Author Archives: listenrecords

…..news letter #874 – ambients…..

And spring is back!…… But that doesn’t change that Black Friday RSD is coming! And that can only mean one other thing…. DEALS! And one other thing… we’re gonna give away a Rega RP1! Mark it in your calendars folks…Nov 23-25th you need to get down here and get a jump start on your Xmas shopping and have a chance to win a turntable. And celebrate our 17th anniversary! But don’t wait until then to come for a dig… we’ve been buying and pricing up loads of great used stuff that is flying out the door. And there’s all these great new arrivals in this week too…………

Oh ya… and if you follow us on Instagram, you know we bought some amazing used stuff in the last few weeks. I bought 4 more crates from the same guy today. That should be hitting the shelves soon. If you don’t follow us on Instagram, WHY NOT?! And now you know.

CHECK OUT OUR WEBSTORE!!! 
SUBSCRIBE TO OUR NEWS LETTER!!!!

…..picks of the week…..


Brian Eno: Ambient 1: Music for Airports
(Astralwerks) LP/2LP

In tomorrow… MEGA ESSENTIAL!!! Ground zero for ambient music, if you don’t have this record, stop what you are doing, and come and buy it! Available both as a regular 33rpm LP or as an audiophile double 45rpm (see below). Though not the earliest entry in the genre (which Brian Eno makes no claim to have invented), 1978’s Ambient 1 (Music For Airports) was the first album ever to be explicitly labelled ‘ambient music’. Eno had previously created similarly quiet, unobtrusive music on albums Evening Star, Discreet Music, and Harold Budd’s The Pavilion of Dreams (which he produced), but this was the first album to give it precedence as a cohesive concept. Eno conceived the idea for Music For Airports while spending several hours waiting at Cologne Bonn Airport, becoming annoyed by the uninspired sound and the atmosphere it created. The recording was designed to be continuously looped as a sound installation, with the intent of defusing the tense, anxious atmosphere of an airport terminal, by avoiding the derivative and familiar elements of typical ‘canned music’. The album features contributions from Robert Wyatt and Rhett Davies. Ambient 1 (Music For Airports) was followed by Harold Budd and Brian Eno’s Ambient 2 (The Plateaux of Mirror) and Ambient 3 (Day Of Radiance) by Laraaji, which was also produced by Eno. This record was cut using a specialist technique known as half-speed mastering. This artisan process results in cuts that have superior high frequency response (treble) and solid and stable stereo images. In addition, it is presented as a double 45RPM half-speed mastered edition. This is the ultimate for high quality reproduction as the faster the replay speed of the record, the higher the potential quality. Also, the shorter side times allow the level recorded to the master lacquer discs to be increased thereby improving the signal to the noise ratio.

File Under: Ambient, Electronic
Listen Here
Buy Here, And Here

shabasonJoseph Shabason: Anne (Western Vinyl) LP
Anne, the second album by Toronto saxophonist and composer Joseph Shabason, is a tonal essay on degenerative illness. Delicately and compassionately woven with interviews of Shabason’s mother from whom the album takes its name, Anne finds its creator navigating a labyrinth of subtle and tragic emotions arising from his mother’s struggle with Parkinson’s disease. Across the nine vivid postcards of jazz-laden ambience that comprise the album, Shabason unwraps these difficult themes with great care and focus revealing the unseen aspects of degenerative diseases that force us to re-examine common notions of self, identity, and mortality. Shabason’s uncanny ability to maneuver through such microscopic feelings is mirrored by his capacity to execute a similar tightrope-walk through musical genres. His music occupies a specific space that is as palpable as it is difficult to pin labels to. On Anne’s second track “Deep Dark Divide” rays of effected saxophone shine behind clouds of digital synthesizer that echoes the sound of jazz in the late ’80s, but with a Jon Hassell-esque depth of sensibility that consciously subverts the stylistic inoffensiveness of that era. There is detail and idiosyncrasy beneath Shabason’s dawn-of-the-CD-era sheen that elevates the album far beyond a mere aesthetic exercise. Still, the sounds on Anne are not so experimentally opaque as to stand in the way of the album’s through-line of sincerity and emotionality. When dissonance is employed it is punctual and meaningful, like on album-middler “Fred and Lil” where a 6-minute cascade of breathy textures builds suddenly to an agitated growl, only to abruptly give way to Anne Shabason speaking intimately about her relationship to her own parents. Snippets of such conversations see her taking on something like a narrator role across Anne while the sound of her voice itself is sometimes effected to become a musical texture entwined into the fabric of the songs without always being present or audible. On “November” Shabason lays muted brass textures atop a wavepool of electric chords provided by none other than the ambient cult-hero Gigi Masin, one of Anne’s many integral collaborators. The serene tragedy of the album distills itself gracefully into the ironically titled album closer “Treat it Like a Wine Bar” wherein flutters of piano and mournfully whispered woodwinds seem to evaporate particle by delicate particle, leaving the listener with a faint emotional afterglow like a dream upon waking. There is a corollary to be drawn here with what it must be like to feel one’s own mind and body drift away slowly until nothing remains, while the collection of memories and abilities that we use to denote the “self” softens into eternity. On Anne, it is precisely this fragile exchange of tranquility and anguish that Joseph Shabason has proven his singular ability to articulate.

