Author Archives: listenrecords

…..news letter #865 – hiring…..

Well, good news for one of you…. we almost never do it. But the rarest of rare occurrences has come….. WE ARE HIRING! If you’ve dreamed of slinging records and have a great grasp on alphabetizing things please drop off or email your resume along with your top 10 albums of 2018 and of all time by October 14th!

CHECK OUT OUR WEBSTORE! 

…..pick of the week…..

haack

Bruce Haack: Preservation Tapes (Telephone Explosion) LP
“In 2016, after reissuing two Bruce Haack albums, Haackula and Electric Lucifer Book II, Telephone Explosion began speaking with Ted Pandel (Bruce’s lifelong friend and business partner) about working on the 1970 masterpiece The Electric Lucifer. It turned out there was another matter that he wanted to discuss: finding a final resting place for the Bruce Haack archive. We were shown test-pressings of The Electric Lucifer board mixes from his Columbia studio sessions, countless pieces of written music, a large number of personal photos, an invitation from Raymond Scott inviting Bruce to play his newly created Electronium instrument (now owned by Devo’s Mark Mothersbaugh), poems, press clippings, and, most importantly, a heavy-duty shelf containing 213 reel-to-reel tapes. All of the chosen material on The Preservation Tapes is unreleased, has only been heard by a handful of people and showcases a relatively unknown period in Bruce’s musical career where Bruce was recording for Sparrow Records (who billed themselves as ‘America’s best Christian music record label’). Bruce’s signature Farad vocoder continues to feature prominently, but the lyrical content is decidedly more religious. The Bruce Haack archive is now resting in the Provincial Archives of Alberta, in Edmonton, Alberta, Canada.”

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

aphex

Aphex Twin: Collapse (Warp) LP
In tomorrow… Mythical electronic producer Richard D James aka Aphex Twin returns on Warp Records with the new 4-track EP Collapse which follows-up his 2016 Cheetah EP and 2014 full-length Syro. The cryptic release is introduced by the pummeling lead cut, “T69 Collapse” whose mind-bending video premiere was pulled from Adult Swim at the last minute for failing the Harding epilepsy test. This 12″ vinyl edition’s accompanying download includes the bonus track “pthex.”

File Under: Electronic
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lips

Flaming Lips: In A Priest Driven Ambulance (Warner) LP
The Flaming Lips have pushed the envelope and bent boundaries for more than two decades with the band’s Grammy-winning music and ground-breaking concerts. In 2018, Rhino and Warner Bros. Records will celebrate Oklahoma’s most famous freaks with an ambitious reissue program, kicking off with remastered editions of the joyous weirdness the band recorded for Restless Records between 1984 and 1990 before signing with Warner Bros. in 1991 including Hear It Is (1986), Oh My Gawd!!!…The Flaming Lips (1987), Telepathic Surgery (1989) and In A Priest Driven Ambulance (With Silver Sunshine Stares) (1990). The final pre-major label album from the Flaming Lips brought a huge shift in sound that would define their work over the greater part of the next decade. The first album to feature Mercury Rev’s Jonathan Donahue on guitar, In A Priest Driven Ambulance features more structured songwriting and tighter production. Singer Wayne Coyne’s lyrical wit and insight had never been better, as his obsession with religious imagery moved to the forefront. Remastered from the original 1/4″ analog tape masters by the band’s longtime musical foil and producer, David Fridmann, with help from the Flaming Lips’ Wayne Coyne and Michael Ivins.

File Under: Indie Rock
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lanegan

Mark Lanegan & Duke Garwood: With Animals (Heavenly) LP
In tomorrow… Over the last decade, Mark Lanegan and Duke Garwood have worked in tangent on 2013’s Black Pudding as well as on Lanegan’s solo records (Garwood contributed to 2012’s Blues Funeral and 2017’s Gargoyle after which he toured as part of Lanegan’s band). The Summer of 2018 sees the duo releasing their second official album together entitled With Animals. Its 12 songs are spectral and sinewy, often defined by the spaces in between the sounds. A ghost’s whistle weaves itself around a pulsing single note on “Lonesome Infidel”; “Feast to Famine’s” hard luck story floats above a guitar part so strung out and washed with distortion it’s become barely recognizable. It’s soul music for anyone who’s long since left the crossroads. The writing and recording of With Animals was split between studio collaboration and sharing music between Garwood’s home in London and Los Angeles where Lanegan resides. Technology made the duo’s transatlantic working relationship relatively easy. While Black Pudding put Garwood’s mercurial guitar center stage, With Animals is constructed from a different set of tools. Analogue and dust flecked, it sounds like Lanegan and Garwood have been holed up in a ’60s recording studio while the apocalypse rages outside. Tracks sit on loops that sound like they’re straight out of There’s A Riot Goin’ On while sparse melodies nod in the direction of British electronic producers like Burial or Boards of Canada. Which is not to say it sounds like any of those things – this is a weird world all of their own design.

File Under: Indie Rock
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metric

Metric: Art of Doubt (BMG) LP
In tomorrow… Toronto rockers Metric emphasize guitars on Art Of Doubt, a collection of 12 new songs packed with massive riffs, driving rhythms and raw/smooth vocals – all elements of the band’s instantly identifiable signature sound. Produced by Justin Meldal-Johnsen (M83, Beck, Nine Inch Nails), Metric’s seventh LP addresses a climate of cultural and political anxiety while refusing to give despair the upper hand. In many ways, it’s the most Metric album the band has ever made as Emily Haines, Jimmy Shaw, Joshua Winstead and Joules Scott-Key rediscover their shared love of music and how good they are at making it together. “This felt like the culmination of a lifetime spent playing together and trusting each other and going for it,” Shaw says.

File Under: Indie Rock
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prince

Prince: Piano & A Microphone (Warner) LP
Prince’s Piano & a Microphone 1983 Captures Previously Unreleased Solo, Intimate Recording Session from His Home Studio: 180g LP Includes an Early Version of “Purple Rain”. The Prince Estate in partnership with Warner Bros. Records present Piano & A Microphone 1983, a brand-new Prince collection that features a previously unreleased 35-minute, 9-track home studio recording of the artist alone at the piano. The private rehearsal offers a rare glimpse into Prince’s creative process as he works through songs like “17 Days” (1984 B-side), “Purple Rain” (title track from the Grammy and Oscar winning 1984 soundtrack), and a cover of Joni Mitchell’s “A Case Of You, Strange Relationship” (released on 1987’s Sign O’ The Times) among others. “This raw, intimate recording, which took place at the start of Prince’s career right before he achieved international stardom, is similar in format to the Piano & A Microphone Tour that he ended his career with in 2016,” said Prince Estate entertainment adviser Troy Carter. “The Estate is excited to be able to give fans a glimpse of his evolution and show how his career ultimately came full circle with just him and his piano.”

File Under: Rock, Pop
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siousxie

Siouxsie & the Banshees: A Kiss in the Dreamhouse (Geffen) LP
In tomorrow… Siouxsie & The Banshees began life as a punk outfit (with Sid Vicious on drums) before mutating into post-punkers on their way to becoming one of the most influential goth rock bands of all time. To this day, decades after their disintegration, the group’s fanatical fan base and influence continues to grow. 1982’s lush and atmospheric A Kiss in the Dreamhouse finds the band as experimental as ever in the studio, with Siouxsie’s more melodic vocals fleshed out with strings and imaginative arrangements on mesmerizing cuts like “Cascade,” “Obsession,” “Melt!” and “Slowdive.” Remastered from the original ¼” tapes and cut at half speed at Abbey Road studios, London. Both artwork and audio have personally been overseen and orchestrated by Siouxsie Sioux and Steven Severin.

File Under: Goth, Post Punk
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siousxie1

Siouxsie & the Banshees: Superstition (Geffen) LP
In tomorrow… Siouxsie & The Banshees began life as a punk outfit (with Sid Vicious on drums no less) before mutating into post-punkers on their way to becoming one of the most influential goth rock bands of all time. To this day, decades after their disintegration, the group’s fanatical fan base and influence continues to grow. In 1991 the Banshees performed on the inaugural Lollapalooza tour; their concurrent LP, Superstition (produced by Stephen Hague) was their most commercially successful, spawning their lone U.S. Top 40 hit, “Kiss Them for Me.” 180g 2LP pressing with D-side etching remastered from the original ¼” tapes and cut at half speed at Abbey Road studios, London. Both artwork and audio have personally been overseen and orchestrated by Siouxsie Sioux and Steven Severin.

File Under: Goth, Post Punk
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sleep

Sleep: Leagues Beneath (Third Man) LP
“Leagues Beneath” is the first release immediately following Sleep’s long-prophesied, critically-acclaimed opus The Sciences. Recorded as a part of a series of songs for Adult Swim, the song is a testament to what has made The Sciences such a success: bottomless tone, spacetime-melting riffs and a unparalleled aural experience from start to finish. “Leagues Beneath,” features the full 17-minute hadal plunge on the A-side, with a tentacled aquanaut nightmare etching on the B-side.

File Under: Metal, Stoner
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spiritualized

Spiritualized: And Nothing Hurt (Fat Possum) LP
In tomorrow… From the opening lullaby of “A Perfect Miracle” through to the Morse Code fadeout at the close of “Sail on Through,” on And Nothing Hurt, Spiritualized wrap layer upon layer of gloriously transcendent sound together to create a mesmerizing and cinematic collection of songs. There are points where the waves of blissful noise are almost overwhelming – the thunderous climax of “On the Sunshine”; the spectral waltz of “The Prize”; the towering guitar solo on “I’m Your Man” – where one can imagine the studio’s speakers vibrating themselves off of the walls. Which is an incredible feat when you discover that the album was conceived and recorded almost entirely by one man – Jason Pierce aka J.Spaceman – in an upstairs room in his east London home. Whereas bedroom recording is commonplace for a generation of musicians who’ve grown up with horizon-expanding tech, Spiritualized have long used the studio as they would an extra member of the band – as a vital building block in the construction of some of the most cherished records of the modern era. This time would be very different. With no grounding in digital recording, Jason had to learn everything from scratch. For the listener, the nine tracks on And Nothing Hurt effortlessly replicate the scale and power of Spiritualized’s previous releases, whether it’s the sonic blowback of “On the Sunshine,” the last dime in the jukebox love letter of “Let’s Dance” or the swell of an imaginary orchestra that seems to lift “Damaged” towards the heavens as it plays out. Lyrically, And Nothing Hurt touches on thoughts of passing time and acceptance of one’s age – never more beautifully than on “Let’s Dance.”

File Under: Indie Rock
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waits1

Tom Waits: Heartattack & Vine (Anti) LP
After signing with Asylum Records in the early 1970s, Tom Waits recorded a series of acclaimed albums whose noir tales about the after-midnight underworld transformed the seedy into the sublime in songs laced with both dark humor and profound longing. Decades and several musical evolutions later, Waits’ Asylum years still hold a special place in the hearts of many fans. Waits’ first seven albums on Asylum have been remastered and will be re-released via Anti-Records. Released in 1980, Heartattack and Vine was Waits’ final album on Elektra Asylum and it built on the raw blues approach of Blue Valentine with the incendiary title track, the funky, organ driven “Downtown” and the stomping NOLA blues of “Mr. Siegal.” This album also contains some of Waits’ most popular ballads, including “Jersey Girl” which was famously a hit for Bruce Springsteen. “On the Nickle” is a moving song about the homeless people who lived on 5th street in downtown LA, and “Ruby’s Arms” is a beautiful song with a lovely Bach-like melody.

File Under: Rock
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waxahatchee

Waxahatchee: Great Thunder (Merge) LP
Katie Crutchfield’s ever-shifting musical project Waxahatchee returns with the Great Thunder EP. Featuring a collection of songs written with now-dormant experimental recording group Great Thunder while Crutchfield was also writing the Waxahatchee albums Cerulean Salt and Ivy Tripp, the original recordings have mostly faded into obscurity. Unearthing and reimagining them with producer Brad Cook at Justin Vernon’s April Base studio in Wisconsin was a cathartic experience, she says. On the heels of last year’s critically acclaimed Out in the Storm, Crutchfield found herself looking to take a sharp turn away from the more rock-oriented influences of her recent records towards her more folk and country roots. “I would say that it is a complete 180 from the last record: super stripped-down, quiet, and with me performing solo, it’s a throwback to how I started,” writes Crutchfield. “Overall, the EP is a warm, kind of vibey recording.” Some of the songs on Great Thunder, like “Chapel of Pines” and “Singer’s No Star,” stayed the same and will be recognizable to those intensely familiar with Crutchfield’s catalog to date, while closer “Takes So Much” was built back up on piano from the bones of the original version, surprising even the songwriter: “Until then, I didn’t realize how beautiful this song was.” As Crutchfield entered April Base to record, she became ill but opted to forge on, beautifully stretching her voice to its emotional limits.

File Under: Indie Rock
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…..restocks…..

Black Keys: El Camino (Nonesuch) LP
Kenny Burrell: Midnight Blue (Blue Note) LP
Destroyer: Rubies (Merge) LP
Fugazi: End Hits (Dischord) LP
Fugazi: In on the Killtaker (Dischord) LP
Fugazi: Steady Diet of Nothing (Dischord) LP
Herbie Hancock: Headhunters (Music on Vinyl) LP
Kacy & Clayton: Siren’s Song (New West) LP
Hank Mobley: Soul Station (Blue Note) LP
Mos Def & Talib Kweli: Black Star (Universal) LP
Queens of the Stone Age: Era Vulgaris (Ipecac) 3×10″
Sonny Rollins: Saxophone Colossus (Analogue Productions) LP
Sam Gopal: Escalator (Morgan Town) LP
Sonic Youth: Riot in Melbourne (Big Car) LP
Raymond Scott: Soothing Sounds for Baby 1-3 (Music on Vinyl) 3LP
Yasuaki Shimizu: Kakashi (Plato Flats) LP
Wire: Pink Flag (Pink Flag) LP
Neil Young: Harvest (Reprise) LP

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…..news letter #864 – long…..

Well, that wasn’t much of an autumn. Hopefully we see a little (ok, a lot) more warm weather. Anyway, last week was light, but this week is killer. Lots of great stuff in and clogging up my counter right now. Also, we’ve been pricing up a storm of used goodies, so come have a dig.

CHECK OUT OUR WEBSTORE!!! 

…..picks of the week…..

davachi

Sarah Davachi: Gave In Rest (Ba Da Bing) LP
Sarah Davachi has quickly risen in prominence since her first release five years ago, and Gave In Rest represents her highest artistic achievement. By infusing her compositional style within a predilection for medieval and Renaissance music, Davachi unearths a new realm of musical reverence, creating works both contemplative and beatific, eerie yet essentially human. Gave In Rest is a modern reading of early music, reforming sacred and secular sentiments to fit her purview and provide an exciting new way to hear the sounds that exist around us. Between January and September of 2017, Sarah Davachi lived in flux; storing her belongings in Vancouver, she spent the summer in Europe, occasionally performing in churches and lapidariums and seeking respite from her transitional state while surrounded by such storied history. This latest album echoes that emotional state of solitude and ephemerality, reaching towards familiar musical landscapes but from oblique perspectives. “I named each track after a particular time of day as a way of expressing my experiencing different moments of quietude, how morning and night are both independent and interconnected entities in this regard,” she says. Her titles evoke canonical phrases referring to morning or evening prayers, as well as Latin and German phrasings for metaphors about the time of day. “From my perspective, there is a lot of loneliness on this record, and I think it is as much about beginnings as endings,” she continues. “In a way, it’s about the prospect of the unknown as it manifests alongside a very inward form of grieving—really the essence of what constitutes a period of transition. Davachi has mined a bottomless landscape where listeners can witness music’s participation in their solitudes. Gave In Rest lends a voice to her personal exploration with a firm, intuitive stance.

File Under: Ambient, Drone, Classical, Minimalism
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lovisoni

Raul Lovisoni/Francesco Messina: Prati Bagnati Del Monte Analogo (Superior Viaduct) LP
Of all the releases on Italy’s legendary Cramps Records, Raul Lovisoni and Francesco Messina’s seminal LP from 1979 has long remained among the most beloved. Prati Bagnati Del Monte Analogo not only introduced the world to the work of two gifted composers, but also is notable for being produced by electronic pioneer Franco Battiato. A sister album to Prati Bagnati would be Giusto Pio’s breathtaking Motore Immobile, likewise graced with the maestro’s gentle hand around the same time. Lovisoni and Messina are both central figures within the Italian avant-garde. Part of a generation of artists who contributed to a radical rethinking of musical practices and composition, they reveal Minimalism as it’s rarely known: delicate melodies, subtle harmonic interplay, incorporating diverse creative traditions and slowly giving way to an ever-expanding open space. Prati Bagnati Del Monte Analogo’s meditative title track, inspired by René Daumal’s surrealist novel Le Mont Analogue, features Messina on synthesizer and Michele Fedrigotti’s impressionistic piano, while on Lovisoni’s “Hula Om” and “Amon Ra,” solo harp, crystal glasses and Juri Camisasca’s radiant vocal drones further ascend into the stratosphere. Skirting the outer edges of ambient, new age and experimental music, Prati Bagnati has a transformative beauty unlike anything else. Superior Viaduct’s edition reproduces the original sleeve design and is recommended for fans of Jon Hassell, Luciano Cilio and Popol Vuh.

File Under: Ambient, Electronic, Italian
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…..new arrivals…..

bender

John Bender: Pop Surgery (Superior Viaduct) LP
Following the release of lo-fi electronic masterpiece I Don’t Remember Now / I Don’t Want To Talk About It and his brilliant follow-up Plaster Falling, Cincinnati-based artist John Bender began assembling his third and last album, Pop Surgery, in late 1982. While all of Bender’s work draws from intimate home recordings—featuring the artist alone with various keyboards, analogue sequencers and tape delays—Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the “pop” concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics. Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia’s classic ’70s style. “I pressed a single run of 500 copies,” Bender recounts. “The only review I remember railed at the poor production quality. The DIY era had clearly come to an end.” This first-time standalone reissue is recommended for fans of Suicide, TG’s 20 Jazz Funk Greats and early Cabaret Voltaire. Liner notes by John Bender.

File Under: Electronic, DIY, Minimal Wave
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betaband

Beta Band: The Three Eps (Because) 4LP
Because Music presents a 20th anniversary remaster and reissue of The Three EPs, a compilation of The Beta Band’s early music, dating from 1997-1998. Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs that they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. After acquiring the Beta Band’s catalog in 2017, Because Music reissue the first in a series of releases, starting with The Three EPs. A deluxe vinyl edition gathering the EPs: Champion Versions (1997) on red vinyl, The Patty Patty Sound (1998) on two yellow vinyl, and Los Amigos Del Beta Bandidos (1998) on blue vinyl. Remastered tracks; Includes CD; Slipcase box set; Hand-numbered edition; Limited to 5,000.

File Under: Rock, Pop
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blitzen

Blitzen Trapper: Furr (Sub Pop) LP
Deluxe 10th Anniversary Reissue Expanded with 12 Rare & Previously Unreleased Tracks. Portland, OR-based experimental country/folk rock band Blitzen Trapper offers up a deluxe edition of their breakthrough 2008 album and Sub Pop label debut Furr. For this expanded release, the band has compiled over two LPs worth of material: the original album and 12 rare and previously unreleased tunes. The added songs are from the same recordings that become Furr, with the exception of the “Live at KCRW” tracks, which were recorded during the Furr tour. The songs “War is Placebo,” “Booksmart Baby,” and “Maybe Baby” appeared as limited-edition singles in 2009 and 2011. This reissue also features new liner notes from frontman Eric Earley reflecting on the record, as well as a track-by-track description of the bonus songs, and a Q&A with the stage and screen actor Rainn Wilson (of The Office fame). “With Furr I was attempting to create my own tiny sonic world of freak folk in order to tell the tale of the Northwest as I remembered it growing up: a misty, empty, bedraggled place of mystery and violence, logging ghost towns and glutted rivers, dark creatures glimpsed from the corner of the eye in the endless evergreen forests where we’d go as teenagers hunting dark spirits, looking for trouble or trying to dodge our troubles back home,” explains Earley. “That even a few people have found beauty and solace in the stories and sounds on this record over the years is rewarding and astounding, humbling and affirming.” There are glimpses of God – and of American Christianity – throughout, not least in the mournful folk narrative of “Black River Killer” and “God & Suicide.” The former is a made-up tale about an anonymous murderer on a killing spree which Earley cites as being about “the mindless violence that Americans consume every single day – in film and books and everything – and what does it mean for us to consume that content and make it a part of us?” The latter is a shimmering, more upbeat track that’s an attempt to commit to tape an ineffable feeling that Earley felt within him but which, after all these years, he’s still unable to pinpoint exactly. The soft acoustic jangle of the title track is full of wistful longing, while the plaintive, poignant piano of “Not Your Lover” is a forlorn love – or loss of love – song full of tender sadness. Around three albums’ worth of material was recorded during the sessions for Furr, and it’s a selection of those that comprise the bonus material for this anniversary edition of the record. From the dulcet, chugging tones of “War Is Placebo” to the carefree, summer whimsy of “Ballad Of Bird Love” – a song driven by that same piano – and the melancholy folk tale waltz of “On My Way To The Bay,” the 10 outtakes included here offer even further insight into Earley’s creative mindset and the feeling that sits at the center of these songs. Written largely between the hours of 11pm and the morning – something that was possible because, in between tours, Earley was living in the studio building – Furr is a very nocturnal album, full of the wonder and the mystery of the night.

File Under: Indie Rock
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capital

Capital Punishment: Roadkill (Captured Tracks) LP
If you were told that a band of NYC teenagers who met in 1979 decided to form a band influenced by Cabaret Voltaire, Throbbing Gristle, Brian Eno, Chrome and released a privately pressed record, it would be enough to pique your interest. When you find out the band consisted of a future Supreme Court Justice for Arizona, a Professor of Slavic Studies, a musician/documentarian whose family built the Brooklyn Bridge, and an A-list world-famous actor the story goes from being about another rare, privately pressed recording that’s been re-discovered, into something that’s pretty incredible. Captured Tracks is thrilled to reissue Capital Punishment’s sole 1982 LP Roadkill on vinyl. For a band of high school weirdos who actually got their shit together enough to make a completely uncommercial album with no means to sell it shows a lot of determination, persistence and perhaps insanity. But it’s always those kinds of weirdos who go on to do great things – just ask Judge Peter Swann, Professor Peter Zusi, Kriss Roebling and Ben Stiller. The band has been rehearsing and hopes to play some special shows in 2018-19. “I was in a band in high school – it was called Capital Punishment, and it was sort of a post punk-neo-goth-urban-experimental band…I was sort of the Ringo of the band.”- Ben Stiller

File Under: Post Punk, Noise Rock
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escovedo

Alejandro Escovedo: The Crossing (Yep Roc) LP
Alejandro Escovedo’s scorching and cinematic The Crossing follows the story of two young immigrants, one from Mexico and one from Italy, as they come to the U.S. to pursue the American dream and search out their punk rock idols. Not only is it Alejandro’s first album with Yep Roc it’s his first recorded in Europe. He co-wrote and performed it with Italian band Don Antonio from Mogdilana led by guitarist and composer Antonio Gramentieri who has a rich musical history of his own in Italy with his cult band Sacri Cuori. The album was recorded in a month in Villafranca, Italy with Brian Deck co-producing. The Crossing also features a host of guest musicians, including The Stooges’ James Williamson on “Teenage Luggage” and Wayne Kramer from the MC5 on “Sonica USA” (both bands are also name checked in the album’s lyrics). “Waiting For Me” features Peter Perrett and John Perry from The Only Ones, recording together for the first time since 1980. Joe Ely appears on his own track, “Silver City.” “Rio Navidad,” a spoken word song about a Texas ranger, was written by novelist and Richmond Fontaine/The Delines’ bandleader Willy Vlautin and read by his bandmate Freddy Trujillo.

File Under: Rock, Folk
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fausttapes

Faust: The Faust Tapes (Superior Viaduct) LP
Faust stand among the most influential creative forces to have emerged from Germany in the late ’60s and early ’70s. Along with Can, Agitation Free, Neu! and others, Faust rejected the Anglo-American norms of rock ’n’ roll to start a back-to-basics and uniquely Teutonic revolution in sound—later dubbed by the UK press with the semi-derogatory term “krautrock.” Faust would reach near-mythical status through a series of classic albums recorded between 1970 and 1973 at their secluded Wümme studio. As Dave Segal writes in the liner notes, “There’s no consensus about which Faust album represents their zenith. But a survey of the group’s fans would likely find the collage-heavy messterpiece The Faust Tapes triumphing. Its freewheeling, jump-cut nature and unlikely earworm moments conspire for more what-the-fuck epiphanies per minute than just about any other record about which Krautrocksampler author Julian Cope has raved.” Comprised of twenty odd tape-manipulation experiments and freak-out jams, The Faust Tapes stashes away some of the band’s best-known songs. “Flashback Caruso,” with its delicate acoustic guitar and Rudolf Sosna’s airy vocals, could easily have appeared on So Far or Faust IV, while on “J’ai Mal Aux Dents,” Jean-Hervé Peron’s playful lyrics and this ecstatic, era-defining riff perfectly represent Faust’s magical mischievousness. This first-time domestic release of The Faust Tapes on vinyl reproduces the original sleeve design, featuring artwork by Bridget Riley.

File Under: Krautrock, Prog, Experimental
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gilmour

David Gilmour: On An Island (Columbia) LP
2006’s On An Island is the third David Gilmour solo album and his first studio recording since Pink Floyd’s 1994 multi-platinum The Division Bell. From the first moments of the sound collage that begins On An Island, you know it’s a special experience that not only bears comparison with the best of Pink Floyd, but also confirms their lead guitarist and singer as an outstanding solo artist. Here he reveals a personal vision and a breadth of styles – folk, jazz, orchestral and rock – brought together as a unified piece by his lyrical guitar playing and instantly recognizable voice. With orchestrations by the renowned Polish composer Zbigniew Preisner and a luminous production (assisted by Roxy Music’s Phil Manzanera), there is virtuosity a plenty. David Crosby and Graham Nash sing harmonies, Robert Wyatt plays the cornet, Caroline Dale the cello and Alasdair Molloy the glass harmonica. Pink Floyd’s Richard Wright guests on Hammond organ, while Gilmour sweeps and soars with his often soul-piercing guitar and vocals. Yet the album never becomes grandiose. At its heart, it remains a reflective piece, not least because of the lyrics. Although Gilmour takes some writing credits, most go to writer Polly Samson, continuing a collaborative partnership that began with The Division Bell. The songs tell of shared experiences that evoke a breadth of moods, from the hauntingly beautiful title track “On An Island” (with a guitar performance on par with Gilmour’s canon of classics) to the meditative “The Blue and A Pocketful of Stones,” as well as the heavier rock and blues numbers “Take A Breath” and “This Heaven.” In the spirit of intimacy, the album also sees Gilmour’s debut on the saxophone, as well as contributions by contemporaries from his pre-Floyd days. On An Island is a collection of songs and instrumentals that had its genus in the critically acclaimed 2002 London Festival Hall concerts. Gilmour stepped out of his super-group to discover he was still at his peak – and he was rightly pleased. “It’s my best and most personal work,” he exclaimed. “Making it with my musician friends has been a positive experience on so many levels.”

File Under: Rock, Pink Floyd
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gogg

GØGGS: Pre Strike Sweep (In The Red) LP
With their second album Pre Strike Sweep, GØGGS add a new level of primordial anxiety to their already catastrophic symphony. Recorded and mixed in 2017 by GØGGS guitarist and co-founder Ty Segall, the album explores the damaging affects of modern life before blowing them up one by one. Singer Chris Shaw uses terms like “space rinse” and “roadside surgery” to inform the listener that this is a strange and different trip, far and away from the “Glendale Junkyard” he romanticized in 2016 on their self-titled album. In fact, all expectations brought on by that acclaimed debut are crushed into dust, revealing a new standard by which the GØGGS march thumps.

File Under: Punk, Rock, Ty Segall
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honeyhahs

Honey Hahs: Dear Someone, Happy Something (Rough Trade) LP
Dear Someone, Happy Something is the debut album by London based sister act Rowan, Robin and Sylvie Siddall. The three siblings from Honor Oak Park in South London, with an average age of only 13 and a ½ years old, write songs that reflect a disarmingly frank child’s-eye view of the world. Honey Hahs have been championed by, and played shows with, Goat Girl, Fat White Family, Insecure Men, Shame, Micachu and The Moonlandingz amongst others. Dear Someone, Happy Something was recorded in London with Pulp’s Steve Mackey. Rowan plays guitar and piano, Robin plays bass and Sylvie plays drums, and they all sing and harmonize. Album design by Jonny Lu Studio with images shot by Oliver Hadlee Pearch.

File Under: Indie Rock
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jungle

Jungle: For Ever (XL) LP
Towards the end of 2013 Jungle burst onto the scene with their first two singles: “The Heat” and “Platoon.” Appearing out of nowhere and propelled by feverish word of mouth online and IRL, Jungle would transform over the next few years from an anonymous production duo to a kaleidoscopic, personality-filled seven-piece live band built around the core duo of Josh Lloyd-Watson and Tom McFarland, whose debut album (2014’s self-titled Jungle) was one of the year’s defining debut records; one that would end up nominated for the UK’s Mercury Music Prize and go on to sell over half a million copies. Josh and Tom describe their long awaited second album For Ever as “a post-apocalyptic radio station playing break up songs.” If Jungle’s first effort was their imaginary soundtrack to the places they had never been, their new record captures the landscapes they had so often dreamed of. To write and record the record, Josh and Tom swapped Shepherds Bush for the Hollywood Hills. Their romanticization of The California Dream clashed with the reality of living it – although the experience led them back home to London to finish the album, the journey itself ultimately defining the music it produced. Includes the singles “Happy Man” and “House In LA.”

File Under: Electronic, Funk/Soul
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krocker

Jon Krocker: Monolog (Dark Entries) LP
We are proud to present the first ever vinyl issue of Jon Krocker’s debut album ‘Monolog’ originally released on cassette in 1983. Jon is from Winnipeg, Canada and got his start as half of the synth noise duo Dialog. In 1981-82, while studying for a BA in Film Studies, he would go to the studio and practice. No writing or patch memories, composing on the fly. His set up consisted of a Minimoog, Oberheim Two Voice, Roland RS-202, Roland Space Echo, EML 400, Roland DR 55, Roland System 100 mixer. After playing some of the songs to Impulse Records store owner Roman Panchyshsyn, he agreed release the album on cassette on Contagious Records. Primarily influenced by the German school typified by artists such as Conrad Schnitzler and Kraftwerk, Jon’s music exhibits the cold machine ethic of the neumusik. The 12 instrumental tracks are stark and minimal, at times anxious but overall space orientated and flexible. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each copy includes an 8-page newsprint zine featuring ephemera, press clippings, photos and liner notes by Jon.

