (Le Butcherettes, Crystal Fairy) and Anna Waronker (That Dog), were self-produced by the band with engineer Toshi Kosai.

File Under: Metal
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orcutt

Bill Orcutt: s/t (Palilalia) LP
In tomorrow… For those not following Bill Orcutt’s drift into increasingly ear-friendly orbits in his recent live sets, Bill Orcutt — his first solo electric studio album — shocks with its space and sensitivity. On this eponymous record, Orcutt mines the expansiveness and sustain possible on the electric guitar, letting notes spin out and decay at the edge of feedback. His pachinko-parlor pacing, marked by unraveling clockspring accelerandos crashing into unexpectedly suspended tones, is still in evidence. But here, his developing melodicism maps a near-contemplative mental realm, orbiting St. Joan-era Loren Connors more than the cascading treble clatter of his duo LPs with Chris Corsano and others. From the first notes of Ornette Coleman’s “Lonely Woman”, there’s a lucidity and slow-burning lyricism that make Orcutt’s plunges into barbed-wire fingerpicking all the more striking. While no one’s about to mistake Orcutt for Jim Hall, you could probably play this for your jazzbo friends (should you be unlucky enough to have them) without raising any eyebrows. Orcutt’s track selection mirrors his obsession with American popular song in its most banal manifestations, as radically reimagined via acoustic guitar on a variety of releases, including 2013’s exhaustive Twenty Five Songs 7″ box set, and the Editions Mego album A History of Every One. Many of the songs from those two releases are here — but stretched into new arrangements that explore the upper regions of the guitar neck (hitherto unexplorable on his shakily-intonated acoustic Kay), and lighting up new corners of each arrangement with a sensitivity born from years of reinterpretation. The result is a languid, freeform drift through Orcutt’s internal cosmos into galaxies unknown to their original interpreters — and occasionally, Orcutt himself. Most striking is “White Christmas”, its careening low-register melodies crashing into complex chords that transcend Orcutt’s primitive four-string fretboard. Orcutt’s original compositions are equally striking. One of them — “The World Without Me” — is unique to this album, and notable for its trebly flurry of Clapton-esque 12th-fret drizzle. “O Platitudes!” by contrast, spins ever-faster in the cadence of a hand-cranked music box, before grinding to a near halt, its higher-key electricity standing in for the moaning vocalizations on Orcutt’s acoustic rendition as heard on his 2014 VDSQ LP. With its deep-space beauty, harmonic complexity, and dark dissonance, Bill Orcutt is a stunning landmark in Orcutt’s form-destroying trajectory.

File Under: Guitar, Blues, Lo-Fi
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decline

OST: Decline of Western Civilization (Fanclub) LP
In tomorrow… Music taken from the soundtrack of the 1981 documentary The Decline Of Western Civilization by Penelope Spheeris about the LA punk scene at the end of the ’70s and in the very early ’80s. Features: Black Flag, Germs, Catholic Discipline, X, Circle Jerks, Alice Bag Band, and Fear. Replica edition; Edition of 500.

File Under: Punk

pacific

Pacific Express: Black Fire (Matsuli) LP
In tomorrow… “Militant jazz, fusion, funk and soul from mid-seventies Manenberg, outside Cape Town, with a set of roots in club dance traditions like ballroom (‘langarm’), Khoisan hop-step and the whirling ‘tickey draai’ (‘spin on a sixpence’) of the mine camps; others in jazz-rock and the New Thing, from Santana and Chicago to Shepp and Coltrane.”