File Under: Ambient, Electronic, Jazz
Listen Here
Buy Here

…..new arrivals…..
devine

Richard Devine: Sort/Lave (Timesig) 3LP
After a break of 6 years, Atlanta based electronic musician, producer and sound designer Richard Devine returns with a new album Sort\Lave on Venetian Snares‘ Timesig imprint. Recorded between 2016 and 2017 using Richard’s custom built Eurorack modular system and two Nord G2 Modular units, Sort\Lave features 12 tracks of intricate electronica that ranges from abrasive percussive experiments such as “Revsic” to “Astra’s” dazzling juxtaposition of sounds and onto the radiant ambience of the album’s closer “Takara.” Talking about the album’s genesis Devine explains “I’ve been using modular synthesizers since I was 17, but have never written complete tracks using these newer systems. This was my first experiment to see if it would be possible and I probably spent about 5 years building up the systems that I used on this album. I wanted the record to sound very different to my previous works which had been more cold, digital, clinical even, and had all been made using computers. The aim here was the complete opposite, to create something that felt very organic, detailed, spacious, big and warm and just as importantly, a record that you could put on and play all the way through that flowed in a seamless way.” This new approach was to prove fruitful and enabled Devine to create music in an entirely new way. “I really wanted to break free from timeline-based music creation and do things with my hands on the fly,” he explains. “So the tracks are more like captured snapshot performances where I could experiment and play around with the idea of probability-based sequencing for every patch, string multiple sequencers together that would feed other sequencers to come up with interesting rhythms and melodies. It was really fun coming up with new sounds this way too, I felt like I created several I haven’t heard before with this album. Some of the tracks on the album were complete accidents and evolved from something that happened spontaneously. In the end I feel this is one of the best records I have released to date, so I’m very excited to share it with the world.”

File Under: Electronic
Listen Here

drake

Drake: Scorpion (Universal) LP
Superstar rapper Drake’s latest full-length album, Scorpion has already smashed innumerable industry records, blowing just about every streaming record out of the water while making the artist the first to surpass 50 billion streams across all global streaming platforms along the way. A double album – divided between a hip-hop side and R&B side – Scorpion topped the Billboard Top 200 and its hit single “In My Feelings” dominated the Billboard Hot 100. The sprawling 25-track affair features unreleased Michael Jackson vocals on the track “Don’t Matter To Me,” a song which appears to be built around previously unreleased music: Paul Anka is listed as a co-writer on the track. Scorpion also included appearances from Static Major, TY Dollah $ign and Jay Z. On “That’s How You Feel,” Drake samples Nicki Minaj’s song “Boss Ass Bitch” and Future appears on “Blue Tint.” No I.D., DJ Premier, PARTYNEXTDOOR, Tay Keith, Boi-1da, and Murda Beatz are among the producers credited on the album. Scorpion is Drake’s first project since 2017’s More Life, which was billed as a playlist. It is his first studio album since 2016’s commercially successful Views.

File Under: Hip Hop
Listen Here

eno2

Brian Eno: Ambient 4: On Land (Astralwerks) LP/2LP
In tomorrow… Available both as a regular 33rpm LP or as an audiophile double 45rpm (see below). On 1982’s Ambient 4 (On Land) – the final edition in Brian Eno’s ambient series – his palate shifted from electro-mechanical and acoustic instruments towards “non-instruments” like pieces of chain, sticks and stones. “One of the big freedoms of music had been that it didn’t have to relate to anything – nobody listened to a piece of music and said, ‘What’s that supposed to be, then?’, the way they would if they were looking at an abstract painting; music was accepted as abstract. I wanted to try and make music which attempted to be figurative, for example by using lots of real noises,” he recalled to Mojo. In a pioneering early incarnation of what later became widely-known as remixing, Eno explained, “I included not only recordings of rooks, frogs and insects, but also the complete body of my own earlier work making ‘On Land’, which involved feeding unheard tape into the mix, constant feeding and remixing, subtracting and composting.” Conventional instruments do occasionally feature however, including Jon Hassell’s trumpet and Bill Laswell’s bass. The album also features contributions from Michael Brook and Daniel Lanois.