File Under: Electronic, Minimal
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oneida

Oneida: Each One, Teach One (Jagjaguwar) LP
In 2000-2001, when this album was written, recorded, and conceptualized, Oneida was a pretty hectic organization, committed to confrontation and tragipsych and Wu-Tang and electro relentlessness. The record was made by the original quartet lineup of the band, founded in 1997; and the tour that followed the completion of the album in late 2001 was the final 35-date hurrah of this lineup. When the record finally saw the light of day in early 2002, the band hadn’t broken up but was in a process of irrevocable transformation. Oneida began as a project, then became a gang. Come On Everybody Let’s Rock (2000) and Anthem of the Moon (2001) were absolutely gang work, and Each One Teach One was a logical final blow. In some respects this record is a baring of scars. The band’s original label, Turnbuckle Records, had closed its doors with no warning in 1999, giving rise to the oldest tune on the album, “No Label”; and both extended pieces on the record, “Sheets of Easter” and “Antibiotics,” conjoin pain and possibility in some more metaphysical or metaphorical ways that absolutely reflect their collective state of disorientation at the time. The music on Each One Teach One was recorded in several different locations, under different circumstances, and using different compositional techniques. Some of the songs were built piece by piece through the recording and editing process; some were conceptualized ahead of time and approached with some science; and some were pure instinct. All four members of the band worked on composing and the final result is an accurate document of Oneida following the turn of the century.

File Under: Indie Rock, Experimental
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pollard

Robert Pollard: Waved Out (GBVI) LP
Robert Pollard’s Waved Out gets the 20th anniversary re-issue treatment with newly re-mastered audio and a beautiful blue vinyl pressing. The Guided By Voices captain’s second solo album from 1998 captures the more eclectic side of his songwriting. Here, he brilliantly compresses prog, psych, and post-punk ideas into magnificent two-minute pop songs. Wire, early Genesis, Nilsson Schmilsson, Lennon’s White Album songs, Blue Öyster Cult, XTC, and Captain Beefheart: it’s all here, condensed into brilliant songs like “Subspace Biographies” and “Whiskey Ships.” A lot’s been made of Pollard’s spontaneous and prolific songwriting methods, and most of that’s true, though he works much harder on his songs than even he likes to admit. With Waved Out, he seemed to grow more comfortable and ambitious in formal studio-type settings, so that anyone who carps about “unfinished arrangements” and “shitty production values” ought to be pretty happy with this record. This doesn’t apply to “Caught Waves Again,” where he sings into a boombox over a tape of GBV guitarist Doug Gillard’s noodling. Nor does it apply to a touching song about tragedies in Pollard’s hometown of Dayton, Ohio, called “People Are Leaving,” where he puts two separate melodies over instruments by collaborator Stephanie Sayers. In addition to Gillard, a few other GBV personalties appear on the record, Jim Pollard, Tobin Sprout and Jim MacPherson, then of The Breeders. But the bulk of the record, including a fair bit of the drumming, is all Robert Pollard.

File Under: Indie Rock
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random

Eric Random: A Boy Alone (Dark Entries) LP
We are honored to release ‘A Boy Alone’, a double LP set from Manchester electronic music pioneer Eric Random. Best known for his early recordings for New Hormones and Les Disques du Crépuscule and collaborations with Pete Shelley (Buzzcocks), Cabaret Voltaire and Nico. As an original member of The Tiller Boys with Shelley, Random injected a healthy dose of Krautrock into the dour Manchester post-punk scene in 1978/79 before going solo the following year. Random’s first 7” “Subliminal”/“23 Skidoo” was released in 1981 via Les Disques du Crépuscule and explored ominous sonic surrounds. That same year also saw the release of a second 7″ single on New Hormones, “Dow Chemical Company”/ “Skin Deep”. Both tracks offered bubbling, rhythmic sound patterns, and were the first to feature other musicians that would become know as The Bedlamites. Consisting of Lynn Walton on vocals, Ian Runacres and Andy Diagram of Dislocation Dance, and bassist Wayne Worm, aka Wayne Sedgeman. Their debut 12” single “Subliminal Seduction”/“Bedlam-a-Go-Go” was released in 1982 through Plurex, mixing arid funk textures and sparse melodies. That same year the group contributed proto chill-out track “6.55” to Plurex compilation ‘Hours’ and the highly filmic track “In Cassette Conference” to the Touch cassette package ‘Feature Mist’. In 1983, Random spent several months in the Himalayas with a group of musicians from the Kulu Valley and studied non-Western instruments such as tabla. On returning to Manchester, Random convened a new group of Belamites including Walton, Sedgeman and drummer Graham Dowdall aka Dids of Ludus. They released the 12” single “Mad As Mankind”/“Dream Web Of Maya” in 1984 on Cabaret Voltaire’s Doublevision, embracing electronic, industrial and dub styles. In 1985 they contributed the soothing “Pure Power” to Food Records’ “Imminent Episode One” compilation. Our reissue also includes 4 unreleased bonus tracks from Eric’s archives recorded between 1981-1984. The whole set adds up to 115 minutes of sinister, somnambulant Random music. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a gatefold jacket designed by Eloise Leigh featuring a spread of ephemera, photos with liner notes by James Nice of LTM

File Under: Electronic
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st paul

St. Paul & the Broken Bones: Young Sick Camellia (Red) LP
With Young Sick Camellia, Paul Janeway has created a space for St. Paul & The Broken Bones to rival any forward-thinking band making music today, based on a concept all-too familiar to him: family, and how we love them despite our differences. Originally envisioning the project as a trio of EP’s, each from the perspective of the three generations of Janeway men, he realized he had enough material in the first volume – written from his own vantage – to make a full-length record. Assigning himself the image of a camellia, the Alabama state flower, Janeway uses his lyrics as a conduit for interpersonal conversation and excision, in addition to pieces of an actual conversation with his grandfather he recorded months before his unexpected death. Janeway leaned more heavily than ever before on his band to help with the songwriting. In the past, he and co-band leader Jesse Phillips served as a “two-headed monster” who ultimately called all the shots; this time around, however, the band was invited to add song ideas. “The record really flexes the muscle of this band,” Janeway says. “Musically, it’s a kaleidoscope of flavors and it covers a lot of ground.” Furthering this notion, the band chose the hip-hop/modern R&B producer Jack Splash to record in Los Angeles, a choice that Janeway credits with taking the band outside of their comfort zone and establishing a connection to a new sound. From the opening space-opus of “Convex” to the snappy, buoyant charm of “Apollo” and the intensely personal bent of “LivWithoutU” and the album-ending “Bruised Fruit,” it’s clear that this represents a new chapter of the band. A darker, more cerebral affair, Young Sick Camellia embraces a variety of sonic experiments and blurs boundary lines, but its focus remains sharply on the titular frontman and his bold, intensely personal and brave examination of his own family tree and how it has shaped him.

File Under: Funk, Soul
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stevensSufjan Stevens: The Avalanche (Asthmatic Kitty) LP
The little secret behind the Illinois record is that it was originally conceived as a double album, culminating in a musical collage of nearly 50 songs. But as the project began to develop into an unwieldy epic, common sense weighed in – as did the opinions of others – and the project was cut in half. But as 2005 came to a close, Sufjan Stevens returned to the old, forsaken songs on his 8-track like a grandfather remembering his youth, indulging in old journals and newspaper clippings. What he uncovered went beyond the merits of nostalgia; it was more like an ensemble of capricious friends and old acquaintances wearing party outfits, waiting to be let in at the front door, for warm drinks and interesting conversation. Among them were Saul Bellow, Ann Landers, Adlai Stevenson, and a brief cameo from Henry Darger’s Vivian Girls. The gathering that followed would become the setting for the songs on The Avalanche: Outtakes and Extras from the Illinois Album. Sufjan gleaned 21 useable tracks from the abandoned material, including three alternate versions of “Chicago.” Some songs were in finished form, others were merely outlines, gesture drawings, or musical scribbles mumbled on a hand-held tape recorder. Most of the material required substantial editing, new arrangements or vocals. Much of the work was done at the end of 2005 or in January the following year. Sufjan invited many of the original Illinois makers to fill in the edges: drums, trumpet, a choir of singers. The centerpiece, of course, was the title track – “The Avalanche” – a song intended for the leading role on the Illinois album but eventually cut and placed as a bonus track on the vinyl release. In his rummaging through old musical memorabilia, Sufjan began to use this song as a meditation on the editorial process, returning to old forms, knee-deep in debris, sifting rocks and river water for an occasional glint of gold. A careful listener may uncover the obvious trend on this record: almost every song on the Illinois album has a counterpart on the outtakes. Carl Sandburg arm-wrestles Saul Bellow. The aliens landing near Highland salute Clyde Tombaugh, the man who discovered Pluto. The loneliness of “Casimir Pulaski Day” deepens even further in the foreboding soundtrack to “Pittsfield.” At its best, The Avalanche is an exercise in form, revealing the working habits of one of the most productive songwriters today. As an illustration, the avalanche refers to the snow and rubble that falls off the side of a mountain, or, in this case, the musical debris generously chucked from an abundant epic. It’s unlikely you’ll find a mountain in the Prairie State so the metaphor will have to do. Fans have requested a vinyl pressing of Avalanche ever since its release on CD and digital. A mere twelve years later, Asthmatic Kitty presents a special colored double vinyl edition complete with all 21 songs from the original release.

File Under: Indie Rock
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…..Restocks…..

Bill Callahan: Dream River (Drag City) LP
Daft Punk: Random Access Memories (Columbia) LP
Earth: The Bees Made Honey in the Lion’s Skull (Southern Lord) LP
Elder: Reflections of a Floating World (Armageddon) LP
Here Lies Man: You Will Know Nothing (Riding Easy) LP
Lightnin’ Hopkins: Last Night Blues (4 Men With Beards) LP
Jawbreaker: 24 Hour Revenge Therapy (Blackball) LP
Modest Mouse: This is a Long Drive (Glacial Pace) LP
Modest Mouse: Lonesome Crowded West (Glacial Pace) LP
Mogwai: Rock Action (PIAS) LP
Mogwai: The Hawk is Howling (PIAS) LP
Mogwai: Mr. Beast (PIAS) LP
Jim O’Rourke: Simple Songs (Drag City) LP
Oh Sees: A Weird  Exits (Castle Face) LP
Oh Sees: Orc (Castle Face) LP
Oh Sees: Smote Reverser (Castle Face) LP
Colin Potter: The Where House? (Dark Entries) LP
Steve Reich: Four Organs (Superior Viaduct) LP
Ty Segall: Singles 2 (Drag City) LP
Ty Segall & White Fence: Hair (Drag City) LP
Ty Segall: Lemons (Goner) LP
Ty Segall: Melted (Goner) LP
Ty Segall & Mikel Cronin: Reverse Shark (In The Red) LP
Sleep: Dopesmoker (Southern Lord) LP
Stars of the Lid: Tired Sounds of (Kranky) LP
Sunn o))): White 1 (Southern Lord) LP
Sunn o))): White 2 (Southern Lord) LP
Sunn o))): Monoliths & Dimensions (Southern Lord) LP
West Coast Pop Art: Part One (Jackpot) LP
Wipers: Is This Real? (Jackpot) LP

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…..news letter #863 – short…..

We know y’all are busy with back to school, either yourself, or your kids. So the record industry gave you a little break this week and decided to put practically nothing out. Oddly, as if in response, we’ve had a few nice little stacks of used records come in…. so there’s that.

CHECK OUT OUR WEBSTORE! 

…..pick of the week….. 

dawb

Goblin: Dawn of the Dead 40th Anniversary Edition (Rustblade) LP
In tomorrow…. “Rustblade presents Claudio Simonetti and his Goblin playing and reinterpreting the score of one of the most famous horror movies of all times to celebrate 40 years of the idolised film Dawn of the Dead directed by George Romero and produced by Dario Argento. The music that accompanies the movie is a mix of prog and electronic rock full of tension and magic tribalism. Piercing guitars, Synth orchestration and virtualism give life to thousands of blood thirsty zombies. Limited Colored Vinyl Plus Gatefold Poster.”

File Under: Prog, OST
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…..new arrivals…..

autechre

Autechre: NTS Sessions (Warp) 12LP BOX
In tomorrow…. The duo were initially commissioned to do a DJ residency on NTS, following their show from early 2016, but what transpired is closer in approach and results to a super extended Peel Session, featuring stacks of reworked material along with exclusive new notions generated by their infamous ‘System’ of software patches. Given so much time to roam, they explore a full spectrum of meters, tones and alien machine feels ranging from succinct hyper-symphonies to an hour long closing passage of unfathomably deep ambient music, all sequenced with a non-linear narrative arc influenced by the stunning 3rd series of Twin Peaks, and with distant echoes of their seminal, freeform Disengage shows for Kiss firmly in mind. Call it an album, call it a radio show, call it a massive excuse to lock yourself away for 8 hours, either way ‘NTS Sessions’ is a vital dispatch from the North Face models, with material such as the squirming tech-step of ‘North Spiral’ and the slimy electro of ‘Four Of Seven’ from the 1st session, or the footwork-esque ‘Gonk Tuf Hi’ from the 2nd, and the free-floating structures of ‘Cluster Casual’ off the 3rd volume offering some deeply satisfying rhythmic convolutions for the dancers, whereas the preponderance of durational cuts, including highlights such as the hour long ‘All End’, the breathtaking visions of ‘Turbine Epic Casual, Stpl Idle’, and the plasmic wormhole of ’Shimripl Casual’ reach deep into the most abstract, amorphous nooks of their sound in a way comparable with visionary work from Roland Kayn or Iannis Xenakis.

File Under: Electronic
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dead

Grateful Dead: Portland Memorial Coliseum (Rhino) BOX
The Pacific Northwest offers up a rich feast of land, sky, and water. It is ripe with influences, abundant with symbols, deep and spirited. It should, therefore, come as no surprise that the Grateful Dead played some of their most inspired shows on these fertile grounds. It goes without saying that the band’s concert on May 19, 1974 at Portland’s Memorial Coliseum qualifies as such. Limited to just 7,500 copies, this superb-sounding 180g 6LP set captures the Dead at the peak of its mid-70s glory, with the group turning in an aptly nature-themed first set (“Black-Throated Wind,” “Scarlet Begonias,” and “It Must Have Been the Roses” serve as natural complements to the adventure-prone tales “Me and Bobby McGee,” “Mexicali Blues,” and “El Paso”) and hitting stride in the second set with an epic “Weather Report Suite” – >”Wharf Rat” that iconically captures the Pacific Northwest’s vibe. Most importantly, the chemistry between Jerry Garcia, Bob Weir, Phil Lesh, and company is on fire. It’s no exaggeration to state that Portland 1974 remains regarded as one of the iconic collective’s finest-ever performances and remained sacred to tape traders for decades. It was also voted the second-best show of 1974—a prime year for the Dead—by Deadheads in the live DeadBase bible for years running. One listen to Garcia’s guitar playing, Weir’s rhythmic accents, or even the delightfully uptempo version of “Loose Lucy” here will confirm such praise as being highly deserved. As with all prior vault Dead live releases, we expect this to immediately sell-out. Secure your copy today and dance with the Dead!

File Under: Rock

i&w

Iron & Wine: Weed Garden (Sub Pop) LP
Iron & Wine follow up their 2018 Grammy-nominated full-length Beast Epic with Weed Garden, a collection of material that began about three years ago. The six-song EP features songs that were part of the writing phase for Beast Epic, but went unfinished. They were part of a larger narrative for principal songwriter Sam Beam, who ran out of time to get them where they needed to be for inclusion on Beast Epic. Weed Garden also includes the fan favorite “Waves of Galveston.” While on tour last fall, the final pieces of material took shape and a sense of urgency prevailed in bringing these characters full circle. To resolution. To completion. In January, Beam and company hunkered down in Chicago at The Loft recording studio to capture these six songs. No more, no less. Weed Garden joins the good company of previous Iron & Wine EP’s – The Sea and Rhythm, Woman King, In the Reins – and in 2018’s attention-span challenged world that’s not a bad thing. Tip-on jacket with insert and download coupon.

File Under: Indie Folk
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luck

Jack Rose: Luck in the Valley (Thrill Jockey) LP
2010’s Luck in the Valley is the third album in a set of recordings that Jack Rose jokingly refers to as his “Ditch Trilogy.” Here, Rose continued his exploration of pre-war American music with new material featuring the Black Twig Pickers, Glenn Jones, Harmonica Dan and Hans Chew along with a handful of solo pieces. This recording set out to capture the energy and feel of the classic three-track shack recordings by the Wray Brothers and Mordicai Jones. Luck In The Valley finds Rose employing new themes and techniques that hadn’t appeared on previous releases. Like all pre-war recordings and all of Rose’s releases, this album was recorded live. It was not created using overdubs but rather by recording a few “takes” and selecting the best performance out of those. Rose stated, “I wanted the songs to have an immediacy and spontaneity as they were being recorded. All the musicians chosen for the record know how to play the songs without overworking the material, but at the same time creating memorable accompaniments on the spot.” Several of the songs are in fact the first takes like “Blues for Percy Danforth,” “Lick Mountain Ramble” and “Woodpiles on the Side of the Road.” Also Included in the set are three covers: “St. Louis Blues,” “Everybody Ought to Pray Sometime” and “West Coast Blues.” All of these pre-war classics are Rose’s unique arrangements. The album title refers to the old red light section of St. Louis and was a code for procuring the services of a prostitute. Says Rose “I read about it on some liner notes to a reissue of pre-war St. Louis recordings and I liked the ring of it.” Luck in the Valley finds Rose at his best surrounded by like-minded friends on a recording that is enriched by a sense of history but entirely new, vibrant and warm.

File Under: Folk, Guitar Soli
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…..restocks…..

Autechre: Amber (Warp) LP
Autechre: Tri Repetae (Warp) LP
Baptists: Beacon of Faith (Southern Lord) LP
Brian Eno: Music for Installations (Warp) LP
Ella Fitzgerald: Lullabyes of Birdland (Music on Vinyl) LP
Getz/Gilberto: s/t (Verve) LP
King Gizzard & The Lizard Wizard: Flying Microtonal Banana (ATO) LP
King Gizzard & The Lizard Wizard: Gumboot Soup (ATO) LP
REM: Out of Time (Universal) LP
Siouxsie & The Banshees: Through The Looking Glass (Universal) LP
Caetano & Gal Veloso: s/t (Elemental) LP

 

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…..news letter #862 – back…..

You may have noticed there was no update last week, if so, thanks for listening. If not, well, you’re listening now it would appear. Anyway, I’m back from a quick tour of Alberta and here’s last week and this weeks new arrivals. Some really great stuff in again. Things are really starting to pickup for the fall new releases. Don’t fall behind!

CHECK OUT OUR WEBSTORE!!! 

…..picks of the week…..

IMG_20180830_155136 - Copy

Caterina Barbieri: Born Again In The Voltage (Important) LP
Born Again In The Voltage is an astonishing collection of electro-acoustic pieces for Buchla 200 system, cello, and voice composed and produced by Caterina Barbieri at Elektronmusikstudion (SE) between 2014 and 2015. Cello by Antonello Manzo. Images by Giovanni Brunetto; Photography by Angelo Jaroszuk Bogasz; Layout by Important Records. Mastering by Giuseppe Ielasi. Edition of 500.

Caterina Barbieri/Eleh: split (Important) LP
Highly synergistic split from Eleh and Caterina Barbieri featuring two sides of similar audio dimensions. These two electronic sound poems slowly unfurl rich timbre and harmonics with an austere stillness that is, somehow, ever-changing. It hardly matters whose side is whose.

File Under: Ambient, Electronic, Drone
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axelrod - Copy

David Axelrod: Songs of Experience (Now Again) LP
Audiophile reissue, lacquered directly from Axelrod’s original EQ’ed master tapes at Capitol Records by Ron McMaster, housed in a deluxe gatefold jacket. “Audiophile reissue, transferred directly from Axelrod’s original EQ’ed master tapes at Capitol Records by Ron McMaster ‘Songs of Experience was supposed to have a different feel than Song of Innocence. You see, music is a great outlet. And regardless of what the titles say, and as close as I wanted it to be to William Blake, what was going on in my life took precedence.’ –David Axelrod Songs of Experience is visionary composer/arranger/producer David Axelrod’s second album; it was recorded after the death of his beloved son Scott. Experience is an ominous affair, an album concerned with mortality and spirituality — the solitary, pastoral musings of William Blake set to the urban bombast of a full Los Angeles orchestra, with Wrecking Crew vets grounding the proceedings with dark funk. This is the next Now-Again issue in a series of reissues centered around Axelrod’s Capitol Trilogy — Song of Innocence, Songs of Experience and Earth Rot — which will see release through 2018. Contains 32-page booklet that delves into Axelrod’s incredible life and music, replete with never before published photos. ‘There are very few people who see the Grand Picture of the Universe and understand the Nothingness that it all comes from. There are even fewer who can express these ideas through music — David could do it all.’ –T-Ray”

File Under: Funk, Psych, Breakz
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…..new arrivals…..

ambolley - Copy

Gyedu-Blay Ambolley: The Message (Analog Africa) LP
Prepare yourself for new directions in Afro-funk: Analog Africa presents the ninth release of their Limited Edition Serie. During the 1980s, Ghanaian bandleader Gyedu-Blay Ambolley began to experiment with electronic instruments, and the result was a potent mix of highlife, funk, exploratory synths and righteous vocals, the sound of a restless genius intent on pushing the traditional sounds of highlife into a brave new future. By the end of the 1970s, Ambolley was already a legendary figure on the Ghanaian music scene. He rose to prominence during the late 1960s, serving with countryman Ebo Taylor in the Stargazers and the Uhuru Dance Band before launching his own career with “Simigwa-do,” the 1972 hit that propelled him to West African stardom. As a founding member of the Apagya Show Band and the Complex Soundz, he stretched the boundaries of highlife with electric instruments, funky rhythms and socially charged lyrics in Fante and English. With a new band, Zantoda Mak III, he recorded “The Message,” a seven minute funk workout built on a highlife foundation, and decorated with shimmering synths. Recorded in 1980, the song became a hit that would change the direction of Ambolley’s music: over the next decade, electronic instruments played a much larger role in his sonic experiments. “The Message” receives a long overdue re-release on this 12″ along with three other peaks from Ambolley’s eighties output. Difficult, if not impossible to find for decades, Analog Africa is proud to make Gyedu-Blay Ambolley’s extraordinary eighties recordings available to a wider audience. 180 gram vinyl; silkscreen printed cover and color vinyl.

File Under: Psych
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arnalds - Copy

Olafur Arnalds: Re: Member (Mercury) LP
“This is my breaking out-of-a-shell album,” explains Icelandic BAFTA-winning artist, composer, musician and producer Ólafur Arnalds about his newest recording Re: Member. “It’s me taking the raw influences that I have from all these different musical genres and not filtering them. It explores the creative process and how one can manipulate that to get out of the circle of expectations and habit.”

File Under: Electronic, Classical
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autechre1 - Copy

Autechre: NTS Sessions 1-4 (Warp) LP
3LP sets in tomorrow, 12LP boxes next week. Autechre weigh in the labyrinthine 8 hour ‘NTS Sessions’, parsing the guts of their hard drives for gold and other precious materials dating back to 2011. The duo were initially commissioned to do a DJ residency on NTS, following their show from early 2016, but what transpired is closer in approach and results to a super extended Peel Session, featuring stacks of reworked material along with exclusive new notions generated by their infamous ‘System’ of software patches. Given so much time to roam, they explore a full spectrum of meters, tones and alien machine feels ranging from succinct hyper-symphonies to an hour long closing passage of unfathomably deep ambient music, all sequenced with a non-linear narrative arc influenced by the stunning 3rd series of Twin Peaks, and with distant echoes of their seminal, freeform Disengage shows for Kiss firmly in mind. Call it an album, call it a radio show, call it a massive excuse to lock yourself away for 8 hours, either way ‘NTS Sessions’ is a vital dispatch from the North Face models, with material such as the squirming tech-step of ‘North Spiral’ and the slimy electro of ‘Four Of Seven’ from the 1st session, or the footwork-esque ‘Gonk Tuf Hi’ from the 2nd, and the free-floating structures of ‘Cluster Casual’ off the 3rd volume offering some deeply satisfying rhythmic convolutions for the dancers, whereas the preponderance of durational cuts, including highlights such as the hour long ‘All End’, the breathtaking visions of ‘Turbine Epic Casual, Stpl Idle’, and the plasmic wormhole of ’Shimripl Casual’ reach deep into the most abstract, amorphous nooks of their sound in a way comparable with visionary work from Roland Kayn or Iannis Xenakis. In other words, it’s fuucking mint.

File Under: Electronic
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bigredmachine - Copy

Big Red Machine: s/t (Jagjaguwar) LP
In 2008, Aaron Dessner sent Justin Vernon an instrumental sketch of a song called “Big Red Machine” for the 2009 compilation Dark Was The Night. This was before they had met in person. Justin wrote a song to it, interpreting the “Big Red Machine” title as a heart. Ten years of friendship later, there are ten more songs. Each song includes a large number of collaborators via the PEOPLE platform and the record was produced by Justin and Aaron with longtime collaborator Brad Cook and engineered by Jonathan Low primarily at Aaron’s studio Long Pond in Upper Hudson Valley, NY. PEOPLE is a steadily growing group of international artists who have come together to create and share their work freely, with each other and everyone. It was born out of a wish to establish an independent and nurturing space in which to make work (generally around music) that is collaborative, spontaneous and expressive in nature and where all unnecessary distractions or obstacles that get in the way are removed. PEOPLE is for the benefit and development of the artists involved and just as importantly, for those who would like to access and enjoy the output. It is as much about the process of making work and showing all that openly, as the final outcome.

File Under: Indie Rock
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demarco2 - Copy

Mac DeMarco: 2 Demos (Captured Tracks) LP
To celebrate Captured Tracks’ 10th Anniversary, a limited edition pressing of the vinyl is now available on green vinyl. Limited to 5000 copies. Demos from Mac DeMarco’s critically acclaimed debut, 2.
Mac DeMarco: Salad Days Demos (Captured Tracks) LP
To celebrate Captured Tracks’ 10th Anniversary, a limited edition pressing of the vinyl is now available on white vinyl. Limited to 5000 copies. Demos from Mac DeMarco’s critically acclaimed sophomore album, Salad Days.

File Under: Indie Rock
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virgin witch

Ted Dicks: Virgin Witch (Trunk) LP
Unreleased baroque jazz horror score to controversial lesbian sex cult witchcraft exploitation drama from 1973, composed by Ted Dicks, the man who wrote the Catweazle theme. Ted Dicks is not that well-known as a composer these days, but back in the mid-1960s he was composing library music as well as penning some of the greatest comedy songs of the era, including “Hole In The Ground” and “Right Said Fred”. His work was performed by Kenneth Williams, Petula Clarke, Bernard Cribbins, Topol, and more. But until now, little has been known of his brief flirtation with film music. Virgin Witch was his first brush with film scoring — one of only two score he wrote. The film was produced by legendary wrestling commentator Ken Walton (under his sexploitation pseudonym of Ralph Solomans), with the help of Hazel Adair, a woman famed for co-creating the long running UK TV soap Crossroads. Virgin Witch was a racey film, turned down at least once for certification by the British Board of Film Classification (BBFC), passed uncut with an X for release just in London, then cut and passed for general release shortly afterwards. The score itself is a unique and quite beautiful pop baroque work, utilizing the cimbalom, an instrument more than likely played here by Ipcress File (1965) musician John Leach. A very limited release of a most unique 1970s pop horror lesbian witch score. Full color, eye-catching sleeve with great sleeve notes.

File Under: OST, Exploitation, Jazz, Funk
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Hildur Gudnadottir: Sicario: Day of the Soldado OST (Varese Sarabande) LP
In tomorrow… In Sicario: Day of the Soldado, the series begins a new chapter. In the drug war, there are no rules – and as the cartels have begun trafficking terrorists across the US border, federal agent Matt Graver (Josh Brolin) calls on the mysterious Alejandro (Benicio Del Toro), whose family was murdered by a cartel kingpin, to escalate the war in nefarious ways. Alejandro kidnaps the kingpin’s daughter to inflame the conflict – but when the girl is seen as collateral damage, her fate will come between the two men as they question everything they are fighting for.  Sicario: Day of the Soldado is the 2018 sequel to the globally successful 2015 film, Sicario, which earned composer, Johann Johannson an Oscar nomination for Best Score. The Original Motion Picture Soundtrack to Soldado was composed by Hildur Gudnadottir, a collaborator on the Sicario score, and a well-respected classically trained cello player who has recorded as a solo artist and collaborated with The Knife, Animal Collective, Hauschka, and Fever Ray. The New York Times calls Gudnadottir’s score, “relentlessly foreboding, throbbing… Her music creates the impression that ‘Day of the Soldado’ is a dark, high-stakes thriller, much as the bulked-up military hardware and souped-up operational jargon make it look like a war movie and the border backdrop gives it a sheen of sour topicality.”

File Under: OST
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Charlie Haden & Pat Metheny: Beyond the Missouri Sky (Verve) LP
In tomorrow… Though Charlie Haden and Pat Metheny recorded together in many different contexts, 1997’s Grammy Award-winning Beyond The Missouri Sky (Short Stories)  marked their first duet recording. One of the most celebrated figures in jazz, Metheny’s creativity, like Haden’s, knows no boundaries and Beyond The Missouri Sky is the culmination of a 25 year friendship of two of America’s premier musicians. These “short stories” add up to a moving, beautiful anthology of American music. “I have always admired Pat’s musical vision, his melodies, chords and voicing are unique unto him. He is an innovator in the sound he gets, as he is in his composing and improvising. His musical presentation is always beyond category, and his sense of the sound in music that comes from the feeling of this country is uncanny. Of course, he is from Missouri, as am I, which surely has something to do with it. I call his sound contemporary impressionistic Americana,” says Haden. Adds Metheny, “Charlie has been a huge influence on me as a musician and as a person. He is simply one of the greatest improvising musicians ever, and his bass playing has set the standard for what is now several generations of musicians. It was an honor to be asked by Charlie to make this record. For me, personally, this is one of the most special recordings I’ve ever been a part of.”

File Under: Jazz
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Catherine Christer Hennix: Selected Early Keyboard Works
(Blank Forms) LP
Selected Early Keyboard Works is the first in a series of planned archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It comes hot-on-the-heels of Traversée Du Fantasme at the Stedelijk in Amsterdam, Hennix’s first solo museum exhibition in over 40 years, and coincides with both Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of her writing, and the closing of Thresholds of Perception, a retrospective archival show of Hennix’s visual work at The Empty Gallery in Hong Kong. The record also marks the first time Hennix’s own music has been given a full-length vinyl issue. In 1976, Catherine Christer Hennix’s just intonation live-electronic ensemble The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. Culled from rehearsal tapes recorded during the ten-day Dream Music Festival, Selected Early Keyboard Works features three pieces of minimal music, performed by Hennix on tunable electric keyboards. “Mode Nouvelle Des Modalités”, for well-tuned just intonation Fender Rhodes and sine wave drone, is a consummate expression of Hennix’s formative years, a probing meditation giving the mercurial quality of early electronic music an instrumental life replete with the dexterity of Cecil Taylor and shades of Paul Bley’s synthesized reveries. “Equal Temperament Fender Mix”, performed on the same Rhodes but in twelve-tone equal temperament tuning, employs a tape delay system not unlike that used famously by Terry Riley, here towards more somber, hallucinatory means. Hennix is joined by Hans Isgren for the collection’s centerpiece, “The Well-Tuned Marimba”, for well-tuned Yamaha, sheng, sine wave, and live electronics. Using the same approach and just intonation keyboard featured on Hennix’s The Electric Harpsichord (2010), but with marimba in place of harpsichord stops, the piece is an undulating marvel of lysergic drone, equally deserving of its companion’s status as “THE obscure masterpiece of the days of the early American minimalism”. Now accessible for the first time, these recordings only begin to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century. Tape transfer and master cut by Andreas (Lupo) Lubich. Audio restoration and mastering by Stephan Mathieu.