File Under: Jazz, Funk, Soul

payne

Maggi Payne: Crystal (Aguirre) LP
In tomorrow… Aguirre Records present a reissue of Maggi Payne’s challenging electronic album Crystal, originally released in 1986. Maggi Payne is an American composer, flutist, video artist, and co-director of the Center for Contemporary Music, Mills College where she teaches recording engineering, composition, and electronic music. Her work involves electroacoustic, instrumental, and vocal works along with works involving visuals, including dancers outfitted with electroluminescent wire and videos she creates using images ranging from nature to the abstract. She has composed music for dance, theatre, and video. Crystal was first released in 1986 on the Lovely Music label. Home to experimental musicians such as Robert Ashley, David Behrman, Pauline Oliveros, and Alvin Lucier. On Crystal, flute, spoken voice, sonifications, and synthesizers are processed to create dense and massive structures. Maggi Payne’s musical imagination is vivid: she is interested in the surreal, the inward, the micro, and the accumulation of physical and psychological tension. Periods of silence gently evolve into flowing drones of complex resonances. Oozing drones evolve into dense and powerful peaks of short duration. The compositions and sounds on Crystal have incredible depth, a profound logic and, though not “pretty”, an irresistible beauty. 180 gram vinyl; Remastered and cut at 45rpm by Rashad Becker; Gatefold sleeve with liner notes by the artist; Artwork by Atelier Brenda. Maggi Payne on Crystal: “I create immersive environments, inviting listeners/participants to enter the sound and be carried with it, experiencing it from the inside out in intimate detail. The sounds are almost tactile, visible, tangible. A narrative of the imagination exists, allowing each person experiencing the work to thread their own paths through their mind’s imagination and their body’s physical engagement. Each sound slowly unfolds, revealing intricacies and complexity. Each grows and evolves like crystals forming under the microscope. . . . I visualize the sound as originating from, for instance, a point source below where one is standing, then it swirls outward and upward in an ever-expanding spiral until it disappears high over the listener’s head, morphing as it travels. Spatialization is not imposed when mixing, but is instead created in the original recording by increasing the amplitude of the sound on one track then decreasing its amplitude as the identical frequency is matched on the next track while it is increasing its amplitude, dovetailing the tracks across the space. Using extensive multi-tracking, the spatialization is retained, architecting and sculpting the aural space so that multiple perspectives and trajectories coexist.”

File Under: Electronic, Ambient, Industrial
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peaking lights

Peaking Lights: The Fifth State of Consciousness (Two Flowers) LP
In tomorrow… Peaking Lights’ fifth album, titled The Fifth State Of Consciousness, was produced in their Dreamfuzz studio over two years. It’s both a departure from the new and a return to the old with a whole new twist on the psychedelic dub-pop they’ve become known for. Sonically the album shifts through many states from beginning to end, resonating deep, like a drive through foreign landscapes where you’re glued to the window, as everything slowly changes around you. The flow and pacing of songs has a sense of wonderment, and each time you play it, there’s a whole new batch of lovely sounds and eccentricities within each of the players. While bringing together their love of psychedelic music, house, electronic, and reggae, each song manages to live its own life and yet still there is some magical thread that binds them together. Produced by Aaron Coyes, the whole creative process was filled with nerdy gadgetry, playful experimentation, and deep alchemical soul searching for a musical medicine. Aaron describes Dreamfuzz as “a small junkyard with many happy mistakes.” Using tape machines, writing melodies backwards then playing them in reverse, layering sound upon sound to create “pads”, literally breaking electronics to get sounds, and a strict motto of “anything goes, pure creativity.” Most sounds were run through Peaking Lights’ 1976 16/8 Soundcraft Series Two mixing console (the same type of board used by Lee “Scratch” Perry at Black Ark, and at the infamous Cargo Studios where many of the early Factory Records bands were recorded) to add some “mojo”. It’s an album that is sure to be a creeper, even if you don’t fall in love on the first date.

File Under: Electronic, Pop, Dub
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ferret

Performing Ferret Band: s/t (Beat Generation) LP
In tomorrow… Alehop! and Beat Generation present a reissue of Performing Ferret Band’s self-titled album, originally released in 1981. Hailing from Maidstone (Kent), Performing Ferret Band got together in 1978 and with their amateur take on music, they wrote a small but great chapter of the emergence born out of punk, when the proliferation of small labels and self-releases invaded the record shops and created a scene which developed one of the golden and most creative periods of music, despite the participants’ technical limitations. Later based in Manchester and inspired by comedians such as Monty Python and musicians like Captain Beefheart, The Velvet Underground, or The Fall, the Ferrets developed a personal style very close to Television Personalities, Swell Maps, or The Desperate Bicycles, all bands of questionable virtuosity. That didn’t stop the Ferrets from releasing two cassettes, a 7″, and an LP during their short life until 1982. Their only LP, originally released in 1981 on the band’s own Pig Production label as a 300-copies pressing, is reissued here in a limited edition. It’s a compendium of absurdity, genius, humor, and that naive spirit which makes humanity more believable. Includes an insert with the band’s story, photos, and memorabilia; Edition of 500.