This record was cut using a specialist technique known as half-speed mastering. This artisan process results in cuts that have superior high frequency response (treble) and solid and stable stereo images. In addition, it is presented as a double 45RPM half-speed mastered edition. This is the ultimate for high quality reproduction as the faster the replay speed of the record, the higher the potential quality. Also, the shorter side times allow the level recorded to the master lacquer discs to be increased thereby improving the signal to the noise ratio.

File Under: Ambient, Electronic
Listen Here
Buy Here, And Here

eno3

Brian Eno: Discreet Music (Astralwerks) LP/2LP
In tomorrow… Available both as a regular 33rpm LP or as an audiophile double 45rpm (see below). While his earlier work with Robert Fripp on No Pussyfooting and several selections from his own Another Green World feature similar ideas, Discreet Music marked a clear step toward the ambient aesthetic Brian Eno would later codify with 1978’s Ambient 1: Music for Airports. The inspiration for this 1975 album began when Eno was hospitalized after an accident. Whilst bed-ridden and listening to a record of 18th-century harp music, the volume was too low and he couldn’t reach to turn it up. It was raining outside, and Eno recounts he began listening to the rain and to “these odd notes of the harp, that were just loud enough to be heard above the rain.” “This presented what was for me a new way of hearing music – as part of the ambience of the environment, just as the colour of the light and the sound of the rain were parts of that ambience,” he observed. The A-side of the album is a 30-minute piece titled “Discreet Music,” which Pitchfork called “one of the greatest single ambient pieces that Eno has produced.” It was made using two overlapped tape loops of melodic synthesizer phrases of different lengths. This technique became known as ‘Frippertronics’; one of Eno’s early forays into algorithmic, generative composition – exploring multiple ways to create music with limited planning or intervention. The second half of the album, titled “Three Variations on the Canon in D Major by Johann Pachelbel” features the Cockpit Ensemble, playing brief excerpts from the score, which were repeated several times, with the tempo and other elements gradually altered – the end result of which “forced the listener to switch fundamental modes of hearing,” Pitchfork proclaimed.
 
This record was cut using a specialist technique known as half-speed mastering. This artisan process results in cuts that have superior high frequency response (treble) and solid and stable stereo images. In addition, it is presented as a double 45RPM half-speed mastered edition. This is the ultimate for high quality reproduction as the faster the replay speed of the record, the higher the potential quality. Also, the shorter side times allow the level recorded to the master lacquer discs to be increased thereby improving the signal to the noise ratio.

File Under: Ambient, Electronic
Listen Here
Buy Here, And Here

eno4

Brian Eno: Music For Films (Astralwerks) LP/2LP
In tomorrow… Available both as a regular 33rpm LP or as an audiophile double 45rpm (see below). “Arguably the most quietly influential of all his works,” according to the BBC, this conceptual 1976 Brian Eno record was intended as a soundtrack for imaginary films, with excerpts later featuring in movies by directors including John Woo and Derek Jarman. The album is a loose compilation of material, composed of short tracks ranging from one-and-a-half minutes to just over four, making it the antithesis of the long, ambient pieces he later became known for. The compositional styles and equipment used also carried over onto Eno’s work on David Bowie’s 1977 classic Low. Unlike Eno’s later ambient works, Music for Films utilizes a broader sonic palette, with his studio exercises being supplemented by instrumentation from Rhett Davies, John Cale, Phil Collins, Robert Fripp, Fred Frith, Percy Jones, Bill MacCormick, Dave Mattacks, Paul Rudolph and Rod Melvin.
 
This record was cut using a specialist technique known as half-speed mastering. This artisan process results in cuts that have superior high frequency response (treble) and solid and stable stereo images. In addition, it is presented as a double 45RPM half-speed mastered edition. This is the ultimate for high quality reproduction as the faster the replay speed of the record, the higher the potential quality. Also, the shorter side times allow the level recorded to the master lacquer discs to be increased thereby improving the signal to the noise ratio.