File Under: Experimental
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Interpol: Marauder (Matador) LP
Interpol follows-up 2014’s El Pintor with their sixth studio album, Marauder. For the first time since 2007’s Our Love to Admire, the band has opened themselves up to the input of a producer. For two-week spells between December of 2017 to April of 2018, they traveled to upstate New York to work with Dave Fridmann – famed for recording with Mercury Rev, Flaming Lips, MGMT, Spoon, Mogwai, and countless more. In the run up to writing and recording, Sam Fogarino found himself immersed in soul drummers such as Al Jackson Jr (Otis Redding’s drummer) and 80’s funk producers Jimmy Jam and Terry Lewis. “How can I make shit swing?” was the question Sam repeatedly asked himself, and the answer is in the striding gallop of opener “If You Really Love Nothing,” the embellished skip ‘n’ bounce of “Stay in Touch” and the R&B swagger of closer “It Probably Matters.” Interpol have always been world-beaters at creating a feeling, but Marauder is where the feel is just as crucial. Paul Banks may have stepped out of the shadows as a bassist, but he steps into an even brighter light as a songwriter here. During Interpol’s previous albums, the singer largely kept himself out of his own work, preferring to fill his lyrics with detached thoughts, characters, and observations, often phrased in abstract. But more than 20 years on since forming at NYU, the frontman is finally allowing himself to play a role in his own stories. “Marauder is a facet of myself,” he explains. “That’s the guy that fucks up friendships and does crazy shit. He taught me a lot, but it’s representative of a persona that’s best left in song. In a way, this album is like giving him a name and putting him to bed.”

File Under: Indie Rock
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Kamal Keila: Muslims & Christians (Habibi Funk) LP
“Songs about the unity of Sudan, peace between Muslims and Christians and the fate of war orphans, backed by grooves equally taking influence from Arabic sounds, American funk as well as neighboring Ethiopia. Kamal Keila was among the first artist we met in Sudan during our two trips to Khartoum and Omdurman last year. He is one of the key figures of the Sudanese jazz scene that was a vital part of the musical culture in Sudan from the mid-1960s until the Islamist revolution in the late 1980s. When we meet Kamal he luckily presented us with two mold covered studio reels. Each tape included five tracks. One with English lyrics and another with Arabic ones. Musically you can hear the influence of neighboring Ethiopia much more than on other Sudanese recordings of the time, as well as references to Fela and American funk and soul. His lyrics, at least when he sings in English which gave him more freedom from censorship, are very political. A brave statement in the political climate of Sudan of the last decades, preaching for the unity of Sudan, peace between Muslims and Christians and singing the blues about the fate of war orphans called ‘Shmasha’. A note inside one of the boxes specified the track titles, durations and the fact that the sessions were recorded on the 12th of August 1992. Both sessions stand as a hearable testament how Kamal Keila stuck to a sound aesthetic from decades ago, while incorporating current events into his lyrics. Kamal Keila’s album is the first in a series of releases covering the Sudanese jazz scene on Habibi Funk. Be on the lookout for albums by The Scorpions and Sharhabeel coming soon.”

File Under: Funk, Soul, Afrobeat
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Konrad Kraft: Arctica (Tal) LP
Includes full-size insert and download code; Edition of 400. Tal present the first reissue of Konrad Kraft’s Arctica, originally released on cassette on SDV Tonträger in 1987 in a handmade edition of about 50 copies. Pioneering production from the Düsseldorf mid ’80s electronic underground world. Transferred for the first ever time from the original cassette to vinyl and CD. Konrad Kraft (Detlef Funder) is one of the still overlooked producers of Düsseldorf’s fertile electronic music scene. Reduced to its essential musical elements, Arctica certainly contains some of the most uncategorizable and bewildering pieces of mid-eighties electronic music. Set between the areas of post punk and early techno, the album undulates between analog as well as digital instrumentation. After Konrad Kraft’s appearance on the enthusiastically received compilation Sammlung: Elektronische Kassettenmusik, Dusseldorf 1982-1989. Cassettes were the medium of choice for self-produced recordings at the time. At the time of the Arctica sessions, the newly set up SDV studio consisted of a Tascam 38, an eight-track tape recorder, and only a handful of synthesizers such as a Roland JX3P and a Korg Monopoly. The style of Konrad Kraft’s productions displayed (ever since and up until today), a strong adherence to an idea of continual self-creation and a quality of wanting to be responsible for one’s own identity. Even three decades after its recording, Arctica still evokes images of an expedition into an edgy cold place which has strange wonders, polar lights, structures of ice and innumerable worlds and creatures in store. Konrad Kraft (who today runs Paraschall mastering studios): “In the early ’70s I got a transistor radio as a gift and immediately fell in love with the shortwaves. So many different sounds that was truly fascinating. I can imagine that nowadays as music is endlessly compressed to fit into mobile phones and as music on the radio sounds dreadfully the same, there might be a renewed interest by a young generation in discovering electronic sounds. I can listen to Arctica much better now than when it originally came out, because there is a distance which allows me to approach the recordings on a more neutral plane . . . Arctica seems to sound even more contemporary today than it did in 1987.”

File Under: Electronic, Minimal
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Lemon Twigs: Go To School (4AD) LP
A musical conceived by brothers Brian and Michael D’Addario, The Lemon Twigs’ ambitious 15-track opus Go To School was written, recorded, produced and mixed by the pair at their home in Long Island, NY. Their second album overall tells the heartbreaking coming-of-age story of Shane, a pure of heart chimpanzee raised as a human boy as he comes to terms with the obstacles of life. Todd Rundgren and the D’Addario’s mother Susan Hall play Shane’s parents. The album also features contributions from Jody Stephens (Big Star) and their father Ronnie D’Addario. The Lemon Twigs emerged in 2016 with their debut LP Do Hollywood, which was praised by Rolling Stone for “toting hooky songs that stand out for their intricate arrangements and delectable melodies” and NPR Music who mused, “Like listening to music from a time that never was…a baroque rock romp.” The band quickly earned fans in Elton John, Questlove, and Jack Antonoff among many others, the latter of whom said, “Prediction: The Lemon Twigs will usher in a new phase of rock.”

File Under: Indie Rock
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Modern Minds: Go (Ugly Pop) LP
This Edmonton outfit formed in January 1979, playing a raw but melodic punk influenced by Buzzcocks and Undertones. Quickly developing a reputation as one of the city’s finest underground live groups, they went into the studio to record four tracks, three of which would appear on an excellent 7″ EP, ‘Theresa’s World’, in 1980. As was so often the case with tremendous groups of the era, The Modern Minds soon went their separate ways, frontman Moe Berg going on to real commercial success with his next group, The Pursuit Of Happiness. This new Ugly Pop LP collects the original EP and eight more unreleased studio cuts, along with a deluxe gatefold insert featuring photos and new liner notes.

File Under: Punk
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The Mods: Reactions (Ugly Pop) LP
Among cognoscenti of the era, this Toronto unit are known for one of the great lost singles of early Canadian punk. As great as 1978’s ‘Step Out Tonight’ 45 was, however, there was much more where that came from. Filtering the clear inspiration of mid ’60s Who and Kinks through the aggressive delivery of such contemporaries as The Jam and The Clash, The Mods honed their attack into an unstoppable rush, hard-edged but melodic, and began working on a planned major label LP that never did materialise. This new Ugly Pop LP includes the single and highlights of the aborted album session; hyperbole aside, it’s an astonishingly good record, and one of the best we’ll ever release. New liners and rare pictures inside.

File Under: Punk
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Mogwai: Kin OST (Temporary Residence) LP
Scotland’s Mogwai are not only legendary experimental rock icons, but also well-established soundtrack titans – sound sculptors behind an impressive spectrum of cinematic releases (both full soundtracks and contributions): Including their last film soundtrack, Atomic (2016), there’s been consistent acclaim through Michael Mann’s Miami Vice (2006), The Fountain (2006, collaborating with Clint Mansell and Kronos Quartet), Zidane: A 21st Century Portrait (2007), Amnesty International’s PEACE project (2010), international hit French TV series Les Revenants (2013), and Leonardo DiCaprio’s climate change documentary Before The Flood (2016) alongside soundtrack Oscar-winners Trent Reznor and Atticus Ross. The staggeringly prolific force that is Mogwai return less than a year after their standout new album, Every Country’s Sun, to provide the soundtrack to the anticipated, acclaimed new sci-fi major motion picture, KIN. Like their beloved soundtracks to Atomic and Les Revenants, KIN uses the band’s original score as the genesis and point of departure for an expanded, fully developed album of new songs. KIN is cinematic maximalism and synth-rock minimalism delivered with the signature introspective grace that has defined and refined Mogwai’s decades-long reputation.

File Under: OST, Post Rock
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Nurse with Wound: Homotopy to Marie (Rotorelief) LP
Silver and black vinyl version. Metallic gatefold sleeve. Rotorelief present a reissue of Homotopy To Marie. the fifth album by Nurse With Wound, originally released in 1982. Music and sleeve created by Steven Stapleton. The album is “a step on from the Dadaist rock of Merzbild Schwet, with much use of tape manipulation and classical avant-garde techniques”. The album, which combines tape edits with resonating gong tones and disembodied children’s voices to create a sonic collage, is far removed from the harsh improvisations of the group’s early albums. The title of the brief closing track derives from a passage from “Les Chants de Maldoror” (1869), a surreal poetic novel written by Le Comte de Lautréamont. This appropriation of a phrase from Maldoror is shared in common with the title of Nurse With Wound’s debut album, Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella (1979); both phrases appear in Lautréamont’s work. The album was first issued on Stapleton’s own United Dairies label on vinyl, cassette, and later in remastered compact disc including an extra track “Astral Dustbin Dirge”. This masterpiece reissue is the official full, double album from the original recording sessions. The four tracks from the original LP are accompanied by additional recordings from the same period. This second, double album masterpiece in the “silver collection” of Nurse With Wound albums, is a technically better, crystal clear performance, in comparison to the original 1982 cut.

File Under: Experimental, Industrial
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MFM033LP_CU - CopyOrquesta de las Nubes: The Order of Change (Music from Memory) LP
The subject of Music From Memory’s compilation here focuses on Suso Saiz’s output as part of the group Orquesta De Las Nubes, formed by Suso Saiz and percussionist Pedro Estevan when the two met whilst studying a course on “Techniques of Contemporary Composition” in Madrid. Following on from a retrospective compilation of solo work and an album of recent work in 2016, Music From Memory continue to explore the work of Spanish ambient and experimental pioneer Suso Saiz. Sharing a curiosity for American minimalist and non-western music, the pair began to share music through many listening sessions, during which the idea slowly evolved to try and make music together. Pedro’s partner at the time, soprano singer María Villa, would later join the two on vocals. With Suso’s sparse use of guitar loops, synthesizers, and drum computers in combination with the hypnotic percussion of Pedro Estevan and the wordless drifting vocals of María Villa, Orquesta De La Nubes would evolve as a group with a truly unique musical language; an ethereal and almost otherworldly musical realm. Developing at first as a live act, through a number of performances in Madrid and beyond, Orquesta De Las Nubes was very much connected with, and inspired by, the avant-garde arts scene in Madrid at the time. Throughout their shows, a close circle of friends, including a number of painters, sculptors, and designers, would collaborate with the trio to create unique imagery and elaborate stage sets for the group’s performances. Yet, despite the growing fascination surrounding Orquesta De Las Nubes’ live performances, the trio would however find it extremely difficult to find a label willing to release their music on record. The group’s then manager Silvia Lovosevic therefore decided to set up her own label Linterna Música in order to make the work available. The group would release three albums between 1983-1987, two on the Linterna Musica label as well as an album and CD compilation of live tracks on the cult Spanish label Grabacionnes Accidentales. Between this period, the trio would also team up with American percussionist Glen Velez to record as the group Musica Esporadica; a one-off project in which they recorded a single album of the same name in 1985.

File Under: Electronic, Ambient, New Age
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parmegiani - CopyBernard Parmegiani: Les Soleils de L’ile de Paques / La Brulure de Mille Soleils (WRWTFWW) LP
WRWTFWW Records announce the release of two never-released-before soundtracks by French award-winning composer, audio experimenter, electroacoustic, and musique concrète magician, and all-around sound visionary Bernard Parmegiani, sourced from the original reels, and with English and French liner notes. Les Soleils De l’Île De Pâques (1972), by French director Pierre Kast, is a sci-fi feature which secured itself a well-deserved place in the pantheon of mysterious cult films thanks to hallucinatory (and superb) cinematography, exploration of supernatural phenomenon and occult symbolism, and one hell of a trippy atmosphere. La Brûlure De Mille Soleils (1965) also comes from Pierre Kast, but this time with the help of none other than writer, photographer, multimedia artist, homme à tout faire Chris Marker — notably known for films La Jetée (1962), A Grin Without a Cat (1977), and Sans Soleil (1983) — who edited this bizarre short to brain-melting results that live up to the promises of its synopsis: A depressed millionaire poet, accompanied by his cat Marcel and a sign language robot, travels in time to shake a persistent feeling of ennui and falls hopelessly in love with a woman from another planet. ‘Nuff said! A renowned member of the prestigious GRM (Groupe De Recherches Musicales, the French equivalent of the BBC Radiophonic Workshop) and frequent collaborator of Pierre Schaeffer, Iannis Xenakis, and Pierre Henry, among others, Bernard Parmegiani does what he does best with these two rare soundtracks: create moods with electroacoustic experimentation, elevating the weird and hypnotic with soundscapes from other dimensions, and cementing his status as a true innovator.

File Under: Electronic, AvantGarde
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phew - CopyPhew: Voice Hardcore (Mesh-Key) LP
“Living legend Phew follows up her brilliant Light Sleep album with another masterwork — Voice Hardcore — comprised entirely of her iconic, instantly recognizable voice, twisted, folded and layered over six mesmerizing tracks. Recorded at home in summer 2017, this release finds Phew exploring an idea she first hatched while recording her debut single ‘Finale’ in 1980 — to, in her words, ‘ make new reverberations that I have never heard before, using only my body.’ 37 years later, Phew proves herself again to be the exception to the rule — a veteran artist with an estimable catalog spanning decades who, rather than repeating herself or playing it safe, charges headfirst into uncharted territory. Phew’s self — released tour CD of Voice Hardcore was voted # 23 Best Album of 2017 by The Wire Magazine. This Mesh-Key vinyl edition features a silver foil stamped cover and a double-sided, full color insert, and comes with an mp3 download card.”

File Under: Experimental
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LDS08817_ - CopyScientists: Weird Love (Numero) LP
Unhinged Aussie grunge captured just as the Scientists were imploding/attempting to explode. Recorded over three days in February 1986, Weird Love is the band’s last ditch effort to bring their bad vibes to bedrooms the world over, a colossal failure and brilliant mistake that sounds best when blasting out of a 1982 Corolla’s blown Alpine tweeters. “The Scientists proved to me that rock ‘n’ roll could be played by gentlemen in fine silk shirts half unbuttoned and still be dirty, cool and real.” – Thurston Moore “They wrote fantastic singles and looked like they just crawled out of the ooze. What more could you ask for?” – Warren Ellis “The Scientists turned my head around and made a man out of me! They grew hair on my palms and made my socks stink!” – Jon Spencer

File Under: Garage, Punk
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shovels - CopyShovels & Rope: Predecessors (Dualtone) 3LP
Cary Ann Hearst and Michael Trent (known jointly as the Americana/folk duo Shovels & Rope) started their career performing independently as solo artists, each releasing records under their own names in the mid-to-late aughts and early 2010’s. In 2008 they released the album titled Shovels & Rope as a collaboration and the two artists decided to tour together. Performing live, they’d play together on songs from Hearst’s Lions and Lambs (2011), Trent’s The Winner (2010), and their collaborative album, creating the first live glimpses of the band that would eventually become Shovels & Rope. Dualtone is excited to offer these early individual solo albums alongside early collaborations in the form of Predecessors, a three LP package featuring Hearst’s Lions and Lambs, Trent’s The Winner, and a third LP with never-before-released material from Shovels & Rope’s archives.

File Under: Folk

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Mako Sica & Hamid Drake: Ronda (Feeding Tube) LP
“Brilliant, inspired and somewhat surprising collaboration between Chicago’s premier free-rock trio and the truly legendary percussionist, Hamid Drake, who has played with everyone from Don Cherry to Peter Brötzmann to Lee Perry. This collusion was precipitated by Matt Jackowiak, a mutual friend, who thought a merging of their sounds might make for an ecstatic explosion. This feeling became mutual after they played a show together at Constellation. The set mixes Mako Sica tunes with improvisations that took everyone to places they hadn’t expected, and the trip was deemed an utter success. Ronda was done at two sessions, scheduled around Hamid’s insanely busy work schedule. The first was at Jamdek with Douglas Malone at the board, the second was at Electrical Audio with Taylor Hales. The Electrical session allowed the players access to a host of additional instruments, so the sonic palette on ‘Dance With Waves’ and ‘Emanation’ is wider and somehow more cosmic than usual. But the whole album has an extraordinary depth and width of sound. Even the great songs Mako Sica has had in its set for a while like ‘The Old Book,’ gain whole new levels of otherness here, and the material based in quartet improvisations, like ‘The Wu Wei,’ explores wild new territory for the band. Ronda (named after a town in southern Spain with a famous 18th Century bridge crossing a deep gorge) is the first span connecting the disparate musical worlds of Mako Sica and Hamid Drake. Let us hope it is but the first of many.” –Byron Coley, 2018 Edition of 500.

File Under: Jazz

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Television: Marquee Moon (Rhino) 2LP
Released in 1977, Marquee Moon is the highly-acclaimed debut album from Television. The deluxe LP contains the original album plus an additional LP of bonus tracks that featured on the 2003 remastered CD. Presented on 2LP, mixed blue vinyl.

File Under: Rock, Punk
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Thou: Magus (Sacred Bones) LP
Though often lumped in with New Orleans sludge bands like Eyehategod and Crowbar, Thou shares a more spiritual kinship with ’90s proto-grunge bands like Nirvana, Alice in Chains, and Soundgarden (all of whom they’ve covered extensively, both in the studio and onstage). The band’s aesthetic and political impulses reflect the obscure ’90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc. From 2004 through 2016, the group has released four full-length albums, six EPs, two collaboration records with The Body, and enough material spread out over splits to make up another four or five LPs. Sacred Bones Records is proud to present the new album, Magus, Thou’s first full-length since 2014’s Heathen. In the months leading up to the release of the album, Thou will be issuing three drastically different EPs: The House Primordial on Raw Sugar, Inconsolable on Community Records, and Rhea Sylvia on Deathwish, Inc. Each record will focus on a particular sound – noisy drone, quiet acoustic, and melodic grunge – all of which is incorporated into the new LP, subsumed in the band’s more standard doom metal. While sonically, Magus may be a continuation of Heathen, thematically it stands as a stark rebuttal, a journey beyond the principles of pleasure and pain. It is more the culmination of these distinct EPs, which all orbit some internal black hole. FFO alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease.

File Under: Metal

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Piero Umiliani: Bollenti Spiriti (Cinedelic) LP
Cinedelic Records present a reissue of Piero Umiliani’s sound track for the 1981 film Bollenti Spiriti. Bollenti Spiriti is a film by Giorgio Capitani, one of the most prolific directors of the Italian sexy comedy genre, starring Johnny Dorelli and Gloria Guida. Maestro Piero Umiliani recorded the soundtrack in his innovative Suono Work-Shop Studios in Rome, fusing his love for jazz — a genre that since the ’50s has been a leading figure in Europe — and his unmistakable arrangements. Cinedelic Records reprints it here for the first time in a limited numbered edition.

File Under: OST, Library

werren - CopyPhillip Werren: Electronic Music (Manufacturing) BOX
“An astounding, epic journey into the more obscure areas of early electronic music, Phillip Werren’s Electronic Music is a wellspring of contemporary composition across four LPs. Originally released in 1971 in an edition of 100 copies, this impossibly rare piece of early Canadian electronic music has finally been reissued on vinyl in an exact replica box with a silk-screened cover. Electronic Music was recorded at Simon Fraser University (Vancouver), McGill University (Montreal) and Radio Warzawa (Poland) between 1967 and 1971. Influenced as much by serialism as by psychedelia and the occult, the album features elements of tape collage, voice, and experimental composition. Most of the recordings were performed on a Buchla System 100, one of the first modular synthesizers. An absorbing piece of the Canadian avant-garde, Electronic Music is a journey through space, sound, texture, and unbridled experimentation. Recommended for fans of artist ranging from Stockhausen, Xenakis, and Ferrari to Basil Kirchin, Conrad Schnitzler, Throbbing Gristle, and Coil –Manufactured Recordings’ reissue of Electronic Music aims to shed light on this crucially overlooked composer. Limited to 500 copies worldwide.”

File Under: Early Electronic, Avant Garde
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wildnothing - CopyWild Nothing: Indigo (Captured Tracks) LP
Although civilization’s transition into a cyborg world seems inevitable, there are still those who recognize the beauty and power of a human touch to complement the circumvention. Jack Tatum understands this balance, and through a decade making music as Wild Nothing he has learned to embrace both sides of that dynamic – but perhaps never as distinctly as on Indigo, the project’s fourth album. On one hand, it is a return to the fresh, transcendent sweep of his debut, 2010’s Gemini, and on the other, a culmination of heights reached, paths traveled, and lessons learned while creating the follow-ups, Nocturne and Life of Pause. Indigo finds Tatum at his most efficient, calculated, and confident – resulting in an artful blend of hi-fi humanity and technology that fires on all circuits and synapses. To make it, Tatum confronted the Man vs. Machine dichotomy by seizing on the surrounding synergy. Finding the right people to work on the LP was integral, as was the proper place to record it. So, Tatum booked four days at legendary Sunset Sound’s Studio. Afterwards, producer Jorge Elbrecht (Ariel Pink, Gang Gang Dance, Japanese Breakfast) and Jack built out the rest of the album’s sound by adding new parts and repurposing sounds from his demos. Indigo is its own cyborg world, utilizing the artful mechanisms of human touch with the precision of technology to create the classic, pristine sound Tatum had been seeking his entire career. From the opening drum beat, chiming guitar, and sweeping synth of “Letting Go” to Tatum’s Bryan Ferry vocal turn on “Oscillation” to the ’80s-heavy blips, clicks, and strut of “Partners in Motion,” it’s clear that Indigo is at once vintage Wild Nothing and a bold, new leap into a bigger arena.

File Under: Indie Rock
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teen expo - CopyVarious: Teen Expo: The Cleopatra Label (Numero) LP
From a basement in New Jersey, Tommy Falcone remade himself into a DIY Phil Spector. From 1962 to 1970, he founded and ran Cleopatra Records, discovered and mentored young Garden State talent, wrote songs and produced wild studio effects, and quit his day job to promote it all himself. Trained as an accordionist, Falcone had a whirlwind imagination and an omnivorous approach to genre, expressed through acts like the Centuries, the Tabbys, Johnny Silvio, the Inmates, Bernadette Carroll, the Hallmarks, Vickie & the Van Dykes, the Shandillons, Eugene Viscione, the Shoestring, and more. Cleopatra became a time-capsule of every 1960s pop style imaginable – garage rock, psychedelia, surf, girl groups, soul, novelties, exotica, even a crooner – a kaleidoscope of sound in search of the ever-elusive hit record.

File Under: RnB, Rock, Garage, Psych, Surf
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…..Restocks…..

1975: 1975 (Polydor)LP
Air: Moon Safari (Parlophone) LP
David Axelrod: Song of Innocence (Now Again) LP
Buffalo Springfield: What’s That Sound (Rhino) Box
John Coltrane: Both Directions At Once (Impulse) 2LP
Alessandro Cortini: Avanti (PIAS) LP
Daft Punk: Discovery (EMI) LP
Daft Punk: Random Access Memories (Columbia) LP
Ustad Zia Mohiuddin Dagar: Raga Yaman (Ideologic Organ) LP
Ustad Zia Mohiuddin Dagar: Ragas Abhogi (Ideologic Organ) LP
Brian Eno: Another Green World (Astralwerks) 2LP
Brian Eno: Before & After Science (Astralwerks) 2LP
Brian Eno: Here Come the Warm Jets (Astralwerks) 2LP
Brian Eno: Taking Tiger Mountain (Astralwerks) 2LP
Carla Dal Forno: Garden (Blackest Ever Black) LP
Gorillaz: Demon Days (Parlophone) LP
Howlin’ Wolf: s/t (Macomba) LP
Howlin’ Wolf: Moanin’ in the Moonlight (Macomba) LP
Ken McIntyre with Eric Dolphy: Looking Ahead (Down at Dawn) LP
Jackie McLean: Destination… Out! (Down at Dawn) LP
Roberto Musci: Tower of Silence (Music from Memory) LP
Parquet Courts: Wide Awake (Rough Trade) LP
Liz Phair: Girl Sound to Guyville (Matador) 7LP
Om: Advaitic Songs (Drag City) LP
U2: Achtung Baby (Universal) LP
Unwound: New Plastic Ideas (Numero) LP
Various: Welcome to Paradise Vol 1 (Safe Trip) LP
Various: Welcome to Paradise Vol 2 (Safe Trip) LP
Various: Welcome to Paradise Vol 3 (Safe Trip) LP

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…..news letter #861 – smoke…..

Well, it looks like the summer drought is over! Loads of hot new releases to tempt your ears. And with all that smoke out there you’ll need new tunes to keep you sane while you stay indoors all weekend. You can chill to the mellow sounds of Hosono, and when you get really frustrated with being stuck inside, you can smash things while listening to This Heat and wish you could have seen them back in 1980. Then bring yourself back down with the blissful vibes of Alice Coltrane. All in all, you’ll have a pretty awesome weekend.

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…..picks of the week…..

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This Heat: Made Available 
This Heat: Live 80-81

This Heat: Repeat/Metal
(Modern Classics) LP

Limited coloured vinyl versions! Formed in 1976 in Brixton, a multicultural, and – at the time – down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough. Given the difficult, abrasive, and involved nature of their furiously forward-thinking sound, This Heat never found anything approaching mainstream success, but patronage by the influential Radio 1 DJ John Peel meant they reached a national audience – whether that audience was ready for them or not. Made Available collects This Heat’s two Peel Sessions, recorded for BBC Radio 1 in April and October of 1977 and features essential songs that would later appear on their debut album, This Heat (1979) and the follow-up, Deceit (1981), as well as electro-acoustic works unique to these sessions. These are the earliest public recordings of the band, showing even in their infancy, masterful use of live tape loops and radical song structure. Following Modern Classics Recordings’ 2016 reissue campaign to mark the band’s 40th anniversary, these new releases Made Available, Repeat / Metal and Live 80 – 81 round out the story. Each release is sanctioned by surviving members Charles Bullen and Charles Hayward and features newly remastered audio sourced from original tapes.

File Under: Post Punk, Essential Grooves

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hosono

Haruomi Hosono: Paraiso
Haruomi Hosono: Philharmony
Haruomi Hosono: Omni Sight Seeing
(Light in the Attic) LP

In tomorrow! The first 3 in this amazing The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom. Following Tropical Dandy (1975) and Bon Voyage Co. (1976), Paraiso is the concluding saga in his “Tropical Trilogy.” The album can be seen as a turning point in Haruomi Hosono’s career, having been newly signed to Alfa Records by label head Kunihiko Murai. Hosono expands on the Van Dyke Parks-inspired tropical funk styles explored in the previous albums, and arrives at a captivating fusion sound that’s at times equally earthy and exotic. Hinting at the breakthrough sounds he would perfect with Yellow Magic Orchestra, Hosono uses synthesizers to provide otherworldly textures and a spiritual undertone to songs like “Femme Fatale” and the title track. On his Caribbean-style take on the Okinawan folk song “Asatoya Yunta” and the synth/gamelan workout of “Shambhala Signal,” Hosono takes traditional melodies and mixes them into his own inimitable stew. Featuring a host of well-known musicians like Taeko Ohnuki, Hiroshi Sato and his future bandmates Yukihiro Takahashi and Ryuichi Sakamoto, Paraiso perfectly encapsulates Hosono’s eccentric worldview that has shaped his solo career, right before his techno-pop project would blast him into the stratosphere. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno. Admired by artists ranging from Devendra Banhart to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Following YMO’s first wave of success, Hosono took a break from the group and, with help from Alfa Records head Kunihiko Murai, established Yen Records in 1982. The label’s inaugural release was Philharmony, a masterwork recorded almost entirely by Hosono himself at his brand new LDK Studio. With unlimited studio time and freedom to explore, Hosono let himself loose with an array of synthesizers and the latest gadgets, from the Prophet 5 to the E-mu Emulator – all listed as “guest performers” in the album credits. Inspired by the possibilities opened up by these music-making tools, Hosono found new ways to approach his songwriting, resulting in a set of songs that showcase his ability to constantly and consistently innovate and create new standards. With ambient synthscapes like “Luminescent/Hotaru” and the abstract sample-based expressionism of “Birthday Party” sitting perfectly in tune alongside pop favorites like “Sports Men” and “L.D.K.”, Philharmony is one of the most well-loved of Hosono’s albums, and a favorite of the artist himself. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world. Omni Sight Seeing, originally released in 1989 during YMO’s initial hiatus, is an exhilarating musical journey around the world as filtered through Hosono’s kaleidoscopic lens. This work stands as a manifestation of his concept of “Sight Seeing Music,” putting his own tasteful spin on the “world” music encountered during his explorations of global cultures. From Japanese minyo and Algerian rai, to American swing jazz and the self-described, extraterrestrial “Ether music,” his eclectic influences coalesce into a sound that is unmistakably Hosono’s, and many consider this album to be the perfect summation of his mastery of pop music forms. Partly recorded in Paris with assistance from producer Martin Meissonnier (Don Cherry, Fela Kuti) and contributions from French-Tunisian singer Amina, omni Sight Seeing includes the mysterious “Orgone Box” (inspired by Wilhelm Reich and Steve Reich), the acid house “Laugh-Gas” (inspired by Rococo and the French Revolution) and the serene fan favorite “Pleocene” (conveying an “oceanic feeling”). Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.

File Under: Japan, Pop, Electronic, Synth Pop, Ambient
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…..new arrivals…..