File Under: Post Punk, Indie Rock

praed

Praed: Fabrication of Silver Dreams (Discrepant) LP
In tomorrow… Founded by Lebanese visual artist and musician Raed Yassin and Swiss musician Paed Conca in 2006, Praed is a band whose music can be described as a mixture of Arabic popular music, free jazz, and electronics. Over the years, the duo has collaborated with renowned musicians from across the globe. Praed explore the terrain of shaabi (Arabic popular music) and its interconnectedness with other hypnotic music genres. Through their research and thanks to numerous concerts in various Egyptian cities, Conca and Yassin discovered a strong cultural connection between shaabi sounds and the mouled music played in religious trance ceremonies. The hypnotizing psychedelic effect embedded in this genre incited Praed to explore other popular music from around the world that also employs forms of sonic delirium — free jazz, space jazz, and psychedelic rock, among others — and incorporate these in their own musical concoctions. This is the duo’s fourth album. File under: dabke, shaabi, Arabic, free jazz. RIYL: Rizan Said, Omar Souleyman.

File Under: Dabke, Arabic
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shab1

Shabazz Palaces: Quazarz Vs. The Jealous Machines (Sub Pop) LP
In tomorrow… Shabazz Palaces present Quazarz vs. The Jealous Machines, the group’s fourth album and extra-spatial twin to Quazarz: Born on a Gangster Star. The album, featuring highlights “30 Clip Extension,” “Julian’s Dream (odeto a bad)” and “Effeminence” includes guest appearances from Fly Guy Dai of Chimurenga Renaissance, Amir Yaghamai, John Carroll Kirby, Thaddillac, Morgan Henderson, The Shogun Shot, Laz, and Purple Tape Nate. Quazarz vs. The Jealous Machines is a second, fully-realized album of new material that expands the Quazarz universe, and tells the tales of Quazarz, that sent sentient from some elsewhere. A wave warrior wielding his sonic sword. Posted to the turnt-up states of Amurderca here on the Gangster Star to chronicle, explore and enjoy as a musical emissary. He discovers a world where humankind’s relationship with their tech-devices has become weirdly sensual, seducing a sedentary seamlessness with humans, while capturing and incarcerating the results of their imagination. Quazarz vs The Jealous Machines finds our protagonist with his dazzling cohorts rising a collective Nah to the device and the guilds that proliferate them. Quazarz vs. The Jealous Machines was produced by the Palaceer Lazaro and Sunny Levine, recorded in Seattle at Protect and Exalt Labs: A Black Space and in Marina Del Rey at Dror Lord Studios, and mixed by Levine and Kamal Humphrey at Kamal’s House Studio.

File Under: Hip Hop, Digable Planets
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shab2

Shabazz Palaces: Quazarz: Born on a Gangster Star (Sub Pop) LP
In tomorrow… Born on a Gangster Star came into the world in a big damn hurry, like nightfall on an island. You can see it happening, but then again it’s so gradual that the next thing you know – it’s dark. Imbued with the energy and ideas from all the creative embers floating in the atmosphere like fireflies, Shabazz Palaces recorded this entire album over the course of two weeks with Blood in Seattle. New gear and new equipment disintegrated comfort zones into dust and a new path appeared in the rubble. Herein the Palaceer continues the tale of Quazar, a sentient being from somewhere else, an observer sent here to Amurderca to chronicle and explore as a musical emissary. What he finds in our world is a cutthroat place, a landscape where someone like him could never quite feel comfortable amidst all the brutality and alternative facts and death masquerading as connectivity. Inspired by days on end spent in the waves – water and light, both – of Southern California, the work came to the Palaceer in a flash, like being picked up by something and carried. Always dribbling with his head up, he can see what’s going on around him and react to it, rather than starting in a certain direction and hoping to achieve something upon arrival. Born on a Gangster Star flirts with a pop sensibility, but through the prism of Shabazz Palaces’s fire and fury. For the Palaceer, that sense is all about how the groove is moving, and the supernatural telepathy that occurs amongst his cohort. Appearing here, in body or in spirit, are Julian Casablancas, Thundercat, Darrius Willrich, Gamble and Huff, Loud Eyes Lou, Thaddillac, Ahmir, Jon Kirby, Sunny Levine, and Blood. The story belongs to Quazarz, but the air and darkness belong to us.