File Under: Ambient, Electronic
Listen Here
Buy Here, And Here

fleetfoxes

Fleet Foxes: First Collection (Sub Pop) Box
Fleet Foxes and Sub Pop present a limited-edition collection in honor of the 10th anniversary of the band’s debut LP. First Collection 2006-2009 spans the early days of Fleet Foxes’ career, including their self-titled debut, plus the Sun Giant EP, The First EP (formerly a self-titled, very limited-edition, self-released EP), and B-sides & Rarities. The vinyl version is packaged in a lavish box, with a 12″ LP of the debut album and separate 10″ records for each of the added titles. In addition to its musical offerings, the collection features a 32-page booklet including show flyers, lyrics and artwork from band’s early history. Fleet Foxes’ debut made a tremendous impact on the international musical scene, topping numerous “best of” lists, including Rolling Stone’s 100 Best Albums of the 2000’s and Pitchfork’s 50 Best Albums of 2008, and earned the band Uncut’s inaugural Music Award Prize. Fleet Foxes is certified Gold in North America and Platinum in both the UK and Australia.

File Under: Indie Rock
Listen Here

king gizzard

King Gizzard & The Lizard Wizard: Willoughby’s Beach (Flightless/ATO) LP
King Gizzard & The Lizard Wizard are the most exciting head-spinning, third-eye opening, double-drumming goddamn rock ‘n’ roll band on the planet. The unexpected is just about the only thing we have come to expect from the Melbourne band. Via a series of carefully considered yet wildly divergent concepts The Gizz’s collective body of work offers visceral thrills a-plenty without ever once resorting to indulgence. Their music works on so many levels, providing a transcendental, hair-swinging soundtrack for some, a transportive journey to the center of one’s id for others, while in their more reflective moments also tenderly offering succour and guidance for the lost and spiritually malnourished. ATO is partnering with Flightless Records to bring you five King Gizzard and The Lizard Wizard reissues in November 2018! The first five titles from the band’s incredible back catalogue – 12 Bar Bruise, Eyes Like The Sky, Float Along – Fill Your Lungs, Oddments, and the Willoughby’s Beach EP – will be reissued on 12″ vinyl for the first time with re-imagined artwork, packaging, liner notes and fresh colors. Willoughby’s Beach is King Gizzard’s second EP, originally self-released in 2011 and limited to 350 hand numbered copies. Featuring the the manic, grunged up standouts “Danger $$$” and “Dead-Beat, the reissue features new artwork re-imagined by Ican Harem and comes on colored vinyl.

File Under: Indie Rock, Psych
Listen Here

WRWTFWW025LP_CU

Mkwaju Ensemble: Mkwaju (WRWTFWW) LP
WRWTFWW Records announces the highly anticipated official reissue of holy grail album MKWAJU by acclaimed Japanese percussionist Midori Takada’s MKWAJU Ensemble, sourced from the original masters and available in two versions: a vinyl LP cut at Emil Berliner Studios (formerly the in-house recording department of Deutsche Grammophon) and a digipack CD. Originally recorded in February and March 1981 and released by fabled Japanese avant-garde label Better Days (home of Ryuichi Sakamato’s debut album, Yasuaki Shimizu’s Kakashi (1982), Colored Music’s self-titled LP and many more) MKWAJU is the fruit of the collaboration between Takada’s crew and world-famous composer/musical director Joe Hisaishi, the man behind most of Hayao Miyazaki’s Studio Ghibli anime soundtracks and over 100 other films scores, including Takeshi Kitano’s Sonatine (1993), Hana-Bi(1997), and Kikujiro (1999). The ensemble’s transcendental wonder is, in fact, the first-ever Midori Takada album and the first-ever Joe Hisaishi-produced album: historic. Led by Midori Takada on marimba, gong, vibraphone, and tom tom, MKWAJU is an inventive and riveting take on Eastern and Western minimalist traditions, African rhythms, and early electronica. Drawing from its jazz-rooted polyrhythmic improvisations in the most inventive ways, the album covers a wide spectrum of sounds, from colorful dance floor-ready percussion pieces that stand somewhere between proto-techno and experimental synth-pop, to cinematic ambient landscapes and ethereal drone delicacies. The feverishly sought-after full-length is a stepping-stone in Midori Takada’s career and an all-around pioneering album. Alongside Takada and Hisaishi (who not only produced the album but also played synthesizers), personnel on MKWAJU includes famed Japanese musicians Yoji Sadanari and Hideki Matsutake of KI-Motion fame, Junko Arase (heard on Satoshi Ashikawa’s legendary Still Way – Wave Notation 2(1982)), and Pecker (whose stacked resume boasts collaborations with Ryuichi Sakamoto and Jun Fukamachi).