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7FO: Ryu No Nukegara (EM) LP
In tomorrow! 7FO: pronounced “nano f o” in English, “nana” being seven. Ryu no Nukegara: “dragon’s husk”. These are the only difficulties you’ll encounter here. This is warm, friendly, very relaxed music, very “understandable” and yet intriguing, sure to appeal to fans of electronic ambient, dub and chill-out music, as well as artists like Haruomi Hosono, Captain Ganja, La Monte Young, Equiknoxx and Tapes. The Osaka-based 7FO combines groovily sparse electronic percussion with similarly sparse dub-feel synth bass, as well as pentatonic synth and steel pan melodies, the latter with an intriguing Okinawa/Sunda/Malay feel. Sparkling dub-influenced processing and thoughtful mixing gives us a music which is trans-oceanic, warm, and enveloping. Following releases on RVNG, Bokeh Versions and Metron, Ryu no Nukegara is available on digital, CD and 12” LP, featuring a suite of four tracks and the 20-minute title track, whose titular dragon is Asian: a potent symbol of water, strength and good luck.

File Under: Electronic, Ambient, Dub
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animal

Animal Collective: Tangerine Reef (Domino) LP
Tangerine Reef is a full-length audiovisual album by Animal Collective (Avey Tare, Deakin and Geologist), in collaboration with Coral Morphologic, to commemorate the 2018 International Year of the Reef. Tangerine Reef is a visual tone poem consisting of time-lapse and slow pans across surreal aquascapes of naturally fluorescent coral and cameos by alien-like reef creatures (note: no CGI or artificial enhancement was used in this film). Tangerine Reef is the sight and sound of a literal underwater collective of animals. In 2017, the Borscht Film Festival commissioned Coral Orgy, a collaborative site-specific performance by Animal Collective and Coral Morphologic ‘celebrating the cosmic synchronicity of sex on the reef’ in the Frank Gehry-designed New World Center on Miami Beach. The success of this performance ultimately led to this studio recording of Tangerine Reef and a subsequent performance at David Lynch’s Festival of Disruption earlier this spring at Brooklyn Steel in Brooklyn, NY.

File Under: Psych, Indie Rock
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benni

Bênní: The Return (Goner) LP
In tomorrow! Benny Divine’s impressive musical CV includes quantities such as The Gary Wrong Group, Wizzard Sleeve and Nashville’s prolific purveyor’s of Foghat-pop, Natural Child, but it was just a short year ago that Goner gave wide release to the Bênní debut album, I & II, which launched the new sub-genre we now know as “Hi-NRG New Age” and had its creator casually glancing over his shoulder for the rumored mobs of outraged Skyfax, Mannheim Steamroller and Windham Hill Records loyalists that could never quite catch up to his live performances, as they were not listed in back issues of TV Guide and Reader’s Digest: Large Print Editions. Whereas I & II was, as its title explicitly implicates, the combination of two previously-released cassettes, The Return is a nine-track song-cycle composed for the full-length format. Imagine this album as an alternative historical narrative: not as a source of soundtrack afterthought, but rather the initial spark of inspiration for an entire ’70s sub-genre of gritty crime and science fiction films. Additionally, the fuzzy electro-pop chops are just as impressive as the spacey burps and gurgles that made his debut so gripping.

File Under: Electronic, Synthwave
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coltrane

Alice Coltrane: Lord of Lords (Superior Viaduct) LP
In tomorrow! Originally released in 1972, Lord Of Lords was Alice Coltrane’s final album for Impulse! and the last installment in her awe-inspiring trilogy that also included Universal Consciousness and World Galaxy. While all three records featured strings alongside a jazz ensemble, Lords Of Lords stood apart from its predecessors due to the sheer size of the orchestra (12 violins, 6 violas and 7 cellos, arranged and conducted by Coltrane herself) and its refined, blissful performances—shining a vital light on the devotional path that she would follow for the rest of her career. On the first two pieces, “Andromeda’s Suffering” and “Sri Rama Ohnedaruth” (titled after the spiritual name for her late husband), Alice’s dazzling piano and harp blend perfectly with the blanket of strings, while the haunting rhythm section of Charlie Haden and Ben Riley and a magnificent, droning electric organ emerge immaculately on the title track and closer “Going Home.” Coltrane’s musical vision is bold in its imagination and cosmic in scope, yet remains intensely personal and immediate. Lord Of Lords points inward as much as to the beyond, recalling her classical roots and recasting Eastern modes to radically invert the American avant-garde and spiritual jazz traditions. This first-time vinyl reissue has been carefully remastered from the original master tapes.

File Under: Jazz, Spiritual Jazz
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cruise

Julee Cruise: The Voice of Love (Sacred Bones) LP
Twenty-five years after its initial release, Julee Cruise’s sophomore album The Voice of Love is being issued for the first time on vinyl. It would mark the final full-length collaboration between Cruise, David Lynch, and Angelo Badalamenti. In 1994, after the release of Twin Peaks: Fire Walk With Me, Lynch, Badalamenti, and Cruise returned to the studio with new compositions as well as the intent to craft previously instrumental score-based material from Fire Walk With Me and Wild at Heart into Julee Cruise songs. The result was 1993’s final studio album The Voice of Love. “In the studio, David would always say ‘[sing] like an angel…” Cruise remembers. In many ways, this quest for “angelic” was the seed that grew an entire genre out of the inability to utilize This Mortal Coil’s “Song to the Siren” for Blue Velvet. It’s eerie to ponder what might not have been had the song actually been within reach for that film. Fitting that all these years later, Twin Peaks concluded on a similar question followed by Cruise’s performance of “The World Spins”: What happens if Laura Palmer was never murdered?

File Under: Electronic, Jazz, Pop
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death cab

Death Cab For Cutie: Thank You For Today (Atlantic) LP
Thank You for Today is the sound of Death Cab for Cutie both expanding and refining; a band 20 years into its evolution, still uncovering new curves in its signatures, new sonic corners to explore. The Seattle band’s ninth studio album, recorded in L.A. with producer Rich Costey in late 2017 and early 2018, stands alongside classic albums like their 1998 debut Something About Airplanes and 2003’s masterful Transatlanticism as a definitive collection – 10 tracks that are by turns beautiful and dynamic and darkly anthemic and bittersweet. On songs such as the kinetic “Gold Rush,” “Northern Lights” and “You Moved Away,” Ben Gibbard ruminates on the flux going on in his hometown, and weaves a thread throughout the album about how interconnected geography is with memory, and how hard it can be to hold onto places, and to people, too. Thank You for Today marks the first Death Cab for Cutie release to see long time bandmates Gibbard, Nick Harmer, and Jason McGerr joined in the studio by new members Dave Depper (Menomena, Fruit Bats, Corin Tucker, Ray Lamontagne) and Zac Rae (My Brightest Diamond, Fiona Apple, Lana Del Rey, Gnarls Barkley). Depper and Rae have both been part of Death Cab’s touring band since 2015.

File Under: Indie Rock
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forma

Forma: Semblance (Kranky) LP
In tomorrow! Brooklyn trio Forma’s latest album continues their mission to “broaden the idea of what an electronic music ensemble can sound like.” Semblance emerged from exploratory sessions at The Schoolhouse, the Bushwick loft where members Mark Dwinell and John Also Bennett live, then was tracked at Gary’s Electric studios, where their previous album Physicalist was also recorded. Inspired by polyrhythmic composition, the human voice, and conceptual improvisation strategies, the songs are striking in their textural detail and emotional nuance, alternately synthetic and sentient, futuristic and intuitive. Incorporating flute, piano, guitar, saxophone, acoustic drums and cymbals alongside an array of synthesizers, the record persuasively demonstrates the group’s unique playing abilities and fluid chemistry—attributes they credit to “techniques we’ve developed to trick our electronic machines into mimicking the spontaneous character of live instruments.” Members George Bennett and John Also Bennett also cite as an influence their recent stint in minimalist composer Jon Gibson’s ensemble, performing his 1973 proto-ambient masterwork Visitations. The long-form modal piece requires restraint and deep listening to execute, qualities especially apparent in the more muted moments of this album, such as “Rebreather” and “New City.” The group states the intent of the new album as “to be more direct and exacting”, which it is. Over half a decade spent writing and recording together has distilled the band’s hybrid electro-acoustic interplay into an attuned and astounding language, capable of articulating impossible symmetries and reflective states. The stunning visuals of the artwork are by frequent collaborator Peter Burr.

File Under: Electronic, Ambient
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helios

Helios: Veriditas (Ghostly) LP
Veriditas, the sixth Helios full-length, shares its name with 12th-century philosopher Hildegard von Bingen’s notion of “the greening power of the divine,” the term derived from the union of two Latin words: green and truth. Bingen saw the abundance of the earth as vitality to be cultivated, interconnected with the body and spirit. Take the concept in concert with Veriditas’ vistas of sound, gazing beyond the tree-lined wonder on its artwork, and we undoubtedly recognize the album’s rooting. Keith Kenni elaborates, “While I’m not a very spiritual person as it relates to a religious belief, I do feel an overwhelming connection between the aesthetics I find pleasing in my experience of nature and my experience of writing music.” Veriditas introduces unusual shapes and landscapes to the Helios catalog. Whereas past songs have followed traditional structures – discernible bell curves with beginnings, arcs, and ends – the focus here is texture and harmony. “I wanted to explore emotionality within something more static.” Synth-tones radiate and hum as vignettes, often crisp and cloudless, other times smeared to a queasy Boards of Canada-like unease. The latter burbles below the last moments of “Eventually” and looms over the opener “Seeming” like darkness inching across a forest. Tracks cease at will. “Seeming” fades just after a sliver of light cuts through the mossy pillars. “Latest Lost” mists for just one minute. “Row The Tide” for two, hovering like a helium balloon lost to the horizon. “Even Today” hangs above the snowcaps, suspended in an upper arboreal sequence, as shimmering surges of static trace the treetops below. Moments on Veriditas pass quickly, but as a series of moments, they are fluid, almost regenerative. Disassembling the album by instruments is difficult. Unlike past Helios work, there is no percussion. The one straightforward use of guitar appears on the ambling “Upward Beside The Gale,” strummed solemnly as if over end credits, watching the greenery lapse to grey in the twilight. In the second half of “Dreams,” crystalline piano chords converse with washes of orchestral notes and deep drone, advancing towards temporal clarity, a lookout point, that once presented evaporates. In a way, Veriditas parallels the path of the Helios project to date: patient, immense, and wondrous without ostentation. Kenni continues to find a soothing and centering quality in his craft. Aligned with Hildegard von Bingen’s philosophy, Kenni looks towards sound, like many do to nature, for momentary vigor, for elemental and nourishing prolificacy. Here, in pursuit of viriditas, with precise textures and harmonies, he humbly extends that verdant expression outward, wide and pliable.

File Under: Electronic, Ambient
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kozelek

Mark Kozelek: s/t (Caldo Verde) LP
This eponymous new album from singer-songwriter Mark Kozelek was recorded at Mark Hopkins Hotel, Seal Rock Inn and Hyde Street Studios in San Francisco, California from May 2017 through January 2018. All of the instrumentation on the record was overseen by Kozelek himself except drums on “Sublime” by Steve Shelley. “The album was recorded at hotels to take a break from the dark, windowless atmosphere of studios, and to see how atypical recording environments would affect my music,” Kozelek explained. Lead single and album opener “This Is My Town” is an ode to San Francisco and references local heroes the Grateful Dead.

File Under: Indie Rock, Sun Kil Moon, Red House Painters
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mitski

Mitski: Be the Cowboy (Dead Oceans) LP
The breakout success of 2016’s Puberty 2 saw Mitski hailed as the new vanguard of indie rock, the one to save the genre from the white dudes who’ve historically dominated it. But the often overlooked aspect of being a rising star is the sheer amount of work that goes into it. “I had been on the road for a long time, which is so isolating, and had to run my own business at the same time,” Mitski explains, “a lot of this record was me not having any feelings, being completely spent, but then trying to rally myself and wake up and get back to Mitski. I was feeling really nihilistic and trying to make pop songs.” We want our artists to be strong but we also expect them to be vulnerable. Rather than avoiding this dilemma, she addresses directly the power that comes from appearing impenetrable and loneliness that follows. “With a lot of the romantic infatuations I’ve had,” she says, “when I look back, I wonder, Did I want them or did I want to be them? Did I love them or did I want to absorb whatever power they had? I decided I could just be my own cowboy figure that I so desire.” In Be The Cowboy, Mitski delves into the loneliness of being a symbol and the loneliness of being someone, and how it can feel so much like being no one.

File Under: Indie Rock
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ohsees

Oh Sees: Smote Reverser (Castle Face) LP
In tomorrow! Crack the coffers, Oh Sees have spawned another frothy album of head-destroying psych-epics to grok and rock out to. Notice the fresh dollop of organ and keyboard prowess courtesy of Memory Of A Cut Off Head-alum and noted key-stabber Tom Dolas, while the Paul Quattrone / Dan Rincon drum-corps polyrhythmic pulse continues to astound and pound in equal measure, buttressed by the nimble fingered bottom end of Sir Tim Hellman the Brave and the shred-heaven fret frying of John Dwyer, whilst Lady Brigid Dawson again graces the wax with her harmonic gifts. Aside from the familiar psych-scorch familiar to soggy pit denizens the world over, there’s a fresh heavy-prog vibe that fits like a worn-in jean jacket comfortably among hairpin metal turns and the familiar but no less horns-worthy guitar fireworks Dwyer’s made his calling card. Perhaps the most notable thing about Smote Destroyer is the artistic restlessness underpinning its flights of fancy. Dwyer refuses to repeat himself and for someone with such a hectic release schedule, that stretching of aesthetic borders and omnivorous appetite seems all the more superhuman!

File Under: Garage, Psych, Punk
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Metropolis - Final

OST: Logan’s Run (Waxwork) LP
In tomorrow! Waxwork Records proudly presents the the definitive Logan’s Run Original Motion Picture Soundtrack. Available for the very first time on vinyl, the complete and expanded Logan’s Run soundtrack by legendary composer Jerry Goldsmith receives the deluxe treatment from the soundtrack specialists at Waxwork Records, in close partnership with former Mondo CEO, Justin Ishmael. Logan’s Run is a 1976 Dystopian Science Fiction film starring Michael York, Jenny Agutter, and Farrah Fawcett that depicts a 23rd Century utopian society that beneath the surface kills everyone when they reach the age of 30. The story follows Logan 5, a “Sandman” who has been tasked with terminating those who have attempted to escape death (runners), and is now faced with termination himself as he approaches his 30th birthday. The score by legendary composer Jerry Goldsmith (Alien, The Omen, Planet Of The Apes, The ‘Burbs) mixes electronic music and sound design by usage of early modular synthesizers with classic orchestral compositions to create a futuristic landscape. This new release marks the very first time the complete score by Goldsmith will be released on vinyl. Features include all new artwork by Martin Ansin, double 180 Gram “Palm Flower” colored vinyl (Crystal Green and Red), and deluxe packaging.

File Under: OST
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shadowOST: Shadow of the Colossus (iam8bit) LP
In tomorrow! The view from atop a colossus is nothing short of majestic. A visual feast, sure – but its composer Kow Otani’s score that fully embodies the emotion felt whilst ascending each epic creature. Sweeping, transcendent and awe-inspiring, the music of Shadow of the Colossus makes it clear that our dear hero, Wander, isn’t slaying these mega-beasts as though they are villains, but instead is unlocking ancient magic for the greater good of our world. At long last, the legendary soundtrack to one of the most adored games in PlayStation history – enhanced with additional orchestral accompaniment AND remastered – is available on vinyl for the FIRST. TIME. EVER!

File Under: OST
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OST: Tenebrae (Waxwork) LP
Waxwork Records is thrilled to present the complete soundtrack vinyl release of Dario Argento’s Tenebrae. Scored by three former members of Goblin in 1982 (Claudio Simonetti, Fabio Pignatelli, and Massimo Morante), the synth driven score makes it’s definitive and expanded vinyl debut. Waxwork is excited to offer the most comprehensive version of the soundtrack album on vinyl to one of the most important Giallo films ever made. Unlike the soundtracks that Goblin had previously contributed to the films by Dario Argento, the music of Tenebrae incorporates heavy electronica and dance music blended with rock and disco elements for a unique hybrid of genre and composition style. Extensive usage of early analog Roland, Oberheim, and Moog synthesizers and drum machines paired with electric bass, acoustic drums and piano were utilized by the wildly talented progressive rock trio to form a sonic template unlike anything offered before it. The soundtrack has gone on to garner a wave of popularity by being re-released and remixed many times over. Waxwork Records is proud to present the re-mastered, complete soundtrack pressed to 180 gram colored vinyl and housed in deluxe packaging featuring die-cut old style gatefold jackets, art by Nikita Kaun, printed inner sleeves, and more.

File Under: OST, Prog
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rossRoss from Friends: Family Portrait (Brainfeeder) LP
Having made his inaugural outing on Brainfeeder with the Aphelion EP, British producer Ross From Friends aka Felix Clary Weatherall returns with his debut album on Flying Lotus’ label. Family Portrait is characterized by a perpetual desire to experiment and Felix’s obsessive attention to detail, somehow marrying an intricately layered production style with warm, heavily saturated sonics that elevate, rather than stifle, his melodious funk. Family Portrait showcases his ability to shift and evolve, moving from the world of lo-fi to the world of FlyLo, he demonstrates a versatility exemplified by the ease in which he can switch between playing shows with Little Dragon, holding down a peak-time slot in Berghain’s Panorama Bar and performing live at Maida Vale for BBC Radio 1. The culmination of almost two years of intense studio time, working 20 hour days, and often spending months perfecting just one aspect of a track. “I tried to be careful with every single sound” he explains, “Trying new things, making a bit more of an explosive sound”. The album also finds Felix recording his own voice for the first time, with the resulting tracks acting as snapshots of his personal life while recording. “Every time I went to make music the things which would really grab me are the emotional things, and while I’m in that place I felt I could really focus on the track. That was a massive part of this album, tapping into my emotions…into my emotional instability”. The album title – Family Portrait – also nods to a very specific personal aspect of the record: the influence of his parents. Dance music has always been a feature in Felix’s life, with early memories of his dad producing music on his analogue set-up, or pumping out hi-NRG tracks on the turntable, he grew up discussing, sharing and learning about music from his dad. “My dad has been hugely influential to the whole thing,” he adds.

File Under: House, Deep House
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sonoio

Sonoio: Fine (Dais) LP
In tomorrow! Prior to releasing a string of influential and widely acclaimed solo records under his own name on labels such as Important and Hospital Productions, Alessandroni Cortini (Nine Inch Nails) self-released two albums under the name SONOIO in 2010 and 2011 in limited runs. Praised for their complex and rich pop sound, strong vocal delivery and thoughtful compositions with impeccable production values, SONOIO’s Red and Blue (and the accompanying remix albums Non Red and Non Blue) made heavy use of Cortini’s expert manipulation of the Buchla synthesizer, releasing the single “Enough,” and remixing Ladytron’s “Houdini” before setting off on tour in direct support. As activity with Nine Inch Nails, the demands of touring, and his other solo endeavors began to pick up, production on the third and final SONOIO installment was delayed. In 2014 however, after years of silence, SONOIO posted the single and video for the song “Thanks For Calling” exclusively on sonoio.org and quickly reignited rumors and hope for the release of the third album. Four years have passed since then, and finally the exclusive release of SONOIO’s third and final effort: Fine has arrived. Fine is the first SONOIO full length to be released on vinyl, with gorgeous photography by Matt Sundin and packaging designed by Caspar Newbolt of Version Industries. Personal, layered and complex, Fine achieves greatness as both a singular example of deep and inspiring pop music, and as the final album—the closing chapter in the story of SONOIO.

File Under: Electronic, Synth Pop
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thou

Thou: Peasant (Robotic Empire) LP
In tomorrow! Before Thou released their 2014 album Summit (Gambit Big Easy award-winner), they spent the spring of 2008 rushing to complete their second full-length, Peasant, in time for a month-and-a-half trek across the United States. This record would be their last true album to abandon melody for the self-indulgent, Southern-style sludge-riffing that had most of their early fans saying, “I thought you’d be bigger with more tattoos and beards.” Originally released on vinyl by Level Plane Records, this edition—remastered by Adam Tucker (Signature Tone Recording)—is housed in a tip-on style gatefold jacket with 180-gram black vinyl, a twenty-page booklet, and poster. This double-LP also offers the complete version, including the CD-only tracks from the To Carry a Stone EP (released in 2008 by Noxious Noize) as well as bonus tracks from the Malfeasance / Retribution EP (released in 2008 on Feast of Tentacles and Rimbaud) and an unreleased cover of Nirvana’s “Aneurysm.”

File Under: Metal
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uniformUniform: The Long Walk (Sacred Bones) LP
Following the release of the critically acclaimed LP Wake in Fright, which had two songs featured in the new season of David Lynch’s Twin Peaks, it was high time for Uniform vocalist Michael Berdan and instrumentalist Ben Greenberg to return to the studio. The duo decided to up the ante and add a third member to help perfect their vicious post-industrial dystopian cyber-punk. After some deliberation, Greenberg called upon drummer Greg Fox (Liturgy, Zs) to help round out the sound they were looking for. Using a mix of triggered samples and real drums along with layered synths and good old electric guitar, the trio arrived at what would become The Long Walk after only a few short days in the studio. From the opening whirr of the title track, it’s clear that the band is onto something special. Recorded at Strange Weather studios in the first part of 2018, The Long Walk is eight new tracks by the duo of Greenberg and Berdan, incorporating Fox’s skills behind the drum kit to add an entirely new dimension to the signature Uniform sound. Ditching sequenced tracks, Greenberg opted for single takes to highlight the Frankenstein-like guitar-bass-synth hybrid that oozes throughout the recording. Meanwhile, crushing guitar thunder is punched up by Fox’s masterful drumming while Berdan’s cries from the nether feel more desperate and morose than ever. This is Uniform at its most bleak, emotional, and powerful. Lyrically, The Long Walk deals with paradoxes in spirituality and organized religion. Berdan went to Catholic school for most of his primary education. Fear of Biblical hell and damnation felt tangible. As Berdan grew and matured emotionally, he began to reject Catholicism bit by bit. In the recent past, Berdan found himself slowly reconnecting with his background, observing how the faith that he found so repressive served as a great source of comfort and strength for so many. Yet therein lay the contradiction that drove him from religion in the first place – many of the human traditions of the church also dealt in repression, intolerance, and bigotry. Could one observe the rituals and practice of a faith while acknowledging and rejecting its ugliest elements? The title The Long Walk comes from a Stephen King (writing as Richard Bachman) dystopian novel about an oppressive government that forces some of its children to endure a grueling game where there is only one survivor. In this case, it’s an allegory for an extended march away from comfort, family, and faith, and eventually into an amorphous sense of spirituality that can be understood on a personal level.

File Under: Industrial, Punk, Noise Rock
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whyWhy?: Alopecia (Joyful Noise) LP/DLX LP
“I’ll go unknown by torpedo or Crohn’s / Only those evil live to see their own likeness in stone.” It’s the kind of couplet you’d carve into a wall whilst savoring the irony at hand, but when Yoni Wolf spit the line 10 years ago he was blissfully, broodily unaware that he and his band WHY? were creating a career-defining album – one so fan-adored that it would go out of print, and so influential that the art-pop heroine Lorde herself would lovingly steal the very lyric quoted above. When it dropped in 2008, Alopecia not only marked WHY?’s evolution from a sonically collaged mostly solo project to a live-recorded powerhouse band of badass multi-instrumentalists. It also minted a genre of one: wryly written, poignantly posed, simultaneously swaggering and heart-rending song-rap that jangles like folk, bursts like psych-rock, and sways like chamber pop. To this day, there is no other group in the known universe that sounds or feels like WHY? does on Alopecia. The album’s 2018 reissue cheekily etches that aural likeness into our musical history. Revisiting these songs is like catching up with an old, very strange friend – one who obsesses over his mortality, wonders if his ex is some sort of God, identifies as a “lifelong local foreigner,” and does his emotional unpacking in public restrooms. When Yoni sings that he’s been “faking suicide for applause in the food courts of malls” on album opener “The Vowels Pt. 2,” you aren’t sure if it’s a metaphor about fame or a real thing he did. Our narrator’s odd charm is Alopecia’s most enduring gift. Inspired by Bob Dylan and Joanna Newsom, Yoni packs confessional candor and vivid detail into honeyed melodies. Energized by Lil Wayne and MF DOOM, he seeds self-effacing boasts and mesmeric wordplay within complex rhyme schemes. The result is a swirl of humor, desperation, and beauty that both pulls us into his world and draws out our own proud, wounded inner weirdo. As Yoni coos on “The Hollows,” “This goes out to dirty-dancing, cursing, backmasking, back-slidden pastors’ kids / and all us Earth growths; some planted, some pulled.” Alopecia is as adventurous as it is accessible, and remarkably fluid. To wit, “These Few Presidents” slides between modes, from upbeat and forced-smile bubbly to seething and slowly roiling. “Song of the Sad Assassin” is a tempo-blind rollercoaster of piano, vibes, vocal percussion, guitar, drum, and bass. And “Twenty Eight” spins a feedback-drenched rap beat, something like the Bomb Squad on acid, on a carousel.

File Under: Hip Hop
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birthVarious: Birth/Work/Death (Iron Mountain) LP
In tomorrow! 18 timeless tales of clanging Hammers and pounding Shovels – from wry, dry working-stiff diatribes to bare-chested exclamations – Birth / Work / Death maps the human work experience from anger to joy, poverty to riches. From the muck-crusted mines to late-night jukeboxes – backwoods outsiders and Nashville icons alike waxed odes to the entwined necessities of Work and Money, Status and Competition, Survival and Servitude. Harrowing laments of dank deaths underground, fevered hymns to Mammon, snide ripostes to debt-bondage and exuberant celebrations of family and sustenance. Most originally waxed on private press labels and distributed in tiny amounts, these town criers and tavern-bound troubadours sing of golden highways, slothful byways, factory-floor drudgery and fallow, heartbreaking fields. Years in the making – ‘Birth / Work / Death‘ presents calloused anthems and bloody ballads from dusty LPs and long forgotten 45s. All for your lunch hour listening pleasure.

File Under: Country

hillbilliesVarious: Hillbillies in Hell Volume 777 (Iron Mountain) LP
This smokey catalog of Nashville icons and hayseed misfits births ‘Hillbillies In Hell: Volume 777’ – a subterranean collection of deathly Nephilim, swampy graves, teenaged suicidal ideation, tormented Gospel tales, grisly mountain murders, craven lustmords, Apocalyptic visions and problematic parenting. Often originally waxed on microscopic labels and distributed in minuscule amounts, these troubled and sometimes forgotten troubadours sing of lustful homicides, masonic assassinations and Satan’s perpetual slaves. Years in the making – ‘Hillbillies In Hell’ (Volume 777) presents 16 testaments of timeless tribulations – sinful succubi, axe-wielding cuckolds, vengeful Hill-folk and the eternal quest for blistered redemption. A Mephistophelean cache of primordial 45s – some of these sides are impossibly rare and are reissued here for the very first time. All for your prurient listening pleasure.

File Under: Country

…..Restocks…..

Beak>: s/t (Temporary Residence) LP
Beak>: >> (Temporary Residence) LP
Butthole Surfers: Locust Abortion Technician (Latino Buggerville) LP
Butthole Surfers: Psychic, Powerless (Latino Buggerville) LP
Butthole Surfers: Rembrandt Pussyhorse (Latino Buggerville) LP
Bill Callahan: Apocalypse (Drag City) LP
Bill Callahan: Sometimes I Wish We Were an Eagle (Drag City) LP
Cindy Lee: Act Of Tenderness (W25.St) LP
City & Colour: Little Hell (Dine Alone) LP
Alice Coltrane: Universal Consciousness (Superior Viaduct) LP
Alice Coltrane: The Ecstatic Music of (Luaka Bop) LP
Cramps: Smell Of Female (Big Beat) LP
Eric’s Trip: Purple Blue (Sub Pop) LP
Karen Dalton: In My Own Time (Light in the Attic) LP
Ella Fitzgerald: Ella at Zardi’s (Verve) LP
Brigitte Fontaine: Brigitte Fontaine Est… Folle (Superior Viaduct) LP
Fuzz: s/t (In The Red) LP
Goat: Commune (Sub Pop) LP
Goat: Requiem (Sub Pop) LP
Guided By Voices: Bee Thousand (Scat) LP
Il Balletto Di Bronzo: Sirio (Lion) LP
Jawbreaker: 24 Hour Revenge Therapy (Blackball) LP
Jawbreaker: Unfun (Blackball) LP
Joy Division: Closer (Rhino) LP
Joy Division: Unknown Pleasures (Rhino)
Melvins: Bullhead (Boner) LP
Merzbow + Hexa: Achromatic (Dais) LP
Oh Sees: Carrion Crawler (In The Red) LP
Oh Sees: Orc (Castle Face) LP
OM: Advaitic Songs (Drag City) LP
OM: God Is Good (Drag City) LP
OM: Variations On A Theme (Holy Mountain) LP
Pallbearer: Foundations Of Burden (Profound Lore) LP
Pallbearer: Heartless (Profound Lore) LP
Pallbearer: Sorrow And Extinction (Profound Lore) LP
Max Richter: Blue Notebooks (Deutsch Grammophone) LP
Arthur Russell: Calling Out Of Context (Audika) LP
Ty Segall Band: Slaughterhouse (In the Red) LP
Sensations Fix: Music is Painting in the air (ReRVNG) LP
Silver Apples: Contact (Jackpot) LP
Silver Apples: Silver Apples (Jackpot) LP
Siouxsie & The Banshees: Join Hands (Polydor) LP
Siouxsie & The Banshees: Juju (Polydor)
Siouxsie & The Banshees: Tinderbox (Polydor)
Siouxsie & The Banshees: Through the Looking Glass (Polydor) LP
Sonic Youth: Bad Moon Rising (Goofin) LP
Spiritualized: Ladies And Gentlemen We Are Floating In Space (Plain) LP
Stars of the Lid: And Their Refinement Of the Decline (Kranky) LP
Stereolab: Mars Audiac Quintet (1972) LP
Stereolab: Transient Random-noise (1972) LP
Suicide: S/t (Superior Viaduct) LP
Chrissy Zebby Tembo: My Ancestors (Mississippi) LP
Thou: Peasant (Robotic Empire) LP
Tomb Mold: Manor Of Infinite Forms (20 Buck Spin) LP
Ween: Chocolate & Cheese (Plain) LP
Ween: Mollusk (Plain) LP
Various: Brown Acid – The Second Trip (Riding Easy) LP

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…..news letter #860 – switch…..

If last week’s Earth reissue wasn’t enough to get you down here, then maybe the reissues of White 1 & White 2 will be! They should be. And if that isn’t enough, the Brian Eno box is finally available! And we got more Ryo Fukui! And I’ve been digging through the back and found some nice OG jazz gems, and some other neat stuff I bought a while back too! Come cool off and have a dig.

CHECK OUT OUR WEBSTORE! 