File Under: Hip Hop, Digable Planets
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sinigaglia

Riccardo Sinigaglia: Riflessi (Soave) LP
In tomorrow… Soave present the first vinyl reissue of Riccardo Sinigaglia’s Riflessi, originally released in 1986. Riccardo Sinigaglia, along with Gabin Dabiré and Walter Maioli, was a part of Futuro Antico — one of the most important collaborations to emerge from the 1970s and ’80s Italian avant-garde. The project, whose name literally translates to “ancient future”, joined traditional sounds and instrumental from around world, with electronic music — the sonic past, present, and future as one. Recorded shortly after the collective’s most prolific period and released in 1986, while more singular and more idiosyncratic, Sinigaglia’s Riflessi caries these very concerns at its core. Built from field recordings, collaged samples, synthesis, and unique instrumentations, and shifting from hypnotic rhythm to radical and displacing structures, Riflessi establishes a remarkable link between ancient and non-western musics and efforts emerging from studios like Groupe de Recherches Musicales. A work of staggering rhythm, texture, and beauty, Riflessi builds a world with almost no parallel — imbuing electronic music with touch, tactility, and humanity, while sacrificing none of its challenges and intellectual heights. Rattling sonorous wonder, emerging for the first time on any format since its original pressing, before us is a historic moment — a lost piece of the puzzle of the wondrous Italian avant-garde.

File Under: Electronic, Ambient, Modern Classical
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split

Split Decision Band: s/t (Now Again) LP
In tomorrow… Now-Again Reserve Edition gatefold jacket; Hand-numbered edition of 1000; 160 gram vinyl from Quality Record Production; OBI strip and resealable “Japanese-style” plastic sleeve; Download card for WAV files of the album; Contains booklet with the story of this mysterious band, told for the first time, and many unpublished photos. “They have been known to deep soul, funk and disco collectors for decades for their sought after 7″ ‘Watching Out/Dazed,’ long thought to be the band’s only recordings. Egon tracked down Split Decision Band’s vocalist and songwriter Gordon Starr Flipping in the hopes of more and got it — with Split Decision Band, Now-Again presents a never-before-released album of devastatingly good disco and boogie from the unlikely city of Des Moines, Iowa. Flipping’s collaborations with Prince’s stable made him a Midwestern legend, but his band’s music is more than an urban tall tale — this album finally proves to the world their merits.”

File Under: Funk, Soul, Disco
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sprenger

Konrad Sprenger: Stack Music (Pan) LP
In tomorrow… Having felt restrained by the limits of traditional instruments and the techniques tied to them, composer, music producer, and artist Konrad Sprenger (b. Joerg Hiller), spent years developing various algorithms and custom instruments to realize his work. His recent focus has been on rhythmic patterns based on the Euclidean algorithm, using a computer-controlled multi-channel electric guitar. The unique system can create complex rhythmical patterns whilst tuning the strings during performance — sounding at once like an electronic instrument, a drum computer, a guitar, a harpsichord, even at times as a full orchestra. Hiller has long collaborated and performed with minimalist Arnold Dreyblatt, and musician/instrument builder Ellen Fullman amongst others, and first built primitive acoustic mechanical instruments, gradually developing a more complex, digitally-controlled system. “My guitar gives me the possibility to discover almost every aspect of the sound produced by the excitation of the string — as if scientifically under a magnifying glass,” he says. “I can control such parameters as the speed and time, length of the attack, the intensity, the pitch (allowing the use of different tuning systems), and the location of each string in space by the use of six speakers.” Early on, Hiller realized that the harmonically complex sound of strings are impossible to reproduce digitally, and therefore became interested in the development of mechanical instruments, visiting European collections of pianolas and orchestrions in Belgium and Holland. Within his live performances and on this new recording, his music is influenced by the insistent rhythms from minimalism, krautrock, and techno, and their shared focus on transcendence through a propulsive, full-spectrum sound. Informed by early American folk music and its descendants (John Fahey et al.), his new album Stack Music presents a selection of recordings over the years from residencies and live performances, such as “Opening”, an early live performance of the digital guitar system recorded in New York and composed at Phill Niblock’s Intermedia Foundation Loft, whilst “Rondo” consists of recordings of the guitar played by a motor with shoelace exciters, horns, and piano harp. In “Largo”, he utilizes the software Melodyne to generate midi notes from an original guitar system recording. Mastered by Rashad Becker at Dubplates & Mastering; Artwork by Bill Kouligas.