File Under: Japan, Percussion, Minimalism
Listen Here
Buy Here

tagaqTanya Tagaq: Split Tooth (Six Shooter) LP
Six Shooter Records presents a vinyl edition of readings from Polaris Music Prize winner and Member of the Order of Canada Tanya Tagaq’s debut novel, Split Tooth. From the internationally acclaimed Inuit throat singer who has dazzled and enthralled the world with music it had never heard before, Split Tooth is a fierce, tender and heartbreaking story. Read by Tagaq, poems include improvised vocals. The vinyl edition also features drawings by Jaime Hernandez (Love and Rockets).
 
File Under: Experimental, Audio Books
Listen Here

…..Restocks…..
 
Parquet Courts: Wide Awake (Rough Trade) LP
Joe Strummer: 001 (Ignition) Box
Talk Talk: Spirit of Eden (Virgin) LP
Kurt Vile: B’lieve I’m Goin’ Down (Matador) LP

Advertisements
Tagged , , , , , , ,

…..news letter #873- iceage…..

Well, just like that, winter is here. And that can only mean one thing…. Black Friday RSD is coming! And that can only mean one other thing…. DEALS! And one other thing… we’re gonna give away a Rega RP1! Mark it in your calendars folks… Nov 23-25th you need to get down here and get a jump start on your Xmas shopping and have a chance to win a turntable. And celebrate our 17th anniversary! But don’t wait until then to come for a dig… we’ve been buying and pricing up loads of great used stuff that is flying out the door. And there’s all these great new arrivals in this week too…………

CHECK OUT OUR WEBSTORE!!! 
SUBSCRIBE TO OUR NEWS LETTER!!!!

….pick of the week…..

054_Standard_LP_cover3000_1024x1024Charles Bradley: Black Velvet (Daptone) LP/DLX LP
Ok, this may or may not be here tomorrow. I’m getting really vague answers from the supplier. But hopefully it is here cuz it’s great! Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles’ entire career, this is no anthology, “greatest hits” or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-traveled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Thomas “TNT” Brenneck created in the studio together over their decade-long partnership. It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: “Can’t Fight the Feeling,” “Fly Little Girl” and the heart-wrenching “I Feel a Change”; hard core rarities like his funk-bomb duet with LaRose Jackson, “Luv Jones,” the psychedelic groover, “(I Hope You Find) The Good Life” and the ever-illusive alternate full band electric version of “Victim of Love”; sought-after covers of Nirvana’s “Stay Away,” Neal Young’s “Heart of Gold” and Rodriguez’ “Slip Away”; and the title track “Black Velvet,” a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal. Black Velvet is destined to join Charles Bradely’s first three albums alongside the cannon of essential soul records for the ages.

File Under: Soul, Funk, RnB
Listen Here
Buy Here

…..new arrivals…..

LDB90103_

Bauhaus: In The Flat Field (4AD) LP
Few debut albums have ever arrived as nearly perfectly formed as In the Flat Field. It practically invented what remains for many as the blueprint of goth music. Starting with the angst of “Double Dare,” with its shattering guitar over a curious but fierce stop-start rhythm and Peter Murphy raging even more fiercely over the top, In the Flat Field contains a wide variety of inspirations and ideas. The astonishingly precise rhythm section of David J and Kevin Haskins pulls off a variety of jaw-dropping performances, including the high-paced tension of the title track and the brooding crawl of “Spy in the Cab.” Daniel Ash, much like his longtime hero Mick Ronson, turns out to be a master of turning relatively simple guitar parts into apocalyptic explosions, from the background fills on “St. Vitus Dance” to the brutal descending chords of “Stigmata Martyr.” Murphy, meanwhile, channels as much Iggy Pop as he does Bowie, proving to be no simple copyist of either, able to both maniacally sing-shout and take a somewhat lighter touch throughout. The album concludes with the 7-minute “Nerves,” an aptly titled piece that alternates between understated energy and unleashed power spiraling toward a dramatic ending. In the Flat Field started off Bauhaus’ album career with a near-perfect bang!