…..picks of the week…..

white1

Sunn o))): White 1 (Southern Lord) LP
WHITE1 entirely remastered at 88K / 24bit from the original full length/unedited mixes by Matt “The Alchemist” Colton at Alchemy, London. OBI text : WHITE1 was originally released in 2003 by Southern Lord as a CD and very limited 3 sided LP edition of 540 copies (in a white sleeve with a sticker, packaged in an embroidered pillowcase and containing a sleeping pill.) SUNN O))) co-founders Stephen O’Malley & Greg Anderson originally conceived the WHITE albums to be “acoustic” but the sessions at Fontanelle’s Magnetic Park studios in Portland Oregon quickly took a far different route toward the psychedelic and the electronic/synthetic, with trance and drone experiments. The WHITE1 album was a bold step forward into the experimental and highly collaborative area which SUNN O))) has metamorphosed via and travelled since. Together with the generosity and talent of the unique and great guest artists Julian Cope, Joe Preston, Rex Ritter, Ulver and Runhild Gammelsæter the concept of SUNN O))) was brought forth from the shadows of the earth unto the broader cosmic spheres. For these reissues SUNN O))) returned to the original full length unedited premasters/final mixes and brought them to Matt “The Alchemist” Colton at Alchemy Mastering in London for a complete high resolution 88K/24bit mastering and, crucially, cut the lacquers using Alchemy’s half-speed method on their Neumann SX 74 cutterhead. The outstanding results allow the original full length mixes to be pressed at high fidelity on the vinyl format. The new WHITE1 masters reveal a broader frequency response, the bottom end is deeper and more intense, low mids are lusher, high frequencies are smoother and the stereo image is vastly improved, seeming more 3 dimensional spacially and more dynamic. The sound is clearer, sharper, more direct. Southern Lord Recordings is pleased to present the historical SUNN O))) WHITE albums in their fundamental and proper forms.

File Under: Drone, Metal
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white2

Sunn o))): White 2 (Southern Lord) LP
WHITE2 entirely remastered at 88K / 24bit from the original full length/unedited mixes by Matt “The Alchemist” Colton at Alchemy, London. OBI text : WHITE2 was originally released in 2004 by Southern Lord as a CD and limited double LP edition of 1000 copies (in a tip on gatefold sleeve in various vinyl colors). SUNN O))) co-founders Stephen O’Malley & Greg Anderson originally conceived the WHITE albums to be “acoustic” but the sessions at Fontanelle’s Magnetic Park studios in Portland Oregon quickly took a far different route toward the psychedelic and the electronic/synthetic, with trance and drone experiments. The WHITE2 album was notably the first collaboration with the Hungarian legend & singer Attila Csihar, which has since begat a long and fruitful creative story of the O))) ethos. With the WHITE albums SUNN O))) took a bold step the experimental and highly collaborative path the concept of the group has traveled since. Together with Attila, WHITE2 featured the extraordinary talents of special guests Joe Preston, Rex Ritter & Dawn Smithson. Along with WHITE1, the album brought the concept of SUNN O))) forth from the shadows of the earth unto the broader cosmos spheres, arriving at a truly transcendent note with the pairing of the “DECAY” tracks featuring Attila. And, the sky cracked open. For these reissues SUNN O))) returned to the original full length unedited premasters/final mixes and brought them to Matt “The Alchemist” Colton at Alchemy Mastering in London for a complete high resolution 88K/24bit mastering and, crucially, cut the lacquers using Alchemy’s half-speed method on their Neumann SX 74 cutterhead. The outstanding results allow the original full length mixes to be pressed at high fidelity on the vinyl format. The new WHITE2 masters reveal a broader frequency response, the bottom end is deeper and more intense, low mids are lusher, high frequencies are smoother and the stereo image is vastly improved, seeming more 3 dimensional spacially and more dynamic. The sound is clearer, sharper, more direct. Southern Lord Recordings is pleased to present the historical SUNN O))) WHITE albums in their fundamental and proper forms.

File Under: Drone, Metal
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eno

Brian Eno: Music for Installations (Astralwerks) BOX
In tomorrow… Musician, producer, visual artist, thinker and activist Brian Eno first came to international prominence in the early ’70s as a founding member of Roxy Music, and immediately followed with a series of critically-praised and influential solo albums. His visionary production includes albums with David Bowie, Talking Heads, Devo, Laurie Anderson and Coldplay, whilst his long list of collaborations includes recordings with John Cale, David Byrne, Grace Jones and James Blake. Music For Installations is a 9LP box set collection of new, rare and previously unreleased music, all of which was recorded by Brian Eno for use in his installations covering the period from 1986 until the present (and beyond). Over this time, he has emerged as the leading exponent of “generative” music worldwide and is recognized as one of the foremost audio-visual installation artists of his time. Eno’s visual experiments with light and video have proved to be the fertile ground from which so much of his other work has grown and they cover an even longer span of time than his recordings, paralleling his musical output in recent decades. These highly-acclaimed works have been exhibited all over the globe – from the Venice Biennale and the Marble Palace in St. Petersburg to Beijing’s Ritan Park and the sails of the Sydney Opera House. Designed by Brian Eno and long-time collaborator Nick Robertson, this beautifully bound package comes with a 64-page booklet featuring rare and unseen exhibition photographs and a new essay written by Eno. “If you think of music as a moving, changing form, and painting as a still form, what I’m trying to do is make very still music and paintings that move,” explains Eno. “I’m trying to find in both of those forms, the space in between the traditional concept of music and the traditional concept of painting.”‘

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

amps

Amps: Pacer (4AD) LP
The one and only full length from Kim Deal’s post-Pixes and Breeders group, released in 1995. Though The Amps were originally intended to be a solo project for Deal, they quickly developed into a full fledged band, recording tunes that were slated to be part of the 3rd, never recorded, Breeders’ album. Sloppy, raucous, and life-affirming rock and roll that owes more than a little to their fellow Dayton-ites Guided By Voices, Pacer is as good or better as any of the Breeders’ releases.

File Under: Indie Rock, Breeders
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astatke1

Mulatu Astatke: Afro Latin Soul Vol 1 (Strut) LP
Strut continue their essential work with the godfather Of Ethio jazz, Mulatu Astatke, with the first official reissues of his early classics Afro Latin Soul Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet. Arriving after Astatke’s life-changing years studying at Berklee College in Boston, MA the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. Comprising Ethiopian, Latin and Afro-American musicians – the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena. Astatke would start to perfect his Ethio jazz sound on his 1972 album, Mulatu Of Ethiopia but the two volumes of Afro Latin Soul stand as important recordings documenting his early career. “On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I Faram Gami I Faram’ – the lyrics were translated so that the singer could sing it in Spanish,” explains Astatke. “Some compositions were important steps for me: ‘Mascaram Setaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favourite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.”

File Under: Africa, Ethiopian Jazz
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astatke2

Mulatu Astatke: Afro Latin Soul Vol 2 (Strut) LP
Strut continue their essential work with the godfather Of Ethio jazz, Mulatu Astatke, with the first official reissues of his early classics Afro Latin Soul Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet. Arriving after Astatke’s life-changing years studying at Berklee College in Boston, MA the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. Comprising Ethiopian, Latin and Afro-American musicians – the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena. Astatke would start to perfect his Ethio jazz sound on his 1972 album, Mulatu Of Ethiopia but the two volumes of Afro Latin Soul stand as important recordings documenting his early career. “On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I Faram Gami I Faram’ – the lyrics were translated so that the singer could sing it in Spanish,” explains Astatke. “Some compositions were important steps for me: ‘Mascaram Setaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favourite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.”

File Under: Africa, Ethiopian Jazz
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avanti

Alessandro Cortini: Avanti (Pias) LP
Finally!! In tomorrow… Prior to making his third solo LP, Avanti, Alessandro Cortini rediscovered an archive of home videos made by his grandfather, who passed away a few years previously. Among the cache were several Super 8 films of family gatherings as well as hours of dinner-time conversations recorded on cassette for posterity. It was as if Cortini had unearthed a perfect fossil of his childhood. The films, however, were missing one crucial element – the sound. So Cortini decided he would restore the missing audio in his own way, by composing a musical accompaniment to the footage. Avanti is rich in anomalies and irregularities – much like our memories – which Cortini let creep into his compositions by recording live on a single synthesizer, the EMS Synthi AKS, without overdubs. The album’s tracks evoke the feeling of nostalgia through the warmth of their instrumentation and samples from Cortini’s grandfather’s archive, which bookend each track. Take opener “Iniziare” which, with its undercurrent of bass and swelling string-like motifs, is like a sepia-tinged photograph brought to life – at once elegiac and uplifting. Or the wistful “Nonfare” that, with its fuzzy, organ-like tones veiled by noise, sounds like a faded memory. While on “Vincere,” the lush layering of effervescent melodies with choral harmonies paints a picture of a carefree, sunlit scene from childhood, now painfully out of our reach. The recordings that are sampled throughout the album offer us a deeply personal glimpse into Cortini’s childhood but they also have the effect of stirring our own recollections. “I wanted the recordings to facilitate this connection at an emotional level with the listener in the same way I feel connected to it personally,” he says. With Avanti, Cortini has created a soundtrack not just for his own past but also for ours.

File Under: Electronic, Ambient
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fall

The Fall: 458489 A Sides (Beggars) LP
The 17-songs collected here come from The Fall’s Brix Smith era, aka “the golden era of Fall releases.” This is a perfect introduction to the band, and as legendary critic Robert Christgau said, it’s “The only Fall record any normal person need own.” Originally released in 1990, this album has never been released on vinyl in the US, and isn’t easy to find elsewhere. The band’s legendary and notorious frontman Mark E. Smith passed away in January 2018 at the age of 60. The band’s output since they formed at the height of the punk rock movement in Manchester in 1976 was prolific to say the least. It’s hard to be exact, but in their four decades, The Fall released 31 studio albums, 5 part-studio/part live albums, 32 live albums, 40 compilations, and Smith also released two spoken word albums. Another high number is that of former members of The Fall. There were over 60 different band members over the years. Their high volume of quality work over the last 40+ years had an enormous influence which was extolled greatly after Smith’s death.

File Under: Punk
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stories

Masayoshi Fujita: Stories (Erased Tapes) LP
Ahead of the release of his new album Book Of Life, Erased Tapes reissues 2013’s Stories, the first in a trilogy of vibraphone solo albums by Berlin-based composer Masayoshi Fujita. This quietly exquisite LP is like a book of illustrations, evoking scenes of natural beauty and poetic poignancy that combines climactic crescendos laced with electronic detail and luxurious melody. Stories is the beginning of Masayoshi’s mission in bringing the vibraphone – a relatively new invention in the history of instruments often kept in the background in orchestras and jazz outfits – into the spotlight. Having trained as a drummer, Masayoshi began experimenting with the vibraphone, preparing its bars with kitchen foil or beads, playing it with the cello bow or using the other end of the mallets to create a more ambient texture of sound. Focusing on the vibraphone in this way sets Masayoshi apart, dedicating his artistic life to celebrating this fascinating and often under appreciated instrument and making his take on ambient and modern compositional styles a unique one.

File Under: Ambient, Classical
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mellow drea

Ryo Fukui: Mellow Dream (We Release Jazz) LP
Back in stock! We Release Jazz (WRWTFWW Records’ new sister-label) present the official reissue of criminally overlooked Japanese jazz gem Mellow Dreamby Hokkaido pianist wunderkind Ryo Fukui, originally released in 1977. Released in conjunction with the its legendary predecessor 1976’s Scenery (WRJ 001CD/LTD-LP). Firmly standing on the foundation he laid down with Scenery, Ryo Fukui continues his exploration of modal, bop, and cool jazz sounds with meticulous grace and absolute mastery. As its title suggests, Mellow Dream ventures into slightly mellower, more soulful, and sometimes more contemplative territories (the Bill Evans-reminiscent “Mellow Dream” and “My Foolish Heart”) while still packing the commanding punch Fukui’s work is loved for, as heard on the amazingly bombastic “Baron Potato Blues” or the gigantic McCoy Tyner/John Coltrane-influenced “Horizon” which sees each member of the trio — Satoshi Denpo is on bass and Yoshinori Fukui is on drums — demonstrating their virtuosity for nine exhilarating minutes. With his sophomore album, Ryo Fukui swings from melancholy to vibrant joy with ease, and reminds you that jazz is best served with a pinch of blues, and displays an immensely rare combination of pure talent, unique personal approach and focused discipline. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists. After releasing the outstanding Scenery and Mellow Dream back-to-back, Ryo Fukui worked on developing his live skills, often performing at Sapporo’s Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing two live albums. He sadly passed away in March 2016, leaving behind a legacy of works that all jazz lovers should explore. Sourced from the original masters.

File Under: Jazz
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hauschildt

Steve Hauschildt: Dissolvi (Ghostly) LP
In search of the sublime, contemporary electronic musician Steve Hauschildt has designed grids and panoramas of sound across multiple releases through the rise and dissolution of his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music. Consistent with his solo work is Hauschildt’s ability to coil his craft in precise, varied, and distinctly physical forms. Gently spinning arpeggios converse with post-industrial decay. Sonic fibers sway like pendulums from static melancholy to motorik bliss. Dissolvi, the artist’s first full-length with Ghostly International, engages sublimation from an ontological perspective: by dissociating the self. Hauschildt steps out from the singular path, for the first time in a traditional studio, to compose and arrange contributions from friends. As a result, his most collaborative work to date extends a vast, vibrating framework in which to consider the state of being. The album’s title – a reference to cupio dissolvi, the Latin phrase meaning “I wish to be dissolved” – needn’t be taken one-dimen sionally or as purely solipsistic. It does, however, serve an apt reference. Physiological phenomena are of interest to Hauschildt. These back-of-mind ruminations find their way out. Songs are cerebral in orientation, but beyond explanation, the music is truly visceral. Involuntary eye movement inspires the serene, sanguine-nearing-suspicious “Saccade.” Hauschildt feathers soft percussion beneath the echoed refrains of Los Angeles musician Julianna Barwick, together shaping a svelte suggestion of the anxieties brought about by modern-day surveillance; if everyone is being watched constantly, there is no individual, no self, only a broadly monitored and clumsily cataloged populous. The work of Chicago poet Carl Sandburg comes to mind: “I am the people – the mob – the crowd – the mass.” The individual dissolves into the taxonomic crowd. Minimalist techno impulses provide a stylistic through-line for Dissolvi. Understated synth phrases and drum grooves take hold in selective moments, like synchronistic structures onto which nebulous mists, like the rapturous voice of Gabrielle Herbst aka GABI on “Syncope,” cling to and cloud, producing a dazzling rift in consciousness. The 7-minute centerpiece “Alienself” reiterates this creative logic, burbling like an amorphous body of water on a low-gravity planet, on the verge of dissolving, but never fully dematerializing. The album was constructed in Chicago and partially in New York. “Much of it was recorded in a windowless studio which removed elemental or seasonal references to time in the music,” says Hauschildt. “The focus this time was on mixing the album and incorporating a broader set of instrumentation. I describe my compositional approach as being quasi-generative.” Embracing new methods and philosophical curiosities, and in turn, expanding the range of his repertoire, Hauschildt proposes a fascinating and profoundly rich experience in listening, being, and deliquescing.

File Under: Electronic
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peaches

Moldy Peaches: s/t (Rough Trade) LP+7″
The Moldy Peaches were established in the mid- 90s by Adam Green and Kimya Dawson, after meeting in upstate New York. The duo helped spawn the “anti-folk” music genre movement, bringing a more quirky, lo-fi punk element into the indie music scene. After releasing their own music for a few years, they collected their best material for a proper album, and in 2001 shared The Moldy Peaches via Rough Trade Records. Known for their sense of humor, whimsy and self-deprecation, the album featured gems like “Downloading Porn With Dave” and “Who’s Got The Crack.” In 2007, “Anyone Else But You” (another song from the aforementioned LP), was used in the Academy Award winning movie Juno, and reignited the album’s cult popularity. This first pressing of the highly coveted title in 15 years comes on colored LP and includes a bonus 7″ single of “County Fair” and “Rainbows.”

File Under: Indie Rock
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welch

Gillian Welch: Soul Journey (Acony) LP
Gillian Welch’s rich and remarkable career spans over 20 years, and is a pillar of the modern acoustic music world. This is the long-awaited first pressing of the roots singer/songwriter’s moving 2003 album, Soul Journey, a collaborative effort with producer/multi-instrumentalist David Rawlings which Mojo called “pretty much perfect” in their 5-star review. It marked the pair’s first experimentation with a fuller, electric sound and is home to some of the most beloved songs in Welch’s catalog including the timeless classics “Look at Miss Ohio” and “Wayside/Back in Time.” Mastered for vinyl direct from the analog tapes by Gillian Welch and David Rawlings on their own custom-built VMS 80 lathe with Ortofon amplifiers and plated and pressed at Quality Record Pressings. The vinyl LP comes packaged in a gatefold old-style tip-on jacket with a printed insert and lyrics which are included with the album for the first time. “We have been working and waiting 20 years to bring you our music on phonograph record. It took a while, because we wanted to do it the right way, the absolute best way humanly possible, and I believe that’s what we’ve done. No sonic stone was left unturned, no nuance let fall by the wayside. There is honestly nothing else I can imagine hoping to hear out of the original tapes. It is all there in the groove. As people whose lives were changed by the sound of music coming off turntables, we humbly invite you to include us in your record collection.” – Gillian Welch

File Under: Folk
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pride

Various: Black Man’s Pride 2 (Soul Jazz) LP
This is the second installment of deep roots Rastafarian reggae at Studio One and features classic music from some of the most important figures in reggae music – Alton Ellis, The Heptones, Jackie Mittoo, The Gladiators – alongside a host of rarities and little-known recordings, such as a truly rare Mystic Revelation of Rastafari seven-inch single, Willi William’s first ever recording “Calling” and Horace Andy’s righteous (and equally rare) masterpiece “Illiteracy.” Black Man’s Pride 2 extends the legacy of Studio One’s ground-breaking path in roots reggae which began at the end of the ’60s and continued throughout the ’70s. The album tells the story of how the rise of Studio One Records and the Rastafari movement were interconnected, through the adoption of the Rastafari faith by key reggae artists – everyone from the Skatalites and Wailers in the ’60s, major singers such as Alton Ellis and Horace Andy at the end of the decade, through to major roots artists such as The Gladiators in the ’70s – and how Clement Dodd consistently recorded this heavyweight roots music throughout Studio One’s history. The extensive sleeve-notes to this album also discuss the links between Rastafari and Studio One in time and place, noting how both the religion and Dodd’s musical empire had their roots in the intense period of pre-independence Jamaica in Kingston, expanded in the ’60s following the visit of Haile Selassie in 1966, and how roots music then came to dominate reggae music in the early ’70s. Also discussed is how the outsider stance of both reggae music and the Rastafari movement relate back many hundreds of years to the original rebel stance of the Maroons, escaped slaves who set up self-sufficient enclaves in the hills of the Jamaican countryside.

File Under: Reggae

fujimachine

Various: Nigeria Fuji Machine: Synchro Sound System & Power (Soul Jazz) LP
Synchro Sound System & Power features the music of Nigeria Fuji Machine, which includes some of Nigeria’s finest ‘Fuji’ master drummers and singers, and is newly recorded by Soul Jazz Records in Lagos. Fuji is the heavily percussive and improvisational style of Nigerian popular music, at once modern and yet deeply rooted in the traditional Islamic Yoruba culture of Nigeria. Here on this album Nigeria Fuji Machine’s striking and powerful lead vocalist Taofik Yemi Fagbenro soars above a wild and energetic backdrop of polyrhythms played on traditional talking drums, trap drums, electronic and street percussion to create a powerful wall of intense sound. Fuji is hi-energy street music, heavily percussive which evolved out of the Islamic celebration of Ramadan, which became a major event in mid-20th century Lagos. Groups of young men walked through Muslim neighborhoods at night singing improvised ‘wéré’ music to the accompaniment of pots, pans, drums, bells and anything else available, waking believers for the early morning prayer. By the early ’70s this music had crossed-over into popular Nigerian culture where it came to be known as Fuji, first made popular by the artist Alhaji Sikiru Ayinde Barrister, as the music began to be performed commonly at parties and social events. In the ’70s and ’80s three Nigerian artists – King Sunny Adé, Chief Ebonezer Obey and Fela Kuti – all secured international major record deals bringing popularity to the Nigerian musical styles of Juju (Adé and Obey) and Afro-Beat (Fela Kuti’s unique mixture of highlife, funk and jazz) abroad, but in the process ignoring much of Nigeria’s rich musical landscape. Fuji is, alongside Highlife, Juju, Afro-Beat, Sakara, Afro-Reggae, Waka, Igbo rap, Apala and numerous others – one of these central styles of Nigerian music. The singer Barrister described the music as follows: “Fuji music is a combination of music consisting of Sakara, Apala, Juju, Aro, Afro, Gudugudu, and possibly Highlife.” Juju performer King Sunny Adé described the difference between the two styles of Fuji and Juju somewhat competitively thus: “Fuji music is more or less like my music without guitars. It’s like I’m singing in a major key and they are singing in a minor. The music itself is the music of Juju music.” Today Fuji remains a powerful popular music with deep and powerful Islamic roots which continues to modernize and attract new generations of young Nigerians and Nigeria Fuji Machine’s Syncho Sound System & Power is a powerful and intense musical experience.

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

Leon Bridges: Coming Home (Columbia) LP
Buena Vista Social Club: s/t (World Circuit) LP
Buena Vista Social Club: Live at Carnegie Hall (World Circuit) LP
Buffalo Springfield: What’s That Sound (Rhino) BOX
Cocteau Twins: Heaven or Las Vegas (4AD) LP
Miles Davis: Big Fun (Music on Vinyl) LP
Jeremy Dutcher: Wolastoqiyik Lintuwakon (Jeremy Dutcher) LP
Future Islands: Singles (4AD) LP
Future Islands: Far Field (4AD) LP
Lykke Li: So Sad So Sexy (LL) LP
National: Boxer (Beggars) LP
National: Sleep Well Beast (4AD) LP
Pavement: Crooked Rain Crooked Rain (Matador) LP
Pavement: Brighten the Corners (Matador) LP
Arthur Russell: World of Arthur Russell (Soul Jazz) LP
Vampire Weekend: s/t (XL) LP
Yo La Tengo: And Then Nothing Turned Itself Inside Out (Matador) LP
Frank Zappa: Hot Rats (Zappa) LP

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…..news letter #859 – grid…..

I’m not gonna sugar coat it, there’s not a lot of new stuff this week. However, that Earth reissue is worth the trip down if you didn’t buy it the last 2 times it came out. Also, James has been plowing through the back and there’s lots of lovely used things getting priced up. Assuming you’re not gone for the long weekend, you should come for a dig.

CHECK OUT OUR WEBSTORE! 

 …..pick of the week…..

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Earth: The Bees Made Honey in the Lion’s Skull (Southern Lord) LP
The rebirth of Earth resulted in the band signing with Southern Lord Recordings and releasing the essential “Hex” album circa 2005. Their next step was monumental. Working alongside Hex producer Randall Dunn, the band entered AVAST! studios (where Earth2 was recorded) and began laying down what was to become one of the bands finest moments of their existence. The mainstay core of Dylan Carlson & Adrienne Davies collaborated and wrote material with Steve Moore, Don McGreevy, and legendary guitarist Bill Frissell. The final result of their hard work was: “The Bees Made Honey In The Lion’s Skull”. The musical direction was more focused than Hex with the band moving into more of a rock and american Gospel oriented and improvisatorydirection framed by a truly psychedelic production. It remains the groups most successful album and many tracks are still performed by Earth live. The audio was specifically mastered for vinyl and the LP lacquers were cut by Bob Weston (Shellac). The vinyl version of this album contains the exclusive bonus track: “Junkyard Priest” (featuring Milky Burgess on slide guitar) This 2018 pressing is housed in a beautiful “old style” Stoughton gatefold jacket.

File Under: Drone, Metal
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…..new arrivals…..

700133 JORGE BEN A TÁBUA DE ESMERALDA.indd

Jorge Ben: A Tabua de Esmeralda (Elemental) LP
In tomorrow… Tábua de Esmeralda, the eleventh studio album by Brazilian maestro Jorge Ben, released in 1974 on Philips Records. The album showcases Ben’s interest in theosophy, mysticism, and, above all, alchemy. Its title refers to the Emerald Tablet, a cryptic piece of Hermetica reputed to contain the secret of the prima materia and its transmutation; and its artwork incorporates drawings from Nicholas Flamel, who was historically immortalized as a great alchemist for his work on the philosopher’s stone. Considered Ben’s masterpiece, it was ranked by Rolling Stone Brasil as the sixth greatest Brazilian album of all time, and has been included in Tom Moon’s 1,000 Recordings to Hear Before You Die. A Tábua de Esmeralda belongs in the record collection of any fan of Ben’s music and is also a great starting point for someone who wants an introduction to his work.

File Under: Brazil, Samba, Bossa Nova, Tropicalia
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Jorge Ben: s/t (Elemental) LP
In tomorrow… Released in 1969, it was Jorge Ben’s first album with Trio Mocotó, a group that would be backing him along the 70’s on many other seminal albums, such as Força Bruta (1970), Negro É Lindo (1971) and A Tábua de Esmeralda (1974). The present album is said to have influenced the “Tropicália” movement, as three tracks from this set, “Que pena”, “País tropical” and “Charles, anjo 45” were immediately covered by Gal Costa (the former two), and Caetano Veloso (the latter), two key artists of that Brazilian musical and artistic movement. This album is considered a samba soul classic, and quite possibly Ben’s greatest album ever. In contrast to the cerebral output of the “Tropicália” camp in 1969, this album is much more visceral and personal, and yet no less revolutionary.

File Under: Brazil, Tropicalia, Samba, Bossa Nova
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Jeremy-Dutcher-Wolastoqiyik-Lintuwakonawa-Album-Artwork-1200x1200

Jeremy Dutcher: Wolastoqiyik Lintuwakon (Jeremy Dutcher) LP
In tomorrow… Wolastoqiyik Lintuwakonawa is the debut album by Canadian composer and tenor, Jeremy Dutcher – which involves post-classical rearrangement of his Wolastoq First Nation traditional music. Granted access to the Canadian Museum of History, Jeremy discovered wax cylinders from 1907 of his ancestors singing forgotten songs and stories that had been taken from the Wolastoqiyik Nation generations ago. The album is Jeremy’s contribution to his heritage and community in attempts to revitalize the Wolastoq language to the world, which has less than 100 speakers alive today. This collection of ground breaking post-classical arrangements is truly one of a kind and recalls the mood of Rufus Wainwright’s operatic performance or the haunting pop of Anthony & The Johnsons.

File Under: Classical, First Nations, Chamber Pop
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flaminghear

Flaming Lips: Hear It Is (Rhino) LP
The Flaming Lips have pushed the envelope and bent boundaries for more than two decades with the band’s Grammy-winning music and ground-breaking concerts. In 2018, Rhino and Warner Bros. Records will celebrate Oklahoma’s most famous freaks with an ambitious reissue program, kicking off with remastered editions of the joyous weirdness the band recorded for Restless Records between 1984 and 1990 before signing with Warner Bros. in 1991 including Hear It Is (1986), Oh My Gawd!!!…The Flaming Lips (1987), Telepathic Surgery (1989) and In A Priest Driven Ambulance (With Silver Sunshine Stares) (1990). Following in the grand tradition of other great Southwestern psych bands such 13th Floor Elevators and The Red Krayola, The Flaming Lips’ mind bending 1986 debut, Hear It Is mixed punk, country & western, psychedelia, goth, and pure bar-band rock and roll into their own curious creation on classics such “Jesus Shootin’ Heroin” “Trains, Brains, & Rain” and “Charlie Manson Blues.” Sharing the weird, slanted pop sensibility of contemporaries like Meat Puppets and Butthole Surfers, this early masterpiece continues to influence bands to this day. Indeed, the punk rockers were finally taking acid. Remastered from the original 1/4″ analog tape masters by the band’s longtime musical foil and producer, David Fridmann, with help from the Flaming Lips’ Wayne Coyne and Michael Ivins.

File Under: Rock
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flamingohmy

Flaming Lips: Oh My Gawd!!! (Rhino) LP
The Flaming Lips have pushed the envelope and bent boundaries for more than two decades with the band’s Grammy-winning music and ground-breaking concerts. In 2018, Rhino and Warner Bros. Records will celebrate Oklahoma’s most famous freaks with an ambitious reissue program, kicking off with remastered editions of the joyous weirdness the band recorded for Restless Records between 1984 and 1990 before signing with Warner Bros. in 1991 including Hear It Is (1986), Oh My Gawd!!!…The Flaming Lips (1987), Telepathic Surgery (1989) and In A Priest Driven Ambulance (With Silver Sunshine Stares) (1990). Expanding and evolving on the mind bending mélange of their trailblazing debut, the Lips’ second effort, Oh My Gawd!!! finds the fearless band mining the psychedelic aspects of their sound even further. And the group’s ever ambitious nature begins to really reveal itself here as well with Ummagumma era Pink Floyd, Mountain, and even Blue Cheer becoming clear influences. It’s home to such seminal showpieces as “One Million Billionth Of A Millisecond On A Sunday Morning,” “Maximum Dream For Evil Knievel,” and “Prescription: Love.” Remastered from the original 1/4″ analog tape masters by the band’s longtime musical foil and producer, David Fridmann, with help from the Flaming Lips’ Wayne Coyne and Michael Ivins.

File Under: Rock
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flaming tele

Flaming Lips: Telepathic Surgery (Rhino) LP
The Flaming Lips have pushed the envelope and bent boundaries for more than two decades with the band’s Grammy-winning music and ground-breaking concerts. In 2018, Rhino and Warner Bros. Records will celebrate Oklahoma’s most famous freaks with an ambitious reissue program, kicking off with remastered editions of the joyous weirdness the band recorded for Restless Records between 1984 and 1990 before signing with Warner Bros. in 1991 including Hear It Is (1986), Oh My Gawd!!!…The Flaming Lips (1987), Telepathic Surgery (1989) and In A Priest Driven Ambulance (With Silver Sunshine Stares) (1990). Experimental, even by The Flaming Lips standards, the band’s third album is a glorious and mind-expanding mix of heavily effected guitar solos, backwards recordings and surrealistic imagery. Once again, the classic song titles keep coming with “Chrome Plated Suicide,” “Hari-Krishna Stomp Wagon (Fuck Led Zeppelin),” and “Drug Machine in Heaven.” Telepathic Surgery became a big influence on a number of bands in its wake from Mercury Rev and Beck to Grandaddy and The Olivia Tremor Control. Remastered from the original 1/4″ analog tape masters by the band’s longtime musical foil and producer, David Fridmann, with help from the Flaming Lips’ Wayne Coyne and Michael Ivins.

File Under: Rock
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immortal

Immortal: Sons of Northern Darkness (Nuclear Assault) LP
Pioneering Bergen, Norway black metal outfit Immortal was formed in 1991 out of the ashes of the two short lived bands Amputation and Old Funeral and has proceeded to become a benchmark of quality extreme metal. With their seventh full length effort Sons of Northern Darkness (2002), Immortal managed to combine both the more melodic elements from Damned in Black and At The Heart of Winter with the intensity of a Battles in the North, bringing forth their heaviest album in recent years along the way. Long out of print and highly sought after on vinyl, this gatefold, colored 2LP-set from Nuclear Blast satiates the demand at long last!