File Under: Electronic, Ambient, Abstract
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squadra

Squadra Omega: Materia Oscura (Grandangolo) LP
In tomorrow… Squadra Omega represents the vast spectrum of the Italian underground. Psychedelic, avant-garde, jazz-rock, improvisation, kraut-rock, rock in opposition, and ethno-tribalism blend seamlessly into the work of a collective that moves and expands, depending on the urgency of the moment, focused around a core that rotates around the two members OmegaMatt and OmegaG8. In the band’s wide discography, you’ll find compositional freedom, improvised jam-sessions, and an amplitude of references, all of which move between different spaces and times. Materia Oscura (“dark matter”) offers a glimpse at the same time the soil of the “rock” matter as well as the alien, seen from multiple points of view, neighbors, and materials, distant and mysterious. Three tracks that stretch their eyes at the Orient or Africa, as well as into the depths of the cosmos, landing on the side of the art-rock of the ’70s and towards some psychedelic, visionary, cinematic drives that explode into a real ecstatic trip. Inputs from Coltrane, Canterburian jazz-rock, Grateful Dead, and synthy-space views are melted into free-form landings until they discover their own personal form of prog. Different universes collide and coexist in the band in a constant mutation, maintaining faith in one single ideal: “music for the third eye”. The album comes in a thick carton cover with a central hole.

File Under: Electronic, Psych, Krautrock
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sunkil

Sun Kil Moon: Common As Light And Love Are Red Valleys of Blood (Caldo Verte) 4LP
Common As Light And Love Are Red Valleys of Blood is the new release by Mark Kozelek’s Sun Kil Moon. The epic 4LP-set was recorded with former Sonic Youth drummer Steve Shelley in San Francisco, CA and Hoboken, NJ and for the most part captures events from January to August of 2016 and how the mercurial singer/songwriter processed it all while traveling. A disenfranchised Kozelek laments the Nice, France terror attack and Orlando nightclub shooting on “Bastille Day” and “Bergen to Trondheim” respectively and condemns Trump’s election and tech culture on “Lone Star.” “Most of the songs were cut out of improv sessions where Steve played drums and I played instruments that don’t come naturally to me – like synthesizer and bass guitar and even a baritone uke. With Nathan, my engineer, we are able to find the interesting parts and build off of them. That’s the same way we did Universal Themes – everything cut from improv. The vocals were added as we edited along.” – Mark Kozelek “The [album’s] 16 long, long songs are all darting and painstakingly detailed lectures about personal experiences, good friends past and present, the socio-political state of things, major news events – including the Orlando and Paris shootings, the Bastille Day truck attack, the Brussels bombing, the deaths of David Bowie, Prince and Muhammad Ali, the El Chapo story, the Syrian chlorine gas attacks – and basically anything else that crossed his mind on a given day. He somehow manages to weave together stray observances and unpoetic references, wry comedy sketches and meditations on topics of great significance.” – Adam Feibel, Exclaim

File Under: Indie Rock

voigt

Voigt/465: Slights Still Unspoken (Mental Experience) LP
In tomorrow… Mental Experience present an expanded reissue of Voigt/465’s 1979 album Slights Spoken, titled Slights Still Unspoken (1978-1979). Formed in Sydney in 1976, Voigt/465 was a truly unique band from the exciting days of the Australian post-punk scene. Heavily influenced by such luminaries as the Velvets, Stooges, Syd Barrett, Pere Ubu, Can, Faust, Henry Cow, Slapp Happy, and Eno’s Roxy Music, they created an abrasive sound in which krautrock, DIY, avant-garage, post-punk, psych, art-rock, and free improv-noise combined to form a sound unlike any other. In 1978, they released one of the first DIY 45s from Australia, State/A Secret West, which showed their “pop-psych” side and was played by John Peel in the UK. The following year, their bass player Lindsay O’Meara decided to leave the band and join Crime & The City Solution in Melbourne. Before parting ways, Voigt/465 decided to record one last album as a testament. Slights Spoken saw the light in 1979 and it’s without doubt one of the most fascinating albums from the post-punk/DIY era. The entire album is featured here, including the two tracks from their first 45. Includes download coupon which features three live tracks from ’78-79, including killer covers of Faust, Can, and Roxy Music. RIYL: Can, Faust, Pere Ubu, Roxy Music, Family Fodder, The Homosexuals, Slapp Happy, This Heat, Pop Group, Primitive Calculators. Remastered sound; Insert with rare photos and liner notes by band member Phil Turnbull.