File Under: Post Punk, Goth
Listen Here

beast

Beast: Ens (Thrill Jockey) LP
Beast is a new project by composer Koen Holtkamp, known for his sweeping, maximalist work with Mountains, as well as his labyrinthian solo recordings. While taking some time away from music to focus on working with light and color his approach shifted, opening himself up to new working methods which led to the creation of a virtual ensemble of sorts. The process of refocusing on music found Holtkamp gravitating towards pieces centered on simple rhythmic patterns which, when built upon one another, create elaborately intertwining castles of sound. On Ens, Holtkamp reins in his sprawling sound with new resolve, crafting tightly constructed pieces of engaging and ecstatic beauty. Ens was made during a time of anticipation of change for Holtkamp: the birth of his first child. Having recorded and mixed the album late at night and at odd hours in the months leading up to the birth and during the early sleepless days of fatherhood, Ens (which means entity or existence) is a profoundly intimate and heartfelt journey into Holtkamp’s psyche. The constant motion created by the ebb and flow of rhythmic elements connects Ens’ diverse compositions and mirrors the building expectation of such a momentous change. Holtkamp’s initial recordings as Beast (Vol 1 & Vol 2) were mostly conceived for the immediacy and physicality of performance and were directly linked to a series of visual environments he created with 3D laser projections.  As a purely studio project, Ens takes on a more precise and contemplative approach. Moments of blissful grandeur such as the convalescence of melodies in “Paprika Shorts” are at once overwhelming and crystalline in the placement and clarity of each sound. Deceptively simple pieces like “Boketto” and “Miniature” appear more sparse and subtle, but the arrangement of sounds reveal deeper levels of nuance with each listen. By carefully arranging and selecting each element, Holtkamp both references genre tropes, from classical minimalism to beat-driven dance music, and constructs a sound all his own. The intricately detailed depth of field gives the album an almost sculptural presence. This level of detail is underpinned by Holtkamp’s move towards more virtual instrumentation which he utilizes to push beyond the physical limitations of their acoustic equivalents, as well as to synthesize new instruments. As Beast, Holtkamp has nimbly altered his process of creating dense, immersive music. Ens stands as not only the culmination of his newfound methods, but also a deeply personal moment. In crafting the graceful and passionate sonic tapestries into compact compositions, Beast’s Ens masterfully melds the earthbound and the ethereal.

File Under: Electronic
Listen Here

white-album-cover

Beatles: White Album (Apple) 2LP/4LP
In tomorrow… In November 1968, millions of double LPs were shipped to record stores worldwide ahead of that tumultuous year’s most anticipated music event: the November 22nd release of The Beatles (soon to be better known as The White Album). With their ninth studio effort, The Beatles took the world on a whole new trip, side one blasting off with the exhilarating rush of a screaming jet escorting Paul McCartney’s punchy, exuberant vocals on “Back In The U.S.S.R.” “Dear Prudence” came next, John Lennon warmly beckoning his friend and all of us to “look around.” George Harrison imparted timeless wisdom in “While My Guitar Gently Weeps,” singing, “With every mistake we must surely be learning.” Ringo Starr’s “Don’t Pass Me By” marked his first solo songwriting credit on a Beatles album. For 50 years, The White Album has invited its listeners to venture forth and explore the breadth and ambition of its music, delighting and inspiring each new generation in turn. In November 2018, The Beatles will release a suite of lavishly presented White Album packages including this 180g 4LP deluxe box set. All the new White Album releases include producer Giles Martin and mix engineer Sam Okell’s new stereo album mix, sourced directly from the original four-track and eight-track session tapes. Martin’s new mix is guided by the album’s original stereo mix produced by his father, George Martin. “In remixing ‘The White Album,’ we’ve tried to bring you as close as possible to The Beatles in the studio,” explains Giles in his written introduction for the new edition. “We’ve peeled back the layers of the ‘Glass Onion’ with the hope of immersing old and new listeners into one of the most diverse and inspiring albums ever made.” The album’s 30 newly mixed tracks are also joined here by 27 early acoustic Esther Demos, most of which are previously unreleased in any form. Much of the initial songwriting for The White Album was done in Rishikesh, India between February and April 1968, when Lennon, McCartney, Harrison, and Starr joined a course at the Maharishi’s Academy of Transcendental Meditation. In a postcard to Ringo, who had returned to England before the others, John wrote, “we’ve got about two L.P.s worth of songs now so get your drums out.” During the last week of May, The Beatles gathered at George’s house in Esher, Surrey, where they recorded acoustic demos for 27 songs. Known as the Esher Demos, all 27 recordings have been sourced from the original four-track tapes. Twenty-one of the demoed songs were recorded during the subsequent studio sessions, and 19 were ultimately finished and included on The White Album. Seven have previously been released on Anthology, but they were mixed with the technology of the time and now Giles has been able to really clean them up and bring out the intimate nature of the recordings. This is the first time The White Album has been remixed and presented with additional demos. The album’s sweeping new edition follows 2017’s universally acclaimed Sgt. Pepper’s Lonely Hearts Club Band Anniversary Edition releases. To create the new stereo mixes for The White Album, Martin and Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios in London. Presented in a lift-top box, the Deluxe 180g 4LP set presents the 2LP album in a faithful, embossed reproduction of its original gatefold sleeve with the fold-out poster and portrait photos, paired with the 2LP Esher Demos in an embossed gatefold sleeve.