File Under: Black Metal
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li

Lykke Li: So Sad So Sexy (LL) LP
So Sad So Sexy is the inventive fourth studio album from Los Angeles based, Swedish vocalist, producer, and songwriter Lykke Li. The 10 song collection was primarily written by Lykke with her main co-writer Ilsey Juber (Beyonce, Drake, Kanye, Majid Jordan) and produced by Lykke and Malay (Lorde, Frank Ocean) with collaborators Jeff Bhasker (Kanye West, Bruno Mars, Rihanna), Rostam (Solange Knowles, HAIM), Illangelo (The Weeknd), Jonny Coffer (Beyonce, Naughty Boy, Sam Smith), DJ Dahi (BANKS, Ty Dolla Sign), T-Minus (Kendrick Lamar, Drake), Skrillex and Emile Haynie (Eminem, Lana Del Rey, Dua Lipa). So Sad So Sexy has been called “a superb reinvention of Lykke Li” (Consequence of Sound) and a “dramatic new direction” (Billboard), while single “Hard Rain” has been hailed as a “mesmerizing ballad” (Rolling Stone) and “a futuristic quiet storm” (Pitchfork).

File Under: Pop
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swna

Swans: Soundtracks for the Blind (Young God) Box
Swans Soundtracks for the Blind, their last studio album released in 1996 prior to their 2010 reformation, is released for the first time on vinyl. Much requested by Swans fans, the vinyl package will consist of four LPs in jackets enclosed in a box with a poster, insert and download card. “This album has everything in there – all the ideas from Swans’ initial 15 years of work. There’s some contemporary recordings of the band as it existed in ‘96/7, with Larry Mullins on drums/percussion, Jarboe singing and playing keyboards, Vudi playing electric guitar, and Joe Goldring playing bass and electric guitar, and me singing and playing electric and acoustic guitar, but there’s also a huge amount of sounds and recordings that Jarboe and I collected over the years. These are reassembled, looped, mangled, and in many cases overdubbed upon to create new pieces of music…I really set my own trap, dug my own grave on this one. There was so much material to deal with, to sift through (whole trunks full of decomposing, moldy cassettes and discs with samples and sounds), and the task of making it into something coherent was at times debilitating. “Really like climbing up a mountain of sand. I don’t remember why I set this goal for myself, to somehow incorporate such a ridiculously disparate amount of material. I think maybe it was so I could justify throwing all that crap into the local dump, which is what I did when I finished the album. But in the end, after centuries of picking at this huge iceberg of material with a toothpick, my trusty engineer Chris Griffin and I managed to sculpt something out of it. It actually breathes, seems to live, in most places I think…When I decided to reform Swans in 2010 Soundtracks was what I referred to as a starting point” – Michael Gira / Swans 2018

File Under: Rock, Goth, Experimental
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FIRELP425 Josephine Foster - A Wolf In Sheep's Clothing OUTER SL

Tangerine Dream: Miracle Mile (Fire) LP
The soundtrack to the original motion picture directed by Steve De Jarnatt (1989) and twelfth film score from Tangerine Dream, the tension in ‘Miracle Mile’, both the music and on the screen, make it one of their strongest and a masterpiece.

File Under: Electronic, OST
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u2

U2: Achtung Baby (Island) LP
In tomorrow… The world changed dramatically in the three years in between Rattle and Hum and Achtung Baby – and so did U2. By the time their seventh studio album was released in November 1991, Germany had reunified, Nelson Mandela was a free man, Margaret Thatcher had resigned and the Soviet Union was about to dissolve. Amid events of such magnitude, the biggest rock group in the world had some momentous changes of their own to unveil. What emerged was an album open to all kinds of sounds and hues, and one that would add to U2’s collection of anthems even as it recalibrated their sound for the 1990s. It went on to win them two more Grammys, for Best Rock Performance and Producer of the Year for Daniel Lanois and Brian Eno. This was rock, but not always as we had known it from them before. At a remove from the American roots music that provided the palette for Rattle and Hum, darker elements were creeping onto the canvas. Yet, dependably, Achtung Baby was still overflowing with grand-scale songs that were set to ring around the arenas of the world. Lead single “The Fly” landed at the top of the British charts in October 1991, the first time U2 had achieved an instant UK No. 1. No fewer than five songs from the 8x platinum, No. 1 charting album would be released as singles. “Mysterious Ways” and “Even Better Than The Real Thing” had the dimensions of previous crowd-pleasers, but now with nods to the burgeoning sounds of electronica and hip-hop while the plaintive, elegant call to arms “One” emerged as one of U2’s very best ballads.

File Under: Pop
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zooropa

U2: Zooropa (Island) LP
In tomorrow… Even while they were on the road all over the world on the Zoo TV tour, the ideas for U2’s next album were burning such a hole in their pocket that it became the fastest record they’ve ever made. Just as Bono had explained that Rattle and Hum belonged with The Joshua Tree as its natural partner, the band knew in their bones that 1991’s Achtung Baby would soon inspire a complementary follow-up. Its name would be Zooropa (1993), and although it was first envisaged as an EP, it simply demanded to become their 2x platinum, Grammy-winning eighth studio album. For the first time, The Edge was named individually as co-producer of a U2 album, along with their unswerving confidant Brian Eno and another new name in the credits, but one who was in reality a U2 veteran. Mark ‘Flood’ Ellis had co-engineered The Joshua Tree and then, after enhancing his reputation immensely by co-producing Nine Inch Nails’ Pretty Hate Machine and Depeche Mode’s Violator, returned to the U2 fold for Achtung Baby. With Daniel Lanois unavailable for Zooropa, Flood was the perfect choice to step up as co-producer, in what has been an enduring relationship. Cutting edge lead single “Numb” set the scene for the futuristic course plotted throughout the LP. Zooropa offers such a rich palette of sounds to take in, such a wash of instrumental colors and effects to assimilate, that Bono often assumes a measured, less-is-more vocal delivery. Indeed, on “Numb,” again on the club-friendly “Lemon” and at times on the tender “The First Time,” he showed an entirely new facet by singing in falsetto. Third single, “Stay (Faraway, So Close!),” hit No. 1 in Ireland and broke into the UK top five. This vinyl reissue sees Zooropa expanded to 2LPs for the first time ever, to include bonus mixes of “Lemon” and “Numb.”

File Under: Pop
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we

Wolf Eyes: Dread (Lower Floor) LP
In tomorrow… A sought after early Wolf Eyes album back on vinyl for the first time in 17 years. Dread was originally released on Hanson Records, American Tapes and Bulb Records in 2001. Filters circuit bent electronics, fried dub and the dystopian proto-punk of Cabaret Voltaire and Suicide through a distinctly Midwest USA sensibility. The result is a freak classic for the ages. The vinyl edition comes with a double-sided fold-out A2 newsprint poster and the bonus track “Sandpapered Eyes” on an accompanying download card. This release continues to establish Lower Floor Music as a new home for the group’s cultural vision, highlighting both new and archival work. In 2017 the label was minted with the release of their harrowing Undertow LP and the slowed down techno-meets-free-from jazz devastation of the follow-up Strange Days II 12′. This is the latest fork in a path the band started forging in 1998, releasing a massive amount of small run DIY basement recorded tape and CD-R missives, as well as higher profile albums for the likes of Sub Pop, Third Man and De Stijl. “Necessary reissue of this crucial side by the greatest underground band of your lifetime. Still sounds like nothing else.” – David Keenan (This Is Memorial Device / Volcanic Tongue)

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

Arctic Monkeys: Tranquility Base Hotel + Casino (Domino) LP
Bon Iver: s/t (Jagjaguwar) LP
David Bowie: Changesonebowie (RCA) LP
Childish Gambino: Camp (Glassnote) LP
Deathgrips: Bottomless Pit (Harvest) LP
Destroyer: ken (Merge) LP
Felt: Crumbling the Antiseptic Beauty (Cherry Red) LP
Felt: The Splendour of Fear (Cherry Red) LP
Felt: The Strange Idols Pattern… (Cherry Red) LP
Stan Getz/Joao Gilberto: s/t (Verve) LP
Gorillaz: Demon Days (Parlophone) LP
Jonny Greenwood: You Were Never Really Here OST (Lakeshore) LP
Jon Hassell: Listening to Pictures (Ndeya) LP
Hot Snakes: Audit in Progress (Sub Pop) LP
Hot Snakes: Suicide Invoice (Sub Pop) LP
Sharon Jones: Give the People What They Want (Daptone) LP
Sugai Ken: UkabazUmorezU (RVNG Intl) LP
Khruangbin: Con Todo Mundo (Dead Oceans) LP
Anderson.Paak: Venice (Steel Wool) LP
Ty Segall: Manipulator (Drag City) LP
Midori Takada: Through the Looking Glass (WRWTFWW) LP
Unwound: Fake Train (Numero) LP
Caetano Veloso: Transa (Elemental) LP
Tom Waits: Heart of Saturday Night (Anti) LP
Frank Zappa: Burnt Weeny Sandwich (Zappa) LP
Frank Zappa: Hot Rats (Zappa) LP
Frank Zappa: Lumpy Gravy (Zappa) LP

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…..news letter #858 – norns…..

Yikes, sooooo much stuff in this week. Loads of new stuff, reissues, restocks. Bonkers. BONKERS!

Hopefully you’ve had a chance to check out our new webstore… if not CHECK IT OUT!  The inventory is live with the shop, so if it’s in stock there, it’s in stock in the store. We have an instore pick up option, so if you are local, but going out of town, or just don’t want to miss out on something, by all means, buy it through the site and it’ll be here waiting for you when you have time to get in.

…..picks of the week…..

mogard

Abul Mogard: Above All Dreams (Ecstatic) LP
Above All Dreams is Abul Mogard’s beautifully absorbing new album for Ecstatic — his first since the Circular Form and his popular Works compilation. Counting six original pieces in its 66-minute wingspan, there’s no mistaking that Above All Dreams is the most expansive solo release by Mogard to date. Taking into account its intangible divinity and cinematic quality — the result of no less than three years diligent work — it is arguably elevated to the level of his master opus; presenting a modular distillation of Mogard’s most intoxicating strain of hauntology. Consistent with Mogard’s music since the sought-after VCO tapes, c. 2012-2013, the allure to Above All Dreams lies in his ability to evoke and render feelings which are perhaps purposefully avoided in more academic echelons of drone music. Rather than a purist expression of physics through maths and geometry, Mogard voices his soul, improvising on modular synth for hours, days, months, and years in the same way a more conventional “band” develops group intuition. While hands-on, the intuitive evolution of process locates a newfound freedom in his music that implies a recognition of the metaphysical or post-physical, while Mogard explicitly points to influence from the Brazilian music of Tom Zé, Antonio Carlos Jobim, and Chico Buarque, whose approach to shape and density, or perceptions of light and delicacy, also go some way to explaining the ephemeral intangibility of Above All Dreams. The results are best considered as the ephemera of non-verbal communications. From the gaseous bloom of “Quiet Dreams” to the opiated depth of “Where Not Even” to the starlit awn of “Upon The Smallish Circulation”, and through the B side’s keeling, 16 minute+ panoramas of “Above All Dreams” and “The Roof Falls”, the power of Abul Mogard’s dreams above all transcends sound, feeling, and physics in a truly remarkable way that evades words or concrete notation. RIYL: Alessandro Cortini, early Oneohtrix Point Never, Coil, Brian Eno. Master and cut by Matt Colton at Alchemy.

File Under: Ambient, Electronic, Drone
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David Hollander: Unusual Sounds
(Anthology) BOOK

In the heyday of low-budget television and scrappy genre filmmaking, producers who needed a soundtrack for their commercial entertainments could reach for a selection of library music: LPs of stock recordings whose contents fit any mood required. Though at the time, the use of such records was mostly a cost-cutting maneuver for productions that couldn’t afford to hire their own composer, the industry soon took on its own life: library publishers became major financial successes, and much of the work they released was truly extraordinary. In fact, many of these anonymous or pseudonymous scores-on-demand were crafted by the some of the greatest musical minds of the late 20th century—expert musicians and innovative composers who reveled in the freedoms offered, paradoxically, by this most corporate of fields. Unusual Sounds is a deep dive into a musical universe that has, until now, been accessible only to producers and record collectors; a celebration of this strange industry and an examination of its unique place at the nexus of art and commerce. Featuring original art by Robert Beatty and an introduction by George A. Romero—whose use of library music in Night of the Living Dead changed film history— Unusual Sounds is mandatory reading for anyone interested in this enigmatic field and its hidden but pervasive cultural influence. David Hollander is an artist, filmmaker and collector. He is a co-founder of CineMarfa, a film festival dedicated to showcasing rare and unseen films in Marfa, Texas. He lives in San Antonio.

File Under: Library, Books
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…..New Arrivals…..

amt

Acid Mothers Temple: Hallelujah Part 1 (Important) LP
Part One of Hallelujah Mystic Garden contains two long sides of blissed-out, super tight Acid Mothers Temple jams that somehow stretch into the future while staying strongly rooted in the group’s celebrated psychedelic history. Hallelujah! Another essential AMT classic including vocals from Cotton Casino! Recorded at Acid Mothers Temple, June 2016 to March 2017. Produced and mixed by Kawabata Makoto. Part Two will be released later in 2018 on Important Records. Personnel: Cotton Casino – voice, astral mama; Kawabata Makoto – guitar, fretless bass, bouzouki, organ, rhythm machine, electronics, tapes, speed guru; Higashi Hiroshi – synthesizer, noodle king; Mitsuko☆Tabata : guitar, guitar-synthesizer, voice, kisses & hugs; Satoshima Nani – drums, another dimension; S/T “Wolf” – bass, tapes, space & time. Packaged in a heavy duty single pocket sleeve with silver metallic inks. First pressing comes in an edition of 500.

File Under: Psych

akwassa

Akwassa: In The Groove (Oom Dooby Dochas) LP
Oom Dooby Dochas present a first-time reissue of Akwassa’s In The Groove, originally released in 1977. Nigeria had an utterly strong popular music scene in the 1970s, Afro beat and Afro funk were the hottest musical creations of the day and garage rock-oriented bands like Ofege or funky monsters Akwassa were at the forefront of the movement. In The Groove is Akwassa’s second album, despite recording three albums released under the moniker Heads Funk Band with exactly the same line-up as Akwassa from 1975 to 1978. However, the main difference between In The Groove and the earlier records is a more slick and polished feeling and a strong reggae element. Next to this, there are definitely a few more up-to-date disco funk influences that outweigh the classic raw street funk you’ll find on the predecessors of In The Groove. So the development in sound and style is obvious. In The Groove has an easier, more relaxed feeling. The atmosphere is bright and certainly reaches out for a wider audience. In The Groove was a perfect album that will appeal to each and every fan of funky music. All the members of Akwassa stayed with music after the band dissolved in the late ’70s, some of them until recent years, others straight up into the ’80s or ’90s. Even though this important Nigerian band called out its quit at some point, they left a rich legacy of music. Colorful and inspiring, this album is made to last forever due to the memorable hooks and harmonies. This official reissue of this monster rarity was overdue, and Afro funk lovers around the world will leap for joy as nearly all tunes could be played in a row to set the dancefloor ablaze.

File Under: Afrobeat, Funk
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SOAVE01718LP_CU

Daniel Bacalov: 1984/5 Il Ladro Di Anime (Soave) LP
Soave present a joint reissue of two of Daniel Bacalov’s albums: Il Ladro Di Anime (1984) and Diario Segreto Contraffatto (1985). Daniel Bacalov, composer of music for theater, cinema, and dance, studied classical guitar and percussion. He composed the music of numerous theatrical performances represented in many international theater festivals. His first two publications on LP were Il Ladro Di Anime, presented at the Venice Biennial of 1984 and Diario Segreto Contrattato. Soave offer these two fundamental documents of the period, reprinting them for the first time in a limited edition on double LP. The compositions are mainly structured on ethnic percussions played in a masterly manner, accompanied by acoustic guitars and synths of the time, in particular the DX7 and PPG Wave. The dictated rhythm unites the show as a universal and indeterminate single body. In those years the theater in Italy broke from its usual codes, mixing “high” and “low” culture, introducing a new language and new reflections, redefining the theatrical event and the need to investigate all the territories of creativity; in this panorama the sounds and the music assumed a central importance that today remain the most concrete testimony of that extremely creative experimental period.

File Under: Ambient, Electronic, Percussion
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bailey

Derek Bailey: Aida (Honest Jon’s) LP
Continuing their ongoing series of reissues of music by Derek Bailey, Honest Jon’s Records present a first vinyl reissue of Aida, originally released on the guitarist’s own Incus label in 1980. Expanded for this release, the present version of this masterwork adds two hitherto unreleased gems recorded solo for Charles Fox’s Radio 3 program Jazz in Britain, in the same few months of 1980 as the stunning original performances. The phrase “in the moment” is often bandied about with reference to free improvisation, and indeed there’s no better way to describe Derek Bailey’s playing. The acoustic guitar is notoriously lacking in natural reverberation — notes barely hang in the air for a couple of seconds before they disappear — which explains the almost non-stop flow of new material in these stellar performances. Bailey knew from one split-second to the next exactly where to find the same pitch on different strings, either as a stopped tone or a ringing harmonic, and there’s never a note out of place. “He who kisses the joy as it flies,” in the words of William Blake, “lives in eternity’s sunrise” — and this music is forever in the moment, constantly active but never gabby, kissing the joy. One of the special pleasures of the BBC set is the guitarist’s own laconic commentary, a deliciously deadpan description of what he’s doing while he’s doing it. “I like to think of it — as a kind of music” — and the interaction between words and music is a particular delight. “You may have noticed a certain lack of variety,” he quips, while unleashing a furiously complex volley. Is it a coincidence that the final seconds recall the famous cycling fifths of the coda to Thelonious Monk’s “Round Midnight”? Surely not; Bailey, like Monk, was a note man par excellence; they’re both still alive and well in eternity’s sunrise.

File Under: Free Jazz
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drumphilia

Andrea Benini: Drumphilia Vol. 1 (Cristalline) LP
Andrea Benini’s Drumphilia Volume 1 is a rhythmic experiment that sits on the fault line between traditional instrumentation and analog electronics. The project is a response to Benini’s many years spent working with, learning about, and listening to African and Caribbean percussion. Traditional rhythmic influences are combined with analog drum machines and drum synths to create a hybrid sound that continues in the tradition of artists like Francis Bebey. There are no traditional harmonic instruments on the recordings — the aim was to create melody and texture using only carefully tuned percussion instruments, whether organic or electronic. Basslines were created by blending drum synth tones with the acoustic marimbula, a traditional Caribbean instrument that was often used in place of a bass guitar. Melodies were created with everything from log drums and thumb pianos to early Soviet drum modules and the trailblazing Pearl Syncussion SY-1. Various time signatures and textures are used across the album to produce melody out of rhythm — hypnotic, evolving tracks that celebrate and highlight the importance of rhythm in modern music. All the sessions were recorded at the Mop Mop Studio in Berlin between September and December of 2016. Written, performed, arranged and produced by Andrea Benini. Mixed by Andrea Benini and Andrea Scardovi at Duna Studio (RA) Italy. Andrea Benini – electronic drums, analog drum machines, drum synthesizers, bass synthesizers, syncussion, percussions, log drum, marimbula, kalimba, sansula; Danilo Mineo – Jew’s harp; Max Castlunger – balafon, kalimba, percussions. Instruments featured include: Log drum, marimbula, kalimba, sansula, krabebs, Pearl Syncussion SY-1, Vermona DRM1, MFB Tanzbär, MFB Tanzmaus RMIF Elsita, assorted drum machines, and talkboxes. Liner notes by Hugo Mendez.

File Under: Electronic, African Percussion
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brotzmann

Peter Brotzmann Octet: Machine Gun (Cien Fuegos) LP
Cien Fuegos present a reissue of the Peter Brötzmann Octet’s Machine Gun, originally released in 1968. One of the most important albums of European free jazz, finally in the Cien Fuegos series. Recorded May 1968 at “Lila Eule”, Bremen. Personnel: Peter Brötzmann – baritone saxophone, tenor saxophone; Peter Kowald – acoustic bass; Buschi Niebergall – acoustic bass; Sven-Ake Johansson – drums; Han Bennink – drums; Fred Van Hove – piano; Evan Parker – tenor saxophone; Willem Breuker – tenor saxophone.

File Under: Free Jazz
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brotzalt

Peter Brotzmann Octet: Machine Gun – Alternate Takes (Cien Fuegos) LP
Alternate versions, never before released on vinyl from Peter Brötzmann Octet’s Machine Gun (1968). Personnel: Peter Brötzmann – baritone saxophone, tenor saxophone; Peter Kowald – acoustic bass; Buschi Niebergall – acoustic bass; Sven-Ake Johansson – drums; Han Bennink – drums; Fred Van Hove – piano; Evan Parker – tenor saxophone; Willem Breuker – tenor saxophone.

File Under: Free Jazz
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cherry

Don Cherry: Home Boy, Sister Out (Wewantsound) LP
Don Cherry’s downtown Paris funk masterwork Home Boy, Sister Out, produced in 1985 by Ramuntcho Matta and originally released by Barclay in France only, finally gets a worldwide release on Wewantsounds. Featuring French post-punk muse Elli Medeiros, avant-garde poet Brion Gysin, and cult Senegalese drummer Abdoulaye Prosper Niang (Xalam), this is a unique soundbite of Paris in the early ’80s at its coolest when funk, jazz, and new wave were mingling with sounds from Africa, Jamaica, and Latin America. Recorded at the legendary Studio Caroline in Paris, a hotbed for the African diaspora in Paris the ’80s, and produced by cult French-Chilean musician and producer Ramuntcho Matta (his father is painter Roberto Matta and half-brother is cult New York artist Gordon Matta-Clark), Home Boy, Sister Out is one of Don Cherry’s funkiest albums. Coming back from New York where Matta had immersed himself in the downtown scene working with the likes of Peter Gordon, Arto Lindsay, The Talking Heads, Meredith Monk, and Laurie Anderson, he crossed path with the American trumpet player in Paris by chance. It was love at first sight and together they had the idea of an album where Cherry would not only play but also sing. Accompanied by a first class cast of musicians from the Paris scene, they recorded Home Boy, Sister Out in Spring 1985. Very little known outside of France, where it has achieved cult status in some circles, the album embodies the spirit of the “Sono Mondiale”, the multi-ethnic sound of ’80s Paris, pioneered by Radio Nova and Celluloid Records. Featuring legendary Senegalese drummer, Abdoulaye Prosper Niang (Xalam), Negrito Trasante, Elli Medeiros, Jannick Top, and Don Cherry on various instruments plus vocals, the album is a fascinating mix of Downtown New York funk, jazz, new wave, reggae, and African music. The release also includes a handful of bonus tracks taken from Ramuntcho Matta’s vaults including the cult 1983 single “Kick” featuring legendary multi-artist Brion Gysin who’s influenced such artists as David Bowie, Keith Haring, John Zorn, Brian Jones, Genesis P-Orridge, among others. A fascinating album. Newly remastered. Includes five bonus tracks.

File Under: Jazz, Funk
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cohensolal

Jean Cohen-Solal: Captain Tarthopom (Souffle Continu) LP
Souffle Continu Records present the first ever reissue of Jean Cohen-Solal’s Captain Tarthopom, originally released in 1973. “Nothing can stop a flutist. We can do whatever we want, whatever we feel. My flute, is a mirror of myself. I express feelings more easily with the flute than with language.” This is what Jean Cohen-Solal said on the cover of his first album released in 1972, Flûtes Libres, renowned for its adventurous overdubbing of alto, piccolo, and bass flutes, in treble or in C and ocarina. Mentioned on the famous Nurse With Wound list, the path followed by Jean Cohen-Solal included many exciting adventures in the 1970s, from his participation in the cult animation series Les Shadoks where his voice can be heard alongside the actor Claude Piéplu, to his proximity to the GRM where he worked alongside Bernard Parmegiani, François Bayle, Luc Ferrari, Guy Reibel, and Béatrice Ferreyra, or his involvement in progressive music with Captain Tarthopom, an album very much in the same style as that featured in Europe on the Vertigo label, but in an instrumental form, and even more audacious, without turning its back on the same classical influences as everyone else. It is impossible to pin a label on Jean Cohen-Solal, he is the equal of his Anglo-Saxon counterparts Bob Downes, Harold McNair, Jon Field (Jade Warrior), and Jeremy Steig, just to mention the most creative of the bunch. His affinity with strings, already heard in his work with Serge Franklin (author of the ineffable Free Sitar) on Flûtes Libres, is perfectly echoed here by the work of Jean-Claude Deblais, himself author of one of the little-known summits of sound illustration and French underground music: Le Miroir Du Fantastique (1977). Licensed from Jean Cohen-Solal. Includes eight-page booklet. Clear vinyl; Obi strip; Edition of 700.

File Under: Experimental
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container

Container: LP (Spectrum Spools) LP
Ren Schofield has returned with a new installment in his notorious LP series for Spectrum Spools. LP has all the earmarks of the classic Container sound with its uber-mangled, saturated tape garble and headlong tempo macabre. However, this new set of tracks feature an attention to composition unlike much of the Container you’ve previously heard. While the tracks unfurl across two sides of wax the contours and jagged edges of each sonic sculpture display a new refinement while maintaining the full capacity to vaporize any club floor with Container’s traditional recklessness. Miraculously, this new LP manages to incorporate some more traditionally “musical” elements thus far untouched upon in the projects output while simultaneously delivering it’s most damaged and blown out offering yet. Despite leaving a trail of albums that get more intense with each passing year, this LP is bar none the most loaded. The tracks feature a trajectory with narrative, surrounded by broken acid basslines grating against disintegrating tape loops. This is the infectious and singular hypnosis Container has become well-known for. Overloaded drum patterns, washes of feedback, and dying melodies — it’s all here and somehow it’s restructured to be different and better than ever before. With this latest installment, there are no longer shambles but merely dust left behind. As Container continues to evolve in an upward motion, LP presents a refreshing and welcome new chapter. Recorded in Cleveland, Ohio in October 2017 by Andrew Veres. Artwork by Ren Schofield.

File Under: Electronic
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IWC

Ian William Craig: A Turn of Breath (Recital) LP
Recital present a deluxe edition of Ian William Craig’s landmark debut album A Turn Of Breath, originally released in 2014. The first Recital album to get exceptional notoriety, here it is in its final form, with an additional LP of unpublished material. Here is the original description Sean McCann wrote four years ago for it’s original release: “Recital here presents the premiere LP by vocalist Ian William Craig (b. 1980, Edmonton). Ian, a trained opera singer, delivers an elegant balance between theatrical and ambient sentiments. A Turn Of Breath combines the essence of a choral LP from Angel Records or Deutsche Grammophon with the spontaneity of experimental home-recording. This collection holds twelve works for voice and ¼” tape, recorded from 2011-2013. Voice appears as the sun’s light through a vast storm; still obscured by tape malfunctions and manipulations. A system of reel-to-reels is employed, which yields a lovely sort of morphing repetition. Each iteration crumbles as more harmony is placed on top, residual tones spilling off the sides into nothingness. Craig’s innate ability to sing beautiful, sorrowful melodies carries each track. The pieces on A Turn Of Breath vary from grand choral meditations to quiet interludes, and even a few impressionistic ‘songs’ accompanied by faint acoustic guitar. An overarching warmth resonates through each side, making this a very pleasant listen. A suitable compliment to a pot of coffee in the morning or a glass of armagnac in the evening.”

File Under: Ambient, Electronic, Choral
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de leon

De Leon: s/t (Mana) LP
“Gamelan and capoeira in dub. The collective behind this doesn’t like to talk much but their music is beautifully conversational. De Leon is the most organic and percussive of their shifting identities, developed on their Aught project in small-run, clear-shell cassette tape releases over the last few years. They’ve appreciated a cult interest for their takes on outernational rhythm, field recording, and the tension and relief on the knife-edge of dance music; all delivered with an impressive commitment to anonymity and clarity of vision through cut-and-dried aesthetic minimalism. These six pieces of music seem formed from wood, metal, air. Dramatic, balletic flourishes and tightly woven interlocking patterns are embedded in slowly changing and ‘live’ atmospheres. The shadow of a hand over the mixing desk makes gradual adjustments to alter the pressure and dimension of the space. Lean, organic, percussive, warmly engaging. A cracker. Bim.”

File Under: Electronic, Percussion
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dozzy

Donoto Dozzy: Filo Loves the Acid (Tresor) LP
For its 303rd release, Tresor present a commissioned work by Donato Dozzy, Filo Loves The Acid. Rome-based production maestro and DJ extraordinaire Donato Dozzy is unanimously considered as an illustrious leading light in all techno artforms. Along his long career and extensive discography, Dozzy has proven to use his instruments most interesting ways, always re-inventing his music, always presenting new approaches to both the deeper and the more rhythmic forms of electronic music. It was self-evident to Tresor to enroll Donato Dozzy’s talents for this assignment, a nod to the seminal Roland TB-303 bass synthesizer. The result is a relentless collection of radical, propulsive, and bleeding-heart acid tracks. Donato Dozzy wishes to dedicate this work to his lifelong friend Filo.

File Under: Electronic, Acid
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imortal

Immortal: Northern Chaos Gods (Nuclear Blast) LP
“WHITE & BLACK SPLATTER VINYL – LIMITED TO 500 COPIES – INDIE-SHOPS-ONLY”. Founded in 1991 Immortal has often been the bench mark when it comes to quality extreme metal. The Norwegian natives released their debut album “Diabolical Fullmoon Mysticism” in 1992. Since then they have released eight full length releases, the last two, “All Shall Fall” (2009) and “Sons of Northern Darkness” (2002), were released on Nuclear Blast.

File Under: Metal
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gray

Eiko Ishibashi & Darin Gray: Ichida (Black Truffle) LP
Black Truffle present the release of Ichida, the first release from the duo of two important, yet often underappreciated musicians, Eiko Ishibashi and Darin Gray. Ishibashi is a singer-songwriter, keyboardist, drummer, and multi-instrumentalist, known in Japan both for her own elaborately conceptual solo albums and for her frequent collaborations with figures such as Jim O’Rourke, Merzbow, and Phew. Darin Gray is a bassist and multi-instrumentalist known for a multitude of collaborations (with O’Rourke and Loren Connors, among many others), for On Fillmore, his cinematic post-exotica project with Glenn Kotche, and as one half of Chikamorachi with Chris Corsano, one of the finest free-jazz rhythm sections around. Presenting the entirely of a live set performed at Tokyo’s Super Deluxe in March 2013, the set begins as a duet for Ishibashi’s flute and Gray’s upright bass. Calmly melodic yet harmonically inventive, with shades of “spiritual jazz”, the pair’s acoustic ruminations are gradually joined by Ishibashi’s lush electronics, which randomly flicker between chords in a manner recalling the classic work of David Behrman. As the electronics build into a gloomy fog of slowly cycling loops, Gray lays his bass aside and turns to making strangely mournful interjections on a mouthpiece. Eventually Ishibashi moves to the piano, enveloping the audience in rippling pools of sustained, octave-doubled melody, provided by Gray’s bass with a fluid and dynamic foundation. For much of the second side, both Ishibashi and Gray turn to electronics, ultimately arriving in a bizarre space of melancholic arpeggios and random sputter and sizzle, oddly reminiscent of ’70s outsider prog acts like Wapassou. An uneasy coda of rich piano chords ends the set. Captured in warm room ambience and beautifully mixed by Jim O’Rourke, Ichida is a rare combination of improvisational acumen and emotional directness, both adventurous and immediately accessible. Cover pics by Jim O’Rourke. Design by Stephen O’Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.