File Under: Post Punk, , DIY, Australia
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whitehosre

Whitehorse: Panther in a Dollhouse (Six Shooter) LP
In tomorrow… On this new album, Whitehorse takes a place of wholesome, conventional life and sets loose a wild animal to stalk, shred and smash its way through ideals of adult life and social conditioning. Whitehorse turns a microscope on domestic life to reveal a writhing, tangled biota of dreams and desire, despair and degradation. With Panther In The Dollhouse, the duo’s songwriting makes a clean break from autobiography to fully embrace cinematic fiction in sleek, stylized collages of neo-noir drama and high-gloss showmanship. From the grindhouse ballad of “Die Alone” to the peroxide burn of “Trophy Wife,” the new songs are full of flawed characters, foiled plans and anti-fairytales. To make this record, Whitehorse expanded their studio team with the addition of Likeminds, a pair of hip-hop/R&B producers and musicians. The beat-makers joined the returning crew of Gus Van Go and Werner F, who produced the band’s previous album, Leave No Bridge Unburned. The results bring vintage drum machines, samplers and analog synths into the duo’s space twang sound.

File Under: Indie Folk
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xordox

Xordox: Neospection (Editions Mego) LP
In tomorrow… Editions Mego present the first release of a brand new project from JG Thirlwell. Recorded at Self Immolation studios in Brooklyn. This is Xordox. Xordox orbits a universe inhabited by darkness, wit, mystery adventure, and experimentation. The cinematic quality that exudes from Thirlwell’s bent being presents itself in Neospection; Unlike Thirlwell’s other works, this is predominantly a synthesizer record, including recording sessions from his residency at the legendary EMS studios in Stockholm, employing Buchla and Serge synthesizers. Sarah Lipstate (aka Noveller) plays her super-processed soundscape guitar on three of the tracks on the album, and additional mixing took place at Lazer Sound studios with Al Carlson (who works extensively with Oneohtrix Point Never). Xordox. Diamond circulating swells; Sequenced stealth sci-fi; Malleable membrane matters; Wild fabric electronic; Heart eaten beat; Fruits of fear and exhilaration. Neospection is neon noir. Neospection is ere 4 yor. Xordox arrives as unexpected and remote as any alien encounter but security lies in the cosmic drama and dark shadows that seep throughout Thirlwell’s soul. In this, 2017 the listener once again enters the mind and world of one man who refuses to play along with anyone’s game but the idiosyncratic one of his own devising. Tech and engineering at EMS by Jonas Broberg and Daniel Araya; Mastered by Scott Hull at Masterdisk; Artwork by JG Thirlwell; Space Shuttle cockpit photo by Ben Cooper; Space photos courtesy of NASA.

File Under: Electronic, Experimental
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crazy

Various: The Crazy Rhythms of Mata Hari (Stag-o-Lee) LP
In tomorrow… Rolling rockabilly, hot and cool hillbilly-country, wild western swing, sleazy-listening, surf-strip-popcorn-trash, sinuous soul and slinky r n’ b deep in the Mississippi delta lie the roots of blues and soul. In Memphis, Tennessee – a mysterious place for all music lovers – the cradle of rock n´ roll is rocking to the rhythm of the “muddy old river”. Right there in the south of “eerie America”, in New Orleans and further upstream in Memphis you can find the legendary places where musical history was made, and where the genesis of rock n’ roll and rockabilly (a combination of country and hillbilly) took place. The journey continues further north to Nashville, to Texas or to Chicago… The legendary pulp-country deejay-team and the Mata Hari-Bar (Nuremberg) melt into the Memphis Music Club: an exciting cooperation of two entities, passionate about and in love with these sounds. They aim to honor this kind of music and to inspire their guests. Welcome! Come on in! This angel heart jukebox is filled with tunes that carry the rhythm and spirit of the South! Features: Jimmy Spellman, Tommy Collins, Hawkshaw Hawkins, Hayden Thompson, Charlie Feathers, Ronnie Hayward, Hank Thomson, Johnny Horton, Bill Haley & His Saddlemen, The Swanks, Al Casey, Mad Man Jones, Jimmy Oliver Orchestra, Joe Johnson, Little Esther, Dave Bartholomew, The Delta Rhythm Boys, Buddy & Ella Johnson, Louis Jordan, Johnny Williams, Mike Robinson, Willie Jones, Bobby King, Bunker Hill, Big Mama Thornton, Billy Hamlin, Gus Jenkins Orchestra, Ernie Washington, Les Brown Jr., Jim Tyler, and Red Sovine.