File Under: Pop, Rock
Listen Here

LDB40818_

Boygenius: s/t (Matador) LP
Julien Baker, Phoebe Bridgers, and Lucy Dacus formed Boygenius after booking a tour together, but the trio had subconsciously been in the works for longer than that. Through a series of tours and performances and chance encounters that led to friendships – including Bridgers’ and Dacus’ first in-person meeting backstage at a Philadelphia festival, greenroom hangouts that felt instantly comfortable, and a couple of long email chains – the lyrically and musically arresting singer-songwriters and kindred spirits got to know each other on their own terms. With gut-wrenchingly personal yet easily relatable verses and spare, lilting melodic arrangements, all three are leading a new rock vanguard that values unflinching self-awareness and unassailable songcraft. Baker’s slow builds and taut vocals add urgency to “Souvenir” and “Stay Down,” while album opener “Bite the Hand” roils with slow-burning layers of guitar as Dacus stands in her devastating truth: “I can’t love you like you want me to.” The Bridgers-architected “Me & My Dog” chugs into view with a deceptively simple open-road riff and Bridgers’ insistent recounting of a relationship that couldn’t help but fall apart.

File Under: Indie Rock
Listen Here

LDK00484_

Kids See Ghosts (Kanye West & Kid Cudi): s/t (Kanye/Cudi) LP
In tomorrow… Kids See Ghosts is the eponymous debut from the hip hop duo of the same name featuring Kanye West and Kid Cudi and the third of five 7-track 2018 albums produced by West succeeding Pusha T’s Daytona and his own ye and preceding Nas’ Nasir and Teyana Taylor’s K.T.S.E. Fans have been anticipating an album length project from the longtime collaborators for a decade now and the intriguing Kids See Ghosts is a cathartic and confessional affair with both artists documenting bouts of depression and struggles with drug abuse throughout. “We just have this chemistry that’s undeniable, especially when we have to fight for it with each other,” Cudi said. It includes contributions from Pusha T, Yasiin Bey, Ty Dolla Sign and a posthumous vocal sample of Louis Prima.

File Under: Hip Hop
Listen Here

LDM27010__J. Mascis: Elastic Days (Sub Pop) LP
“Near the end of Reagan’s first term, the Western Massachusetts Hardcore scene coughed up an insanely shaped chunk called Dinosaur. Comprised of WMHC vets, the trio was a miasmic tornado of guitar noise, bad attitude and near-subliminal pop-based-shape-shifting. Through their existence, Dinosaur (amended to Dinosaur Jr. for legal reasons) defined a very specific, very aggressive set of oblique song-based responses to what was going on. Their one constant was the scalp-fryingly loud guitar and deeply buried vocals of J Mascis. “A couple of years before they ended their reign, J cut a solo album called Martin + Me. Recorded live and acoustic, the record allowed the bones of J’s songs to be totally visible for the first time. Fans were surprised to hear how melodically elegant these compositions were, even if J still seemed interested in swallowing some of the words that most folks would have sung. Since then, through the reformation of the original Dinosaur Jr lineup in 2005, J has recorded solo albums now and then. And those album, Sings + Chant for AMMA (2005), Several Shades of Why (2011) and Tied to a Star (2014) had all delivered incredible sets of songs presented with a minimum of bombast and a surfeit of cool. “Like its predecessors, Elastic Days was recorded at J’s own Bisquiteen studio. Mascis does almost all his own stunts, although Ken Miauri (who also appeared on Tied to a Star) plays keyboards and there are a few guest vocal spots. These include old mates Pall Jenkins (Black Heart Procession), and Mark Mulcahy (Miracle Legion), as well as the newly added voice of Zoë Randell (Luluc) among others. But the show is mostly J’s and J’s alone. But for those expecting the hallucinatory overload of Dinosaur Jr’s live attack, the gentleness of the approach here will draw easy comparisons to Neil Young’s binary approach to working solo versus working with Crazy Horse. This is a lazy man’s shorthand, but it still rings true. “Elastic Days brims with great moments. Epic hooks that snare you in surprisingly subtle ways, guitar textures that slide against each other like old lovers, and structures that range from a neo-power-ballad (“Web So Dense”) to jazzily-canted West Coasty post-psych (“Give It Off”) to a track that subliminally recalls the keyboard approach of Scott Thurston-era Stooges (“Drop Me”). The album plays out with a combination of holism and variety that is certain to set many brains ablaze.” – Byron Coley