File Under: Experimental
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mausJohn Maus: Songs (Ribbon) LP
Broadly cut from the synth pop cloth, enigmatic Austin, MN musician John Maus has fashioned the frosty minimalism of its fabric into a cloak of infinite meaning, genuine grace and absurdist humor over the course of five defining albums since 2006, most recently being 2017’s Screen Memories and 2018’s Addendum. Ribbon Music is pleased to present heavyweight 180g vinyl reissues of Maus’s long out of print first three full length albums – Songs (2006), Love Is Real (2007) and We Must Become the Pitiless Censors of Ourselves (2011) – with audio sourced from the original masters and lacquers cut at Abbey Road Mastering. Questing synthesizers, tensely strung bass lines and chasing drum machines provide the perfect backdrop for Maus’s deeply resonant reverb-drenched vocals. Born in the decade of synth pop and sharing his birthday with George Frideric Handel, John started making music when Nirvana posters went up on every teenager’s wall. It’s this curious conflux of influences that help to describe John’s music. It’s a world where the Germs jam with Jerry Goldsmith, Cabaret Voltaire relocate to Eternia and Josquin des Prez writes a new score for RoboCop. The confrontation of punk, the fleeting poignancy of ’80s movie soundtracks, the insistent pulse of Moroder and the spirituality of Medieval and Baroque music all find salvation in his music. John’s debut album proper simply entitled Songs was released through Upset The Rhythm in 2006. It’s a record permeated with aching memories; a perfect testimony to lost romance and longing.

File Under: Synth Pop
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mauslove

John Maus: Love is Real (Ribbon) LP
Broadly cut from the synth pop cloth, enigmatic Austin, MN musician John Maus has fashioned the frosty minimalism of its fabric into a cloak of infinite meaning, genuine grace and absurdist humor over the course of five defining albums since 2006, most recently being 2017’s Screen Memories and 2018’s Addendum. Ribbon Music is pleased to present heavyweight 180g vinyl reissues of Maus’s long out of print first three full length albums – Songs (2006), Love Is Real (2007) and We Must Become the Pitiless Censors of Ourselves (2011) – with audio sourced from the original masters and lacquers cut at Abbey Road Mastering. Questing synthesizers, tensely strung bass lines and chasing drum machines provide the perfect backdrop for Maus’s deeply resonant reverb-drenched vocals. Born in the decade of synth pop and sharing his birthday with George Frideric Handel, John started making music when Nirvana posters went up on every teenager’s wall. It’s this curious conflux of influences that help to describe John’s music. It’s a world where the Germs jam with Jerry Goldsmith, Cabaret Voltaire relocate to Eternia and Josquin des Prez writes a new score for RoboCop. The confrontation of punk, the fleeting poignancy of ’80s movie soundtracks, the insistent pulse of Moroder and the spirituality of Medieval and Baroque music all find salvation in his music. John’s debut album proper entitled Songs was released through Upset The Rhythm in 2006. It’s a record permeated with aching memories; a perfect testimony to lost romance and longing. It’s awe-inspired follow-up Love Is Real (released on UTR, 2007) proved a more cohesive listen in terms of focus and emotional depth.

File Under: Synth Pop
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mcbee

Cecil McBee: Mutima (Everland Jazz) LP
A reissue of Cecil McBee’s Mutima, originally released in 1974. Licensed by Strata-East Records. “A landmark recording in early creative improvised modern music, bassist Cecil McBee’s recording for the Strata East label is an important document introducing him as a leader from the international jazz-based scene in New York City via his native Tulsa, OK and following a brief mid-60s stint in Detroit. McBee as a pure musician has staggering technique, rich harmonic ideas, and an indefatigable swing, but it is as a composer that he is set apart from other musicians of this mid-’70s era . . . In retrospect, McBee’s great career was ostensibly launched well before this recording, having worked with prominently with Charles Lloyd, Alice Coltrane, Pharoah Sanders, Yusef Lateef, Charles Tolliver, and countless others. Mutima (translated as ‘unseen forces’) undoubtedly solidified his stature and brilliance as a major player.”–Michael G. Nastos, All Music

File Under: Spiritual Jazz
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OY

Optiganally Yours: O.Y. in Hi Fi (Joyful Noise) LP
The Optigan was a chord organ made by Mattel in the early 1970s. This intriguing instrument played back lo-fi sound loops on flexible LP-sized discs, each disc containing optically-encoded rhythm section grooves in a particular style of music (ie country, bossa nova, etc), along with drum loops and keyboard tones. Think of it as the 1970s version of GarageBand, where amateur musicians could put together their own songs using loops of recordings by professional musicians. Optiganally Yours started in the mid 1990s when one of Rob Crow’s housemates, Pea Hix, became obsessed with the magnificent Optigan. When Pea had the idea to start a band around these haunting sounds, Rob chimed in and said “I’ll be the singer, and the band will be called Optiganally Yours.” O.Y.’s first album, Spotlight On Optiganally Yours, was released on Cargo/Headhunter Records in 1997, along with a suitably grainy music video for the single “Mr. Wilson” (which is, perhaps, the band’s most well-known song to date). In 2000, a second album, Optiganally Yours Presents: Exclusively Talentmaker, was released on Absolutely Kosher Records (US) and Vroomsound (Japan). This album jettisoned the Optigan in favor of two related instruments, which utilized the same technology: the Chilton Talentmaker and the Vako Orchestron. Shortly after the release of Exclusively Talentmaker, work began on a third release. Through much research and a little detective work, Pea rescued the original studio master tapes – which held all of the sounds recorded for the Optigan discs – from a SoCal garage, and set out to assemble basic tracks from the thousands of loops and samples the tapes contained. Since the tapes contained large amounts of material that never made it onto Optigan discs in the 1970s, there was a lot of fresh territory to explore. In contrast to the grainy, lo-fi sound of the Optigan discs, these sounds were all hi-fi studio quality. O.Y. in Hi-Fi was born. “Several of these sessions never became discs, so Pea chopped them up, as you would with a real Optigan,” says Crow. “And we wrote all these new songs using these materials, in addition to my guitar and voice of course. I think it’s the best record I’ve ever done.”

File Under: Electronic, Indie Rock
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paradisePaul Page & His Paradise Music: Pacific Paradise (Subliminal Sounds) LP
Comes in thick, magazine-style format. 32-page booklet. Paul Page — poet, pagan, and playboy of Polynesian pop and Hapa Haole exotica. The music on this unusual exotic album, takes you right to the ocean’s edge, mingles you with jungle drums and animals, the booming surf, seagulls, and ocean liners in a coral kaleidoscope of sounds. This is the real deal authentic tiki bar soundtrack. Paul Page and his Paradise Music entertained in Polynesian themed restaurants all over Southern California from the late ’30s to the mid-60s, then all the way out to the Kona Coast during the late ’60s and early ’70s. The whole time, he kept leaving behind these little independent albums, recorded specifically for the purpose of selling them to the people coming to his small venue shows… which, when you think about it, is basically what all the most-worthy bands to dig do these days, outside the doting eye of the lame record industry. Dude was so ahead of his time! Paul Page was a singer, piano player, bandleader, writer/composer, radio, and TV host, artist of oils, professional basketball player, and much more. He published many albums during the 1950s-60s and wrote hundreds of songs. His story has never previously been told and his original recordings are very rare, in fact some of them are completely unknown and undocumented, and much sought after by collectors. Paul Page is really the only one to mix actual, authentic Hawaiian music and other Polynesian and Pacific Ocean influences, with the nomadic feel of the seafaring Anglo working sailor man with a sense of American pop sophistication, based in jazz-age. It is his cheerful insistence to employ every known cliché from the Polynesian pop dictionary that makes his stylings so charming to today’s tiki lounger. Subliminal Sounds now brings you the full Paul Page saga on this comprehensive compilation. Includes a 32-page booklet with in-depth liner notes by author and pop historian Domenic Priore, with a foreword by author and urban archeologist Sven Kirsten.

File Under: Exotica
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DOO17008LP_CUGerald Pino & The Heart Beats: Afro Soco Soul Live
(Oom Dooby Dochas) LP

Oom Dooby Dochas present a reissue of Geraldo Pino & The Heartbeats’ Afro Soco Soul Live, originally released in 1972. Pino was born in Sierra Leone in the 1930s. He was the son to a lawyer working in Nigeria, lost his mother and sister at a very young age, and found relief in music. He played social clubs by the early ’60s with his newly founded band The Heartbeats delivering cover-versions of American hits and Congolese rumba tunes that were then utterly popular in the West Africa area. The Heartbeats literally played until their fingers bled in popular night clubs in Sierra Leone, became one of the highest earning bands of Western Africa and were even able to put up their own television show after television had been introduced in Sierra Leone in 1962. All those developments put Geraldo Pino and his band in the position as leading figures in the African popular music that even Fela Kuti cited Geraldo Pino & The Heartbeats as a major influence. Geraldo Pino lived and played in his area, Sierra Leone, Ghana, Nigeria, and created some of the hottest funky sounds with sophisticated sound gear, outstanding clothing, and songs that made your blood boil. After a few 7″ releases throughout the 1960s the first real album of Geraldo Pino & The Heartbeats hit the scene in 1972. Afro Soco Soul Live is as the title suggests an album that has been recorded at a concert and Geraldo Pino often communicates with the utterly enthusiastic audience, gives longer announcements between the songs, or introduces his lead guitarist before he starts a simmering solo. All songs here have an average length of six minutes and, despite their composed parts, show this free jammy flow. The basic style is funk with soulful vocals which gets mixed up with traditional African percussion grooves. This album swallows you with its mesmerizing rhythms. The funky Hammond B3 organ is omnipresent on all the tracks and duels with the wild and completely unleashed lead guitar from time to time. Due to the crisp and clear sound, this record gives you the feeling of being right at the scene. It is no wonder that this record is a popular gem in Western Africa. Original copies of this album go for several hundred USD if they ever turn up. A sacred gem of African funk music reissued.

File Under: Afrobeat, Funk, Soul
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promise

Promise Ring: Very Emergency (Jade Tree) LP
Very Emergency (1999) is the third album by The Promise Ring. This album sees the band continuing to explore the sounds they had started on their previous release Nothing Feels Good, a more pop – rock leaning when compared to their debut. The Promise Ring’s hook-packed pop sensibility was unique for the genre at the time and helped them inject a shimmery energy into emo that still feels fresh today. Hailing from Milwaukee, The Promise Ring weren’t just emblematic of ‘90s Midwestern emo: they were one of the most celebrated bands in the history of the genre. Under the leadership of frontman Davey Von Bohlen of Cap’n Jazz, their sound incorporated elements of power pop that would become more popular in later years. They broke up in 2002 and after nearly a decade of inactivity The Promise Ring officially reunited in February 2012.

File Under: Indie Rock, Emo
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reyes

Jorges Reyes/Antonio Zepeda: A La Izquierda Del Colibri
(Emotional Rescue) LP

The late Jorge Reyes was a leading figure in Mexican experimental music, and this album recorded with Antonio Zepeda is one of his earliest and most striking works. Originally released in 1986, A La Izquierda Del Colibri is a worldly product of the era in the same way as the work of Jah Wobble and Brian Eno, rich in new wave funk but reaching to a higher plane thanks to all manner of sonic devices. From treated jungle sounds to swooping pads, the whole album feels like an exotic trek through the heat and mystery of Central America, at times leaving the Western world far behind and at other times embracing it. A captivating listen.

File Under: Metal
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ty-segall-white-fence-joy-1531147498-640x636-1531165939-640x6361-1531943057-640x636Ty Segall & White Fence: Joy (Drag City) LP
Ty Segall and White Fence are become one again, regrooving what we once called “Hair” into what is now “Joy”. If, as the dyphrenic duo indeed affirm on “Joy”, rock in 2018 is dead, don’’t come around here looking for no burial. Instead, find “Joy” caught up in the commencement of on-beyond rock; music made with the old tools, but emitted from a fresh new, single-celled organism. With “Joy”, Tim and Ty arrive without travelling from the same place, occupy one single headspace, finishing the other’s phrases, pulling licks from each other’s places. Both these fellows have been known to trifle with tropic pasts and reactivate vintage visions within their new music. Not now. Now is the only time this time – “Joy” is their own sound of today, a shared individuality, prisming all possible stances into an unseamly metastasis that FLOWS for 15 ebbcentric tracks.

File Under: Rock, Psych
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vox

Vox Populi!: Magiques Creations (Emotional Rescue) LP
Following the excellent reissue of Aither last year, Emotional Rescue return to the dreamy, decidedly tripped out sound world of French-Persian outfit Vox Populi! with this enchanting collection of early rarities from the early to mid 80s. There’s a range of moods on offer here, sounding very much of the era with dashes of On-U dub colliding with kosmische and the worldly outlook of Byrne, Eno, Hassell et al. It’s a varied listen and a wonderful introduction to a band that could have so easily been more widely appreciated if they had managed to break out of the French underground.

File Under: Electronic, Experimental, Industrial
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west

Kanye West: Ye (Def Jam) LP
Kanye West makes good on his promise of new music, dropping his eighth studio album, ye following weeks of buzz and notoriety surrounding its release. In true Kanye fashion, he premiered the album at a listening party in the wilds of Wyoming with dozens of celebrities, musicians, journalists and industry executives that were flown in for the festivities and he live streamed it for all of the world to witness. The follow-up to 2016’s Life Of Pablo is not without some Kanye trademarks, sample-leaning beats and a laundry list of featured artists that includes guest appearances from Nicki Minaj, Kid Cudi, John Legend, Ty Dolla $ign, Jeremih, Young Thug and Charlie Wilson. At only seven tracks, Kanye still manages to pack an emotional punch on ye, answering his critics and bringing to light some of his internal drama during his two-year hiatus through verse and some soulful samples.

File Under: Hip Hop
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give me

Various: Give Me My Flowers (Third Man) LP
“Powerhouse Gospel on Nashboro Records” .. Founded in 1951 by independent record store owner and radio show promoter Ernie Young, Nashville, TN’s Nashboro Records recorded some of the most potent and forceful gospel music of the time period. Although initially begun in response to overwhelming demand for gospel locally, Nashboro quickly became nationally applauded for its curatorial prowess (under the guidance of Rev. Dr. Morgan Babb of the Radio Four) and signature production style. The lightly-reverbed, clear sound of a Nashboro record is unmistakable. Give Me My Flowers is a compilation of some of the finest cuts released by Nashboro Records, many of which have not been previously reissued. It kicks off with a total banger, The Hightower Brothers’ “Until He Comes,” which would have made an amazing cover song for Spacemen 3. Iola and Sullivan Pugh, also known as The Consolers, top off the A-side of the compilation with the intensely potent namesake track, “Give Me My Flowers”. A final highlight is “Almighty God” from Sister Pope and the Pearly Gates; dare you to get it out of your head after you hear the chorus even once. Not only are the featured artists endlessly skilled at their craft, their songs are absolutely explosive. This is the opposite of indifference or irony; there is a mission here, steeped in a full-heartedness that can only be derived from selfless devotion. Additionally, the songs featured on Give Me My Flowers are representative of a far too overlooked and important chapter in Nashville’s music history. These musicians, store employees and businesspeople played a critical role in building the infrastructure for independent music to flourish in their city. Naturally, it is a cornerstone in Third Man’s long-term mission to support and highlight the complete music histories of Tennessee and Michigan, from the most rightfully revered to the most critically under-represented. All of these tracks were assembled with producer and journalist Mike McGonigal (Detroit Gospel Reissue Project, Temperature’s Rising: An Oral History of Galaxie 500) and transferred directly from the 45 collection of Kevin Nutt (Case Quarter Records, Sinner’s Crossroads radio program).

File Under: Gospel, Blues

onda

Various: Onda De Amor (Soundways) LP
16 rare synth cuts from ’80s and ’90s Brazil, compiled by Brazilian DJ Millos Kaiser. Some crate-digging compilations are often the result of someone hand-picking their choice favorites from another country’s musical history, perhaps unaware or uninvolved with its cultural lineage in the process. On Soundway’s latest release — a treasure trove of synth jams, pop, samba boogie, Balearic, and electro from ’80s and ’90s Brazil — the tracks are picked by Millos Kaiser, one half of the Brazilian duo Selvagem, who are at the helm of throwing some of the country’s best dance parties. It’s a rare compilation that offers Brazilian music actually picked by a Brazilian. Whilst names such as Ricardo Bomba, Villa Box, Fogo Baiano, Electric Boogies, and Batista Junior may not be household names, they tell an untold, yet rich and important part of musical history in Brazil. The release also covers a decade that has been intentionally forgotten and brushed aside by many in the country. Onda De Amor is a release that is loaded with smooth grooves, bubbling bass, glistening synthesizers, funk-strutting guitar lines, and sheen of production that undeniably marks it of its time. For Kaiser this compilation is about reintroducing music during a period of reappraisal, catching a new wave and hoping contemporary listeners will ride it with him. “The idea is to do justice to these songs. Songs that combine all the right ingredients that should have put them on radio playlists when I was growing up or at least in the cases of more adventurous DJs.” Millos Kaiser is a DJ, digger, vinyl junkie/dealer born in Rio de Janeiro and living in São Paulo for the past eight years. He launched the dance party/club night Selvagem with partner Trepanado in 2010, bringing thousands of dancers one Sunday a month to a public square in the heart of São Paulo. RIYL: Music From Memory’s Outro Tempo Brazil compilation, Spacetalk compilations, Sabor Do Brasil compilations, Selvagem’s Boiler Room set, Mr Bongo’s Brazilian compilations. Features Ricardo Bomba, Vânia Bastos, Rosana Mendes & Grupo Veneno, Grupo Controle Digital, Villa Box, Batista Junior, Dado Brazzawilly, Anacy Arcanjo, Fogo Baiano, Dodô Da Bahia & As Virgens De Porto Seguro, Via Negromonte, Electric Boogies, Os Abelhudos, Nanda Rossi, André Melo, and Região Abissal.

File Under: Rock, Experimental, World
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shake

Various: Shake Your Bones Vol 2 (Stag-O-Lee) LP
After the highly successful first volume in the Stag-O-Lee DJ set series, the label presents Volume 2. Again an 80-minute set, this time by Stuttgart-based DJ Joe Whirlypop. Joe is a jack of all trades, someone who can make a wedding crowd dance, is well-versed in new wave and punk and everything in between. But his biggest love is the ’50s and early ’60s. He is playing all over Stuttgart for years, but these two discs reflect his monthly Shake Your Bones residency at Stuttgart’s famous Goldmarks club. Expect all kinds of blues, from jump to rhythm and to raw electric. Features B.B. King, Varetta Dillard, The 5 Royales, Groovey Joe Poovey, Gene And Eunice, Tennessee Ernie Ford, Screamin’ Jay Hawkins, Bo Davis & Eddie Cochran, Little Sylvia, Little Walter, Joe Turner, Slim Harpo, Johnny Burnette, Moose Jackson and His Bearcats, Vince Taylor & His Playboys, Clarence “Frogman” Henry, Muddy Waters, Joe Ann Henderson, The Mariners, Joe Benson, Sid King, Slim Rhodes, Chuck Miller, Thurston Harris And The Sharps, Ruth Brown, Ray Charles, Bill Haley, The Swallows, Johnny Otis, Preston Love, Ella Johnson, and Serge Gainsbourg.

File Under: RnB, Party Jams

…..Restocks…..

Courtney Barnett & Kurt Vile: Lotsa Sea Lice (Matador) LP
Beak>: s/t (Temporary Residence) LP
Jean-Michel Blais: Dans Ma Main (Arts & Crafts) LP
Breeders: Last Splash (4AD) LP0
Nick Cave: From Her to Eternity (Mute) LP
Don Cherry: Complete Communion (Blue Note) LP
Childish Gambino: Because the Internet (Glassnote) LP
Sonny Clark: Cool Struttin’ (Blue Note) LP
Czarface: Every Hero Needs a Villain ( ) LP
Ella Fitzgerald: Mack the Knife (Verve) LP
Gorillaz: The Now Now (Parlophone) LP
Robert Haigh: Creatures of the Deep (Unseen Worlds) LP
Johann Johannsson: IBM 1401 (4AD) LP
Kacy & Clayton: Siren’s Song (New West) LP
King Gizzard & the Lizard Wizard: Paper Mache Balloon (ATO) LP
MF Doom: Operation: Doomsday (Metal Face) LP
Modern Lovers: s/t (Music on Vinyl) LP
OST: Akira (Milan) LP
Parquet Courts: Wide Awake (Rough Trade) LP
Princess Nokia: 1992 (Rough Trade) LP
Michael Rault: It’s A New Day Tonight (Sleepless) LP
US Girls: A Poem Unlimited (Royal Mountain) LP
Various: Habibi Funk (Habibi Funk) LP
Various: Son Cubano NYC (Honest Jon’s) LP

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…..news letter #857 – doggin’ it…..

Well we’re really in the thick of it, the dog days of summer. Not a lot in this week. Everyone is away. Even my whole family, so if you’ve been in this week, you got to see our dog! Anywno, hope you are having a smashing summer and enjoying the heat, if you need to cool down, our A/C is cranked. Come down for a dig.

…..picks of the week…..

beak2

Beak>: >> (Temporary Residence) LP
To celebrate the addition of Bristol’s preeminent out-rock trio, Beak>, to the Temporary Residence family, the label reissues their acclaimed second album >> on audiophile-quality double vinyl. Remastered for the format by Josh Bonati, and packaged in a heavyweight foil-stamped jacket, >> includes the original album in its entirety, as well as a vinyl-only bonus track not available on the CD or Digital formats. Following the release of his Quakers hip-hop project, and the Judge Dredd-inspired Drokk soundtrack collaboration, Geoff Barrow unveiled the 2012 second album by Beak>, the krautrock-influenced band formed with Billy Fuller and Matt Williams in 2009. There is an accepted music industry strategy, mainly from the mouths of experienced music managers and A&R men, that for a band to get ready to present themselves to the world they should go on tour. In most cases this advice works; the band hone their craft on the road so by the time they get on to late-night TV and summer festivals, they can amaze with their slick, tight rock performance. However, this doesn’t always work. Beak> recorded their eponymous debut in Bristol, created from 12 days of improv sessions and then edited into song form. Shorty after releasing it, the band went on a successful tour, playing various festival dates across Europe and the U.S. Buzzing from the tour, Beak> promptly returned to the studio to start work on album No. 2, only to find that the time on the road had taken its toll on the band’s delicately sensitive and creative nature – and, by consequence, had turned them into a truly awful-sounding pub prog-rock band. The magic had gone. It seemed that the band were thoroughly moribund. Until…one rainy afternoon in Bristol – after many tortured, truly terrible recording sessions – something changed. It may have been the diesel fumes from the band’s tour splitter bus had finally worn off; others say that the band simply turned their amplifiers down. We may never know the true events of that afternoon, but the band began to play and, once again as before, their bleak, wobbly, anti-blue note sound had returned – now with more synthesizers. And once again as before, it was all recorded live in one room (with very few overdubs).

File Under: Krautrock, Electronic, Portishead
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WRWTFWW026LP_CU

MKWAJU Ensemble: KI-Motion (WRWTFWW) LP
WRWTFWW Records present the official reissue of legendary album KI-Motion by Japanese percussionist Midori Takada’s MKWAJU Ensemble, originally released in 1981. A highly creative and transcendental fusion of marimba, vibraphone, bamboo percussion, and synthesizers, KI-Motion was recorded in 1981 and captures the birth of Midori Takada’s exploration of minimalism, African rhythmic tradition, and ambient music. The album takes its conceptual inspiration from the tamarind (“mkwaju” in Swahili), a drought resistant tree notably used to craft some of the first mallets and marimbas but also known for its culinary and medical uses, an essential symbol of life and identity for the Central African grasslands. Drawing from the region’s culture and music as well as the crucial notion that rhythms represent the very fabric of life, Midori Takada leads her ensemble into environmental heaven to create one of the highlights of her recording career and an absolute must-have from the golden age of Japanese ambient — the ideal companion to her majestic opus from 1983, Through The Looking Glass. Sourced from the original masters.

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

boc

Boards of Canada: Hi Scores (Skam) LP
Vinyl version with double-sided 12″ poster. Skam Records are very proud to announce the re-release of Boards Of Canada’s Hi Scores. Originally released in 1996, Hi Scores constitutes Boards Of Canada’s second official release after 1995’s Twoism. This follows the reissue of their other seminal records by Warp in 2013. The new edition has been re-recorded and re-mastered from the original DAT tapes and has been re-cut onto heavyweight collector’s edition vinyl. The original image on the back of the sleeve is now in color. Spot varnish finish on the images & text alongside the usual Skam Braille sticker.

File Under: Electronic, Downtempo
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death

Death: Leprosy (Relapse) LP
Death’s immensely influential second effort Leprosy, originally released in 1988, was a pioneering album which built upon the thrash sounds of trailblazers like Metallica and Slayer but added in a previously unheard level of raw extremity. These songs are the roots of an entire genre: death metal. While this was only Death’s second full-length record, it immediately cemented them as heavy metal icons. This 30th Anniversary colored 2LP reissue features expanded packaging and a bonus disc with 10 Leprosy 1987 rehearsal recordings!

File Under: Metal
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digable

Digable Planets: Reachin’ (A New Refutation of Time & Space)
(Modern Classics) LP
Back in stock!! At a time when hip-hop was determined to snap your neck, a young, hip trio from Brooklyn (by way of Seattle, Philly, and Brazil) conspired on an uncommonly smooth new sound and freaky way of speak, a titanically chill expression of Black bohemia loaded with jazz idiom and a subversive Marxist bent—and pushed it worldwide via an undeniable crossover hit. Digable Planets’ 1993 debut, Reachin’ (A New Refutation of Time and Space), unexpected to all involved, produced a massive radio hit in “Rebirth Of Slick (Cool Like Dat)”, which won the 1994 Grammy for Best Rap Performance by Duo or Group. Unduly lumped into an “alternative rap” subgenre they chafed at, the Dig Plans were dismissed by some as one-hit wonders, coming out of nowhere; but the Digable Planets concept, and what became Reachin’, had been in the works for close to five years, as group leader Ishmael “Butterfly” Butler wrote music and soaked up game in multiple cities, navigating the industry of hip-hop’s golden age. In the end, Butler, Mary Anne “Ladybug Mecca” Vieira, and Craig “Doodlebug” Irving came together to create a seamlessly articulated vision of urbane hiphop cool with an uncommonly literary bent that subtly pushed the hip-hop genre’s frames of reference and added breadth to rap music’s burgeoning political philosophy. Drawing on inspiration from Butler’s jazzbo father, the Black Panthers, Jose Luis-Borges, the Last Poets, and Jimi Hendrix, Reachin’ posited a theory of “universal beats”, narrated by three unearthly MC’s that had “split to Earth to resurrect the funk”, assuming curious, arthropodic aliases—a nod to the natual collective action of the insect world. In just four years the crew would record two beloved and ambitious LPs before disbanding. Out of print on wax domestically since 1993, Reachin’ captures one of the last gasps of rap music’s jazzy, upbeat adolescence in the early 90’s—those warm, blissed-out grooves every bit as slick as when they were laid way back when. Put this on, roll up with your crew and bug out again with the insect tribe.

File Under: Hip Hop
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index

Index: Originals Volume 1 (Lion) LP
All of the original compositions from the band’s two self-released holy grails of psychedelia (the Black Album and the Red Album, from 1967-68) combined into one collection—all newly transferred from the original tapes! Most of you have no doubt heard of records that have been touted as “mind blowing”, “fuzz monsters”, or “lost/undiscovered classics”. The raves rarely turn out to be justified. That’s certainly not the case with the music of Index—if anything, the raves underplay the essence of the band’s music, which is seething with cavernous reverb, snaky guitar lines, and downer lyrics. It is fantastically minimalist, starkly atmospheric, and sprinkled with ferocious guitar work. In the mid 1960’s, Detroit Michigan was a thriving industrial city. But the great ethnic diversity in the inner city was a brewing powder keg of civil unrest. This, coupled with a disillusioned population struggling to make some sense of a questionable war in the rice paddies of Viet Nam, set an uneasy and troubling tempo for the future. Still, there were pockets of communities in the Detroit area where things were good and economic life was vibrant. The Grosse Pointes were such communities. It was on the outskirts of this political and racially tense era, in those affluent suburbs just outside Detroit, that Index was formed. The music of Index has been lauded by (and bootlegged by) music heads for decades, and with good reason: it is unexpected, atmospheric, and “home-made” in the best of all possible ways. The band has a druggie sound, with songs full of feedback and fuzzy guitars, hazy guitar riffs and loud pushy rhythms. And in there amongst the echoing canyons of sound you’ll find some snotty post-punk attitude wrapped up in all that trippy velvet fuzz. It’s a wonderful bleak sound, droning and murky and introspective—the atonal side of late 1960’s rock that would leave the most lasting impression on those who would eventually become punk, post-punk and indie rock… you know, artists like Joy Division or the Fall or Felt to name three out of a thousand.

File Under: Psych, Garage
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orb

Orb: No Sounds Are Out of Bounds (Cooking Vinyl) LP
Alex Paterson’s longstanding electronic titans The Orb present the new album No Sounds Are Out Of Bounds, which as the title suggests finds them embracing an anything-goes new approach to creative freedom. Refreshing and reinventing the predominantly two-man set up with Thomas Fehlmann on the prior two albums (Moonbuilding 2703 AD and COW / Chill Out World!), No Sounds… is intentionally an ensemble piece, featuring a large cast of big names, cult heroes, rising talent and fresh newcomers. Paterson, Fehlmann, Youth, Roger Eno, Hollie Cook and Guy Pratt take star turns, as does heroic bassist Jah Wobble, who returns to the fold following the bassbin-bullying anthem “Blue Room.” Additional supporting roles come from Gaudi, Roney FM and Michael Rendall, plus vocalists Brother Culture, Mary Pearce, Emma Gillespie, Rianna, and Andy Cain – who’s best known for voicing Mark Ernestus and Moritz Von Oswald’s deep house gems “I’m Your Brother” and “A New Day.” Despite featuring a cheeky nod to their remix of Primal Scream’s “Higher Than The Sun,” vocal led opener “The End Of The Road” makes it clear this is virgin territory. But despite new paths being forged, Paterson’s omnipresent humor remains on “I Wish I Had A Pretty Dog’s” animalistic rhythm – joined by tablas, strings, half speed beats and bass, which collide like planets in the cosmos. Hollie Cook returns the favor following Alex’s production work on her Vessel Of Love album, lending her vocals to the Battersea-referencing, classic dub house throbber “Rush Hill Road,” alongside Brother Culture. The first of several tracks to feature Roney FM’s plummy, faux vintage BBC voice, “Pillow Fight At Shag Mountain” is airy and bright like stratus on a clear day, bubbling in pleasing fashion through various styles and samples tethered by Wobble’s bass and Eno’s piano, somehow coalescing, making illogical logic in a way only The Orb can. “Isle Of Horns” pares things down to a loping, dusty and organically-minimal piece that’s closer to the last two albums, yet works well as a subtler break from other more maximal moments herein. Driven by Youth’s double bass, “Wolfbane” is a lysergic romp through hip hop across the ages, from Run DMC to Dre to Dilla. It also withholds the anti-war stance expressed on COW, putting vintage nuclear threat back on the menu, thanks to Trump, Jong-un and Putin. Paying homage to another or Alex’s faves is the boom bap of “Doughnuts Forever,” which swings from chilling, pensive atmosphere into reassuringly lush, 50s Hollywood strings and back again. Featuring the singing and poetry of Rianna, the “small dittie” “Drift” offers another pleasant moment of calm reflection, before “Wobble’s phenomenal bassline and Roger’s supreme piano” on “Easy On The Onions” elevates the listener blissfully skywards above Bermondsey and “West Snorewood.” “Ununited States” takes a darker but breathtaking turn, with Eno’s playing taking center stage on what Alex claims is “how the new Blade Runner score should’ve sounded” – and it’s hard to disagree. Ending the album on majestic form is the 15 minute classic opus “Soul Planet,” which finds the vocal axis between divas of house music and Pink Floyd’s “Great Gig In The Sky.” Disembodied voices float in a black hole, before an undulating throb cuts through the darkness, with layers of detail gradually building to a gentle euphoria, before drifting back into the darkness of space, with a lonely piano refrain.