File Under: R’N’B, Exotica

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Various: Strictly Britxotica! Palais Pop & Locarno Latin (Trunk) LP
In tomorrow… Another superb adventure in the Britxotica! series, looking into rare and amazing exotic British recordings. For this exciting installment, Trunk waltzes to the British ballrooms for charismatic cha cha chas, magical mambos, and a whole set of floor-filling fun! Britxotica! (pronounced “Britzotica”) neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers, as well as unknown singers and bandleaders, threw convention on holiday and went wild. Put together by Jonny Trunk with DJ/tastemaker and smashing nightclub legend Martin Green, these groundbreaking compilations shine new light on lost and forgotten corners of British culture and sound. For Strictly Britxotica! Palais Pop And Locarno Latin, part four of Trunk’s planned Britxotica! series, they head to the now defunct British ballrooms for a set of dynamic and often extraordinary dance numbers — charming cha cha chas (including “Cha Cha Pop Pop”), lively Latin, and some fabulously freaky foot tappers, including a classic version of “Cerveza”. Composers and artists include ballroom band legends such as Edmundo Ros, Ted Heath, and Stanley Black, but Trunk have also found work by lost geniuses such as John Graven and John Warren who are very much worthy of reappraisal. In short, this is another crazy and charismatic compilation of British music so obscure and rare that only Trunk Records could find and package it so superbly, and with such effortless and comedic style. Also features: Boyer And Ravel, Joe Loss, Johnston Brothers, Tony Scott, Tony Crombie, John Warren Orchestra, Martinas And His Music, Phil Tate, Dave Lee, John Graven Quintet, Don Carlos, Chaquito, Jack Parnell, Eddie Calvert, and Victor Silvester. All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle.

File Under: Latin, Exotica

early

Various: Early Traditional Instruments in Asia (Shiok) LP
In tomorrow… From the metal chimes of the gamelan, to the Burmese harp, passing through the Chinese Hu Ch’in, a traditional and ancient chordophone-bowed lute, Early Traditional Instruments In Asia is a sheer historical document that represents some of the most ancient instruments known to mankind. 45rpm audiophile vinyl; Limited edition of 300.

File Under: Gamelan, World, Ethnographic

innerpeace

Various: Inner Peace: Rare Spiritual Funk & Jazz (Wewant Sound) LP
In tomorrow… Wewantsounds are back with a superb selection of spiritual jazz and funk grooves from legendary producer Bob Shad’s Mainstream Records catalogue. Bob Shad was one of the greatest music producers of the 20th century, having worked with all the music giants, from Charlie Parker and Dizzy Gillespie to Sarah Vaughan, Lightnin’ Hopkins, The Platters, and Janis Joplin to name just a few. “Bobby Shad was a legend in our family” says his grandson Judd Apatow who, together with his sister Mia, looks after Shad’s back catalogue, Mainstream Records. Like his peers, jazz producers Creed Taylor and Bob Thiele, Shad went independent in the ’60s, and by the early ’70s, he was producing a string of superb albums mixing spiritual jazz with funk and soul. These albums are now being rediscovered by new generation of soul and jazz lovers hooked on the music of Kamasi Washington and Shabaka Hutchings. Recorded between 1971 and ’73, the Fender-Rhodes-drenched tracks on Inner Peace showcase Shad’s unique deep jazz sound. They feature such revered musicians as Harold Land, Roy Haynes, and Frank Foster, together with a younger generation of talented musicians led by Buddy Terry, Dave Hubbard, and LaMont Johnson. Here they are accompanied by the cream of ’70s jazz session musicians including Bernard Purdie, Buster Williams, Eddie Henderson, James Mtume, Stanley Clarke, and Cecil Bridgewater. The Mainstream catalogue has been sampled by a long list of revered DJs and hip hop producers over the years. Roy Haynes’s “Senyah” was sampled by De La Soul on “Pony Ride” and Shelly Manne’s short outro “Infinity” forms the unmissable backbone of Jeru The Damaja’s all-time hip hop classic, “Come Clean”. A fitting tribute to the supreme sound of producer Bob Shad. Wewantsounds will start a reissue program of original Mainstream albums with bonus material and rare photos from the vaults. Also features: Charles Williams, Hadley Caliman, Pete Yellin, and Sonny Red.

File Under: Jazz, Funk, Spiritual

spirit of

Various: The Spirit of Indonesia (Shiok) LP
In tomorrow… The Spirit Of Indonesia is a newly curated collection of traditional tunes from various regions and ethnic groups of the South East Asian archipelago. These historic live recordings are as “first-take” as it gets, conveying the true soul and spirit of this wonderful region, through discrete pieces coming from very different heritages. 45rpm audiophile vinyl; Limited edition of 300.