File Under: Indie Rock
Listen Here

LDP36010_

Pig Destroyer: Head Cage (Relapse) LP
In tomorrow… After six long, harsh years of absence, the mighty Pig Destroyer have reassembled to eradicate eardrums and split skulls with their highly anticipated sixth full-length opus, entitled Head Cage (named after a grisly medieval torture device). A visceral vortex of animalistic rage and extreme sonic brilliance, Head Cage is a true work of extreme metal art, that with the addition of a bass player, is hands down their most dynamic and heaviest recording to date. Across 12 tracks, Pig Destroyer weave together harrowing tales of philosophical dualities, touching on mortality and depression, fear and violence, and the darkest complexities of the human condition, all told through the distorted lens of delightfully transgressive vocalist/lyricist JR Hayes. Musically, the band continues to push the boundaries of metal, grindcore, noise and punk, ramping up the intensity and leaving you bludgeoned in a state of utter shock, all in less than 33 minutes. Head Cage was recorded by guitarist Scott Hull at Visceral Sound Studios, mixed and mastered by Will Putney (Exhumed, Every Time I Die, Body Count) and features striking artwork by Mark McCoy (Full of Hell, Nothing) along with guest vocal appearances by Agoraphobic Nosebleed’s Richard Johnson and Kat Katz plus Full Of Hell’s Dylan Walker.

File Under: Metal
Listen Here

LDS01102__Stereolab: Peng! (Too Pure) LP
Sometimes jam-packed with thundering keyboards and driving drums, at other times ethereal, airy and light, Stereolab’s debut album Peng! (1992) captures the thinking man’s band at the early stages of its prolific career. Emulating aspects of the Velvet Underground’s strutting rhythms as well as the Moog-happy keyboard euphonies of the early-70s, the avant-pop sonic experimentalist’s far left-of-center pop vision has always been something of a love-’em-or-hate-’em proposition. Longtime fans familiar with the band’s later work will find interest in this early recording as it includes the moody, cafe-styled “K-Stars” sung fetchingly in French by Leatitia Sadier. There’s also the dry, rub-a-dub guitar of “Perversion,” which is a dissertation over post-modern music.

File Under: Indie Rock
Listen Here

LDS01904_Stereolab: The Groop Played Space Age Bachelor Pad Music (Too Pure) LP
Stereolab’s 1993 EP, The Group Played Space Age Bachelor Pad is one of the avant-pop group’s most experimental works, featuring their twin obsessions – krautrock-derived electronic minimalism and lush pop owing much to both Brian Wilson and Ray Conniff. The two styles are presented separately, in relatively short pieces, rather than combined into the lengthy sonic melanges of their other albums. Most of the brief pieces, such as the two title tracks, each subtitled “Mellow” and “Foamy,” work best in the context of the whole, but some of the longer songs, particularly the sarcastic “Ronco Symphony” and “We’re Not Adult-Orientated,” are among the prolific outfit’s best.

File Under: Indie Rock
Listen Here

LDS66098_

Sufjan Stevens: Songs for Christmas (Asthmatic Kitty) Box
From 2001 through 2010, Sufjan Stevens recorded an annual Christmas album that he gifted to friends and family. The recording process took place every December for one week, usually at home, provoking collaborations with friends, roommates, and musical peers. In 2006, Stevens’ label, Asthmatic Kitty Records, released Songs for Christmas, a CD boxset compiling the first five of these albums, Volumes I-V. Later in 2012, the label released Silver & Gold, a CD and vinyl boxset compiling of Volumes VI-X. But the first five volumes have never been released to vinyl. This holiday season, Asthmatic Kitty Records is proud to finally release Songs for Christmas: Volumes I-V as a 5-piece vinyl boxset. It arrives with all 42 songs from the original CD boxset, including fan favorites like “Sister Winter,” “That Was The Worst Christmas Ever,” “Only At Christmas Time,” and “Put The Lights on the Tree.” The 5LP boxset includes a new package design with illustrations by Stevens and Stephen Halker, and a family portrait painting by