File Under: Electronic
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defenders

OST: The Defenders (Mondo) LP
Mondo is proud to present the premiere vinyl pressing of the soundtrack to the Netflix Original Series MARVEL’S THE DEFENDERS. This limited-series event, several years in the making, finds Marvel’s finest street-level heroes Daredevil, Jessica Jones, Luke Cage and Iron Fist (along with help from various other recurring characters from their respective series) joining forces to take on the sinister organization, The Hand, along with the mysterious yet familiar new recruit (known to them as The Black Sky). Composed by John Paesano (MARVEL’S DAREDEVIL – Season One), the score to THE DEFENDERS takes his work to another level. Incredibly dynamic, serious and still fun, and ominous but still optimistic. Paesano takes the musical world of the four separate comic book superheroes, all dealing with their own sonic demons, and produces a seamlessly shared musical universe for them to co-exist.

File Under: OST
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pokemon

OST: Johto Legends (Music From Pokemon Gold & Silver) (iam8bit) LP
In collaboration with our pals at Materia Collective & composer/arranger Braxton Burks, iam8bit is proud to present the Johto Legends! 2xLP vinyl – a one-hour orchestral arrangement album featuring the timeless music of Pokémon Gold and Silver! This pairing explores a young Pokémon Trainer’s epic journey across the scenic Johto region – meeting Pokémon friends, going head-to-head with the nefarious Team Rocket, and encountering the legendary guardians of Johto – all told through a stunning musical narrative. Seven incredibly talented musicians with performance pedigrees including Pokémon Symphonic Evolutions and The Legend of Zelda: Symphony of the Goddesses — as well as game scores such as Destiny, Dragon Age, Tomb Raider and Minecraft — will bring this score to life. Accentuating the journey is an epic package design by artist Ryan Brinkerhoff, chock-full of premium trappings like: Premium Foil-Stamped Jacket; Gold/Silver Foil Inner Sleeves; Half-and-Half Color Pokeball Vinyl Discs; and an Epic Gatefold Illustration to be revealed at a later date. The satisfaction of seeing these discs spin on a turntable is hard to pass up. Below is a preview of tracks that will be re-recorded for Johto Legends! Please note that these are synthesized temp tracks and they will be re-recorded with LIVE orchestral instruments in a studio environment for the final record set.

File Under: OST
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1922

Mike Patton: 1922 OST (Ipecac) LP
1922 is based on Stephen King’s 2010 novella of the same name, from his horror anthology Full Dark, No Stars, which tells the story of a man’s confession of his wife’s murder. The tale is told from from the perspective of Wilfred James, the story’s unreliable narrator who admits to killing his wife, Arlette, with his son in Nebraska. But after he buries her body, he finds himself terrorized by rats and, as his life begins to unravel, becomes convinced his wife is haunting him. Presented here on double vinyl courtesy of Ipecac Recordings, Mike Patton’s (Faith No More, Dead Cross, Tomahawk) heavily orchestral original score follows his acclaimed work on the 2012 film The Place Beyond The Pines and is equally haunting and dissonant.

File Under: OST
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winners

Pedro The Lion: Winners Never Quit (Jade Tree) LP
Following a critically acclaimed debut album for Made In Mexico, singer/songwriter David Bazan returned to his Seattle home studio to craft the bulk of 2000’s Winners Never Quit (remastered and reissued on vinyl for the first time in over half a decade) – a haunted collection of material that traces the fictional story of a man who vows to maintain his good name despite a slew of devious activity and malicious intent. Stripped down to a voice and a guitar, Bazan is a modern-day folk champion. Behind a band, he loses his timidity and commands attention with an impassioned voice and a compelling narrative. In either sphere, Bazan is an accomplished artist and unique talent as he displays here. In early 2006, Bazan retired the Pedro The Lion moniker to continue on with solo work under his own name. In December of 2017 Bazan announced that Pedro The Lion will reunite after eleven years for a new album and a worldwide tour.

File Under: Indie Rock
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zeenith

Zuider Zee: Zeenith (Light in the Attic) LP
An early/mid-1970s group that sound like a hybrid between T-Rex and Big Star, might sound like a band that should be universally adored but Memphis’ Zuider Zee have remained something of an untapped curiosity. Until now. With this first time release of the album Zeenith, recorded between 1972 and ’74 and featuring all previously unheard tracks, the band should no longer be a boxed-up mystery. Prior to Zeenith, Zuider Zee’s 1975 self-titled LP was the only record out there that existed. Released on Columbia, it was hailed as a true great power pop record of the time by groups such as Cheap Trick. “Rick Nielsen called me one night,” Zuider Zee’s Richard Orange recalls. “He was asking about why weren’t we bigger and doing as well as they were. He said: “Man, you’re so damn good, do you know where I have your phone number? I have your number right beneath John Lennon’s number. Fuggin’ John Lennon, Richard!’ Despite love from such bands and a later line-up of Zuider Zee even supporting the Sex Pistols at the Taliesyn Ballroom in Memphis in 1978 – “Sid Vicious stumbling around out of his gourd. It was very unremarkable, the whole event.” remembers Orange – and with Columbia never even releasing a single for radio, Zuider Zee never quite took off and dissolved into the ether of cult band land. However, an untold chapter of the group’s history has now been unearthed as Light In The Attic’s ability to pluck gold from seemingly nowhere continues on this release. Comprised entirely of previously unreleased tracks, Zeenith is an album in which sugar-coated glam stomp nestles up alongside Mersey beat and where rousing power pop, crunchy rock and a undercurrent of pop-peppered psychedelia all merge seamlessly. Childhood pals Richard Orange and Gary Simon Bertrand had matriculated in late ‘60s Lafayette pop-psych outfit, Thomas Edisun’s Electric Light Bulb Band, before joining forces with Kim Foreman and John Bonar. Zuider Zee’s tale wasn’t always destined to be that of a mysterious cult band but they did face some difficulties in from the off, as they found when they moved from Jackson, Mississippi to their new adopted home of Memphis. “When we first rolled into town, we were completely unknown,” says Orange. “We couldn’t get a gig at any of the clubs for what seemed like at least a year or even longer. We were very different from bands in the South. We never covered any Southern rock – apart from The Allman Brothers who we all thought the world of – and as we grew into ourselves we didn’t sound anything like southern rock.” It was Orange’s work ethic that kept the band driven and focused though through such tough times. “I can honestly say that there is one thing Zuider Zee shared with The Beatles experience,” he says. “We played for years in the crappiest most disgusting, dangerous and depressing places, and we played anywhere from 5 to 7 hours, 6 days a week – for years.” A group led by such a hard-working and determined individual is glisteningly apparent on this release. Zeenith feels like a band at that magical juncture between a group perfecting their craft whilst still driven by wide-eyed optimism, youthful energy and a sense of fun that radiates throughout every note played. Ultimately, this was at the core of Zuider Zee’s aims. “Most important is to have fun whilst you’re up there doing it [on stage] because people will feel that joy – it’s electric and contagious and they will react to it.” Something that still feels pertinent over 40 years since it was created.

File Under: Rock, Power Pop, Glam
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…..Restocks…..

Leon Bridges: Good Thing (Columbia) LP
Black Angels: Passover (Light in the Attic) LP
Built to Spill: Perfect From Now On (Unviersal) LP
Michael Chapman: Fully Qualified Survivor (Light in the Attic) LP
Circle: Terminal (Southern Lord) LP
Converge: The Dusk in Us (Deathwish) LP
Karen Dalton: In My Own Time (Light in the Attic) LP
DJ Shadow: Endtroducing (A&M) LP
Lee Hazlewood: Cowboy in Sweden (Light in the Attic) LP
Lee Hazlewood: Forty (Light in the Attic) LP
Lee Hazlewood: LHI Years (Light in the Attic) LP
Lee Hazlewood: Special World of (Light in the Attic) LP
Husker Du: Savage Young Du (Numero) Box
I Marc 4: Nelson Psychout (Vampisoul) LP
Ennio Morricone: Un Esercito di 5 Uomini (AMS) LP
OST: Heartworn Highways (Light in the Attic) LP
OST: Sympathy for Lady Vengeance (Beatball) LP
Popol Vuh: Nosferatu (Waxwork) LP
Queens of the Stone Age: Rated R (Interscope) LP
Shooting Guns: Another Wolfcop (One Way Static) LP
Paul Simon: Graceland (Legacy) LP
Sunn o)): Monoliths & Dimension (Southern Lord) LP
Taake: Noregs Faapen (Peaceville) LP
Toro y Moi: Boo Boo (Carpark) LP
White Zombie: It Came From NYC (Numero) Box
Wilco: Yankee Hotel Foxtrot (Nonesuch) LP
Link Wray: Be What You Want to (Tidal Wave Music) LP
Link Wray: s/t (Future Days) LP
Various: I Am The Center (Light in the Attic) Box
Various: Microcosm (Light in the Attic) Box
Various: Native North America (Light in the Attic) Box
Various: This Record Belongs to…….. (Light in the Attic) LP
Various: Uneven Path (Music From Memory) LP
Various: Voyager Golden Record (Ozma) Box

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…..news letter #856 – trail…..

Some major reissues out this week. As every summer, not a lot of new releases but you’re probably still catching up from the last month or so anyway.

Our pals from Collective Arts Brewing (you may recall them from RSD) are having a tap takeover at The Underground tomorrow (Friday) night. They’ll have the full available line on tap, and a bunch of folks, including myself will be spinning records all evening. Definitely a good way to kick off your weekend.

…..picks of the week…..

beak

Beak>: s/t (Temporary Residence) LP
To celebrate the addition of Bristol’s preeminent out-rock trio, Beak>, to the Temporary Residence family, the label reissues their eponymous debut album on audiophile-quality double vinyl. Remastered for the format by Josh Bonati, and packaged in a heavyweight old-styile tip-on gatefold jacket, Beak> includes the original album in its entirety, as well as a vinyl-only bonus track not available on the CD or Digital formats. Beak> was formed in January of 2009 by Bristol musicians Billy Fuller, Matt Williams, and Geoff Barrow. The band instituted very strict guidelines governing the recording and writing process of their work: The music was to be recorded live in one room with no overdubs or repair, only using edits to create arrangements. All tracks were written over a 12-day session in SOA Studios, Bristol. Often a band can be no more than the sum of its parts, but Beak> are an equation in which it’s impossible to define equivalents or totals. Instead the meeting of three unique talents form a foundation from which ideas assimilate and propagate. Fuller was reared an aural diet of anything and everything, facilitated later by his time working in the city’s top independent record shop Replay Records, and also playing with handfuls of bands – including Massive Attack, Robert Plant, and Malakai. Billy is Beak>’s thoughtful pulse; his bass a forceful origin for their superlative narrative arcs. Williams picked up a Yamaha keyboard at age 3 and never looked back, as Team Brick creates dissonance that immediately elucidates free-forming thought, and impacts heavily on Beak>’s rolling landscape.  Barrow is best known for forming and producing popular music group Portishead, as well as scoring acclaimed film and TV productions, including Black Mirror, Ex Machina, and Annihilation.

File Under: Krautrock, Electronic, Portishead
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perez

Luis Perez: Ipan In Xiktli Metzli (Mr. Bongo) LP
Official Mr Bongo reissue. Replica original artwork, including the insert with listening instructions, in Spanish and English. Luis Pérez was born in Mexico City on July 11, 1951. From 1971 onwards he dedicated much of his time to the research of the pre-Columbian instrumentation of Mesoamerica. This research allowed him to travel the Mexican territory and study musical traditions of the native peoples of Mexico. He learned directly from the living sources of the music and collected samples of musical instruments and the songs of different native speakers including Maya, Nahuatl, Mazateco, Yoemem, Comcaac, Raramuri, Wixarika and more. His personal collection of native Mexican instruments includes ethnographic instruments still in use by ethnic groups, along with archaeological artifacts some of which are more than 2,000 years old. He continuously utilises these instruments in performances, concerts, lectures, exhibitions, and recordings, keeping them alive.‘El Ombligo de la Luna’ delves deep into the past but also exists entirely outside of time, as Luis Pérez ‘Ixoneztli’’s offering to the world – the soul of Mexico channeled through the hands and heart of a master musician. Huge thanks to Carlos Niño for his assistance on this very special project. Copy adapted from original copy written and supplied by Jesse Peterson (2017), used with thanks. Licensed directly from Luis Pérez.

File Under: Mexico, Electronic, Experimental
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…..new arrivals…..

bodyhead

Body/Head: The Switch (Matador) LP
Body/Head is the duo of Kim Gordon and Bill Nace. Creative alchemy doesn’t just happen in the studio or in the practice space; so much of it is the product of solo time with one’s instrument, learning how body and wood and electronics fuse, and of subconscious processes as one lives one’s daily life – picking up the ambient noise of the world outside, listening to others’ work, talking through ideas with friends. For Kim and Bill, time together these days is limited to live performances and recording, so they’ve got to bring all their magic to every encounter. Lucky for us, these are two experimental sorcerers of significant renown. Their debut album together as Body/Head, Coming Apart, from 2013, was more of a rock record – heavy, emotional, cathartic, spellwork in shades of black and grey. The Switch is their second studio full-length, and it finds the duo working with a more subtle palette, refining their ideas and identity. Some of it was sketched out live (if you’ve not had the fortune of seeing them in that natural environment yet, see 2016’s improvisational document No Waves), but much of it happened purely in the moment. Working in the same studio and with the same producer as Coming Apart, here Body/Head stretch out, making spacious pieces that build shivering drones, dissonant interplay, Gordon’s manipulated vocals, and scraping, haunting textures into something that feels both delicate and dangerous. Less discrete songs than one composition broken up into thematic movements, a slow-moving narrative that requires as much attention and care from the listener as it did from everyone involved in its creation, it is a record that sticks around after it’s done playing. This is Nace’s favorite of Gordon’s guitar work; she’s truly come into her own as a guitarist, having built up her confidence through solo shows. The way the duo work together, you’d never know they spend so much time apart; on The Switch, their vision and focus feel truly unified. If Coming Apart was dark magic, The Switch works with light, though it never forgets that these approaches are two sides of the same coin, and that binaries – black/white, near/far, emotion/analysis, body/head – are made to be broken open, and that the truth of things is in the energy between.

File Under: Indie Rock, Experimental
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deafheaven

Deafheaven: Ordinary Corrupt Human Love (Anti) LP
Deafheaven was formed in 2010 by vocalist George Clarke and guitarist Kerry McCoy. They released their debut studio album Roads To Judah in 2011. They added drummer Daniel Tracy to the group and released their breakthrough album Sunbather in 2013. After rounding out their line up with guitarist Shiv Mehra and bassist Stephen Clark—each subsequent live set felt like a religious experience for the bigger (and bigger) shows that followed. Their third album, and first for ANTI-, 2015’s New Bermuda, was heavier, sturdier, and more grounded in the dirt than Sunbather. They toured extensively to support New Bermuda playing tours and festivals with Lamb Of God, Anthrax, Danzig, and Gojira. Deafheaven’s new album, Ordinary Corrupt Human Love, finds them working with old friends again. The Jack Shirley-produced and Nick Steinhardt-art directed (of Touché Amoré) collection gets its title from Graham Greene’s novel The End of the Affair, referencing a moment when someone is looking for love, in all of its imper¬fection and simple beauty. This sentiment is carried throughout the hazy, yearning romanticism of the record with song titles and words as sumptuous as the sounds around them. Clarke describes the composition of Ordinary Corrupt Human Love beginning with “small seeds of healing, repair, and rebirth,” and like each subsequent Deafheaven album, this record is, in fact, a revelation.

File Under: Metal
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dirty pros

Dirty Projectors: Lamp Lit Prose (Domino) LP
Dirty Projectors return with a new album that’s the yang to the yin of their eponymous 2017 effort. The songs signal a page turned for David Longstreth: hope instead of heartbreak, a restorative balance. Guitars have returned to the Dirty Projectors’ world, intricate and gorgeous vocal harmony too. It begins with “Right Now,” David singing, “there was silence in my heart, but now I’m striking up the band.” LA string group the Calder Quartet, and The Brass Players of Los Angeles both appear on several songs while further collaborations come from the likes of HAIM, Syd, Robin Pecknold, Rostam Batmanglij, Amber Mark, Empress Of and Dear Nora. Lamp Lit Prose is a recommitment to the sounds and ideals of Dirty Projectors, embracing the band’s trademarks while pushing forward the sonic envelope. Single vinyl LP housed in a gatefold jacket containing a 16 page 6″ x 11″ libretto and download card.

File Under: Indie Rock
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ericb

Eric B & Rakim: Don’t Sweat the Technique (Geffen) LP
In Tomorrow… Legendary hip-hop duo Eric B. & Rakim first formed in Long Island, NY, in 1985. The premier DJ/MC team, not only was their chemistry superb, but individually, each represented the absolute state of the art in their respective skills. Between 1987 and 1992, they released four acclaimed albums, the platinum-selling Paid In Full (1987), Follow The Leader (1988), Let The Rhythm Hit ‘Em (1990) and Don’t Sweat The Technique (1992). Paid In Full caused a stir in the hip-hop music world due to its novel sound, approach, and subject matter. Their songs were the first to really impart hip-hop music lyrics with a serious poetic device sensibility while their gritty, heavy, and dark beats, marked the beginning of heavy sampling in hip-hop records. As a disc jockey, Eric B. reinstated the art of live turntable mixing and his soul-filled sampling became influential in future hip hop production. The dynamic duo’s unprecedented five year run ended with their fourth and final album to date, Don’t Sweat the Technique which found them going out on top with hip-hop masterpieces like the title cut, “The Punisher,” “Casualties Of War,” and Juice theme song “Know The Ledge.” Eric B. & Rakim reunited in 2017 for a string of one-off shows commemorating the 30th anniversary of Paid in Full. In 2018 they will undertake their first major tour together since their initial break up in 1993.

File Under: Hip Hop
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ericb1

Eric B & Rakim: Follow the Leader (Geffen) LP
In tomorrow… Legendary hip-hop duo Eric B. & Rakim first formed in Long Island, NY, in 1985. The premier DJ/MC team, not only was their chemistry superb, but individually, each represented the absolute state of the art in their respective skills. Between 1987 and 1992, they released four acclaimed albums, the platinum-selling Paid In Full (1987), Follow The Leader (1988), Let The Rhythm Hit ‘Em (1990) and Don’t Sweat The Technique (1992). Paid In Full caused a stir in the hip-hop music world due to its novel sound, approach, and subject matter. Their songs were the first to really impart hip-hop music lyrics with a serious poetic device sensibility while their gritty, heavy, and dark beats, marked the beginning of heavy sampling in hip-hop records. As a disc jockey, Eric B. reinstated the art of live turntable mixing and his soul-filled sampling became influential in future hip hop production. Follow the Leader, Eric B. & Rakim’s second release, is also their second out and out classic record. Following the same formula as their debut it’s anchored by Eric B.’s innovative production style and Rakim’s blisteringly brilliant braggadocio. Home to high-water marks like “Microphone Feind” and “Follow the Leader,” the golden age of hip-hop certainly has a surplus of fantastic LPs but Follow the Leader is right near the top. The duo reunited in 2017 for a string of one-off shows commemorating the 30th anniversary of Paid in Full. In 2018 Eric B. & Rakim will undertake their first major tour together since their initial break up in 1993.

File Under: Hip Hop
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ericb2

Eric B & Rakim: Let The Rhythm Hit ‘Em (Geffen) LP
In tomorrow… Legendary hip-hop duo Eric B. & Rakim first formed in Long Island, NY, in 1985. The premier DJ/MC team, not only was their chemistry superb, but individually, each represented the absolute state of the art in their respective skills. Between 1987 and 1992, they released four acclaimed albums, the platinum-selling Paid In Full (1987), Follow The Leader (1988), Let The Rhythm Hit ‘Em (1990) and Don’t Sweat The Technique (1992). Paid In Full caused a stir in the hip-hop music world due to its novel sound, approach, and subject matter. Their songs were the first to really impart hip-hop music lyrics with a serious poetic device sensibility while their gritty, heavy, and dark beats, marked the beginning of heavy sampling in hip-hop records. As a disc jockey, Eric B. reinstated the art of live turntable mixing and his soul-filled sampling became influential in future hip hop production. The dynamic duo’s relentless rhymes and impeccable production continued to reign supreme through to their third golden age of hip-hop release, Let the Rhythm Hit ‘Em which yielded the trio of singles “In the Ghetto,” “Let The Rhythm Hit ‘Em” and “Mahogany.” Eric B. & Rakim reunited in 2017 for a string of one-off shows commemorating the 30th anniversary of Paid in Full. In 2018 they will undertake their first major tour together since their initial break up in 1993.

 File Under: Hip Hop
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ericbb

Eric B & Rakim: Paid in Full (Geffen) LP
In tomorrow… Legendary hip-hop duo Eric B. & Rakim first formed in Long Island, NY, in 1985. The premier DJ/MC team, not only was their chemistry superb, but individually, each represented the absolute state of the art in their respective skills. Between 1987 and 1992, they released four acclaimed albums, the platinum-selling Paid In Full (1987), Follow The Leader (1988), Let The Rhythm Hit ‘Em (1990) and Don’t Sweat The Technique (1992). Paid In Full caused a stir in the hip-hop music world due to its novel sound, approach, and subject matter. Their songs were the first to really impart hip-hop music lyrics with a serious poetic device sensibility while their gritty, heavy, and dark beats, marked the beginning of heavy sampling in hip-hop records. As a disc jockey, Eric B. reinstated the art of live turntable mixing and his soul-filled sampling became influential in future hip hop production. The dynamic duo’s relentless rhymes and impeccable production continued to reign supreme through to their third golden age of hip-hop release, Let the Rhythm Hit ‘Em which yielded the trio of singles “In the Ghetto,” “Let The Rhythm Hit ‘Em” and “Mahogany.” Eric B. & Rakim reunited in 2017 for a string of one-off shows commemorating the 30th anniversary of Paid in Full. In 2018 they will undertake their first major tour together since their initial break up in 1993.

 File Under: Hip Hop
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gorillaz

Gorillaz: Demon Days (Parlophone) LP
Co-produced by Danger Mouse, Demon Days (2005) is the double platinum-certified second studio offering from the world’s most famous virtual hip-hop group. The brainchild of Blur’s Damon Albarn and Tank Girl co-creator Jamie Hewlett, the animated cast of characters from its innovative 2001 predecessor return – 2D (vocals), Murdoc (bass), Noodle (guitar/keyboards) and Russel Hobbs (drums) – alongside guests like De La Soul, Ike Turner, Dennis Hopper, MF Doom, Shaun Ryder, Neneh Cherry, Bootie Brown and the London Community Gospel Choir. Home to the catchy and cinematic singles “Feel Good Inc.,” “Dare” and “Dirty Harry,” New York’s Paper called the album a “work of conceptual art that’s as fulfilling to listen to as it is enjoyable to look at…more melodic, free-flowing and sharper-edged than on its predecessor.”

File Under: Hip Hop
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daed

Grateful Dead: Anthem of the Sun (Rhino) LP
The Grateful Dead continues its ambitious 50th anniversary reissue series with a picture disc pressing of Anthem Of The Sun featuring the 1971 mix of the album remastered by Grammy-winning engineer David Glasser from the original analog master tapes. The band’s most experimental album, Anthem Of The Sun was an unprecedented mix of studio and live recordings stitched together to create a hybrid. Fifty years later, it remains a pinnacle of psychedelic music. It also marked a departure for the band, as they began to channel their creativity into longer jams on songs like “Alligator” and “Caution (Do Not Stop On Tracks)” – two live staples of the Dead’s early days. “We weren’t making a record in the normal sense,” explained Jerry Garcia, who mixed the album with Phil Lesh and the Dead’s new soundman, Dan Healy. “We were making a collage. We were trying to do something completely different, which didn’t even have to do with a concept. It had to do with an approach that’s more like electronic music or concrete music, where you are actually assembling bits and pieces toward an enhanced non-realistic representation.” “This is one the most thrilling albums the Grateful Dead ever produced, mixing portions of live recordings from the first six months of Mickey’s tenure with the band, along with studio experimentations that would hint at where the Dead would go when they started recording to 16-track tape the following year,” says archivist/producer David Lemieux.

File Under: Rock
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greenwood

Jonny Greenwood: You Were Never Really Here (Lakeshore) LP
In tomorrow… In Lynne Ramsay’s 2018 thriller You Were Never Really Here, based on the book of the same name by Jonathan Ames, a traumatized veteran (Joaquin Phoenix), unafraid of violence, tracks down missing girls for a living. When a job spins out of control, Joe’s nightmares overtake him as a conspiracy is uncovered leading to what may be his death trip or his awakening. “Jonny Greenwood’s exceptional score is as surprising as Ramsay’s film,” hails Pitchfork. “It is as calmly brutal as Phoenix’s dead-eyed shuffle, and as tender as the way Joe clasps the hand of the dying man he has just dispatched with a bullet to the gut.”

File Under: OST, Radiohead
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hell

Richard Hell & The Voidoids: Blank Generation (Sire) LP
After establishing his reputation as founder of legendary bands the Heartbreakers and Television, Richard Hell went onto to lead the Voidoids which included Robert Quine (Lou Reed, Tom Waits, John Zorn), Ivan Julian (Matthew Sweet) and Marc Bell (aka Marky Ramone). Along with the Ramones, Television, Blondie and Talking Heads, Hell and his band helped to define the early New York “first wave” punk scene. The group’s landmark 1977 debut Blank Generation is an iconic album chock full of attitude and blistering performances that has influenced countless rock bands in its wake. It clearly followed its own template and still sounds as unique and abrasive today. The title cut became a slogan and an anthem and later was emulated by the Sex Pistols for their track, “Pretty Vacant” while additional standouts come in the form of “New Pleasure,” “Betrayal Takes Two” and “Another World.”

File Under: Punk
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marr

Johnny Marr: Call the Comet (Warner) LP
Recorded with his band in Manchester at Johnny Marr’s Crazy Face studios, Call The Comet is the third solo record from the Smiths guitarist and follows 2013’s critically acclaimed The Messenger and 2014’s Playland; both of which made the UK top 10. “Call The Comet is set in the not-too-distant future” says Marr, “and is mostly concerned with the idea of an alternative society. It’s my own magic realism.” Songs include “Actor Attractor,” “Walk Into The Sea,” “Bug” and recent live favorite “Spiral Cities.” “The characters in the songs are searching for a new idealism, although there are some personal songs in there too. It’s something that people like me can relate to,” he adds.

File Under: Rock
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pedro

Pedro the Lion: The Only Reason I Feel Secure (Jade Tree) LP
Originally released in 1999, the Only Reason I Feel Secure EP is the direct follow-up to Pedro The Lion’s breakout debut album, It’s Hard to Find a Friend, hailed by critics and fans alike as further proof of singer/songwriter David Bazan’s genius. It was re-issued by Jade Tree Records in 2001 with three bonus tracks which constituted the bands’s first single. The 8-track edition has been remastered and is presented here. In early 2006, Bazan retired the Pedro The Lion moniker to continue on with solo work under his own name. In December of 2017 Bazan announced that Pedro The Lion will reunite after eleven years for a new album and a worldwide tour.

File Under: Indie Rock
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hereditary

Colin Stetson: Hereditary OST (Milan) LP
Hereditary is a 2018 horror film directed by newcomer Ari Aster. It follows the Grahams, a family in mourning after the passing of grandma. Annie, the family’s mother, suspects that not all is as it seems after grandma’s death – something unnatural may have been left behind. Annie’s suspicions are confirmed as the family is thrown into a nightmarish scenario of ever-increasing terror at the hands of the inexplicable. As the family turns in on itself in the throes of paranoia and despair, Annie is forced to face the darkness of their inherited fate in order for them to survive. Scoring duties on Hereditary came to Colin Stetson. The saxophonist/reedist/composer has conjured an instant classic for Hereditary using an army of strings and drones. The end result is a uniquely uneasy, sinister suite of music capped with one of the most unexpected conclusions in recent years – listeners will find themselves totally possessed. The 2LP-set is housed in a gatefold jacket featuring liner notes from Aster.

File Under: OST
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…..Restocks…..

Boards of Canada: Geogaddi (Warp) LP
Boards of Canada: Music Has the Right to Children (Warp) LP
Bill Callahan: Apocalypse (Drag City) LP
Bill Callahan: Sometimes I Wish I Were an Eagle (Drag City) LP
Childish Gambino: Awaken My Love (Glassnote) LP
John Coltrane: Coltrane (Analogue Productions) LP
John Coltrane: Lush Life (Analogue Productions) LP
Sam Cooke: Singles Collection (Not Now) LP
Lana Del Rey: Born To Die (Universal) LP
Joy Division: Preston 28 February 1980 (Get Back) LP
King Crimson: Discipline (Pangyric) LP
Massive Attack: Heligoland (EMI) LP
Massive Attack: Mezzanine (EMI) LP
Neutral Milk Hotel: In The Aeroplane Over The Sea (Merge) LP
Rolling Stones: Exile on Main Street (Abkco) LP
Yasuaki Shimizu: Kakashi (Palto Flats) LP
Swans: The Seer (Young God) LP
Caetano Veloso: s/t (Philips) LP
Caetano Veloso: Transa (Philips) LP
War on Drugs: A Deeper Understanding (Warner) LP
Yamantaka//Sonic Titan: Dirt (Paper Bag) LP
Various: Ethiopian Modern Instrumental Hits (Heavenly Sweetness) LP
Various: Heavenly Ethiopiques (Heavenly Sweetness) LP

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