File Under: Ethnographic

too slow

Various: Too Slow to Disco 3 (How Do You Are) LP
In tomorrow… How Do You Are? Recordings present Too Slow to Disco 3, another incredible collection of songs that gleam with the high definition gloss of big-studio, bigger-budget production. TSTD 3 is another excursion into those late 1970s west coast delusions of grandeur, but in the company of songs that are also brimming over with soul, wit, and passion. Killer tunes, penned and played by virtuosic instrumentalists, backroom gals and guys who were often also Grammy-winners in their own right. All the elements that have made Too Slow to Disco volumes one and two, and The Ladies of edition, so beloved are back for another round of near-danceable lushness. This smooth wave continues to ripple round today’s music world too: Think of Thundercat’s single with Kenny Loggins and Michael McDonald (2017), or even The XX’s sample of the Alessi Brothers’ “Do You Feel It” (featured on TSTD 1) on “Say Something Loving” (2016). DJ Supermarkt has somehow prized open another box of obscure gems, selected and sequenced to bring out the mood of the era. Lyrically the focus remains on slightly difficult love affairs backed by grooves gentle enough to mix cocktails to. There’s an accidental pop hit crossover from none-more-fusion jazz guitarist Lee Ritenour along with a dab of Christian funk from Archie Cavanaugh and his troupe. There’s even a bizarrely funky and commercial sounding Grateful Dead laying down the chart-bothering beat of “Shakedown Street”. Elsewhere Steely Dan’s go-to sax man, Cornelius Bumpus makes an appearance with some angular funk (with his quartet), while Larry Carlton turns up the guitar-drenched white soul on “Where Did You Come From?”. And the compilation goes beyond LA this time. The first non-English sung TSTD track comes in the shape of legendary Canadian songwriter Dwight Druick’s slice of Montreal disco-funk. Then there’s the groovesome Stars ‘N’ Bars from Sweden, and two acts from the UK, Vapour Trails and Billy Mernit. Also features: Bob Welch, Pratt & McClain, David Gates, Weldon Irvine, The Markley Band, Vapour Trails, The Fifth Avenue Band, Mark Capanni, Archie James Cavanaugh, Rob Mehl, and Jeremy Spencer Band.

File Under: Disco

…..Restocks…..

All Them Witches: Sleeping Through The War (New West) LP
Beck: Morning Phase (Universal) LP
Charles Bradley: Victim of Love (Daptone) LP
Chemical Brothers: Dig Your Own Hole (Astralwerks) LP
Cigarettes After Sex: s/t (Partisan) LP
John Coltrane: Ascension (Impulse) LP
CCR: Cosmos Factory (Fantasy) LP
Daft Punk: Discovery (EMI) LP
Daft Punk: Homework (EMI) LP
Mac Demarco: Salad Days (Captured Tracks) LP
Mac Demarco: This Old Dog (Royal Mountain) LP
Endless Boogie: Vibe Killer (No Quarter) LP
Forest Swords: Compassion (Ninja Tune) LP
Nils Frahm: Felt (Erased Tapes) LP
Nils Frahm: Solo (Erased Tapes) LP
Hawkwind: Warrior on the Edge of Time (Sony) LP
How to Destroy Angels: s/t (Columbia) LP
Jan Jelinek: Loop Finding Jazz (Faitiche) LP
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) LP
King Gizzard & The Lizard Wizard: Paper Mache Dream Balloon (ATO) LP
Oasis: (What’s the Story) Morning Glory (Big Brother) LP
Oasis: Definitely Maybe (Big Brother) LP
Of Montreal: Hissing Fauna… (Polyvinyl) LP
Os Mutantes: Everything is Possible (Luaka Bop) LP
Pink Floyd: Animals (Pink Floyd) LP
Gusto Pio: Motore Immobile (Soave) LP
Iggy Pop: The Idiot (Universal) LP
Iggy Pop: Lust for Life (Universal) LP
Run The Jewels: 2 (Mass Appeal) LP
The Sadies: Northern Passage (YepRock) LP
Six Organs of Admittance/William Tyler: Parallelogram (3 Lobed) LP
Sleep: The Clarity (Southern Lord) LP
Sufjan Stevens: Carrie & Lowell (Asthmatic Kitty) LP
Thundercat: Drunk (Brainfeeder) 4×10″
X-TG: Desert Shore/Final Report (Industrial) LP
Various: African Scream Contest (Analog Africa) LP
Various: Legends of Benin (Analog Africa) LP
Various: Studio One Kings (Soul Jazz) LP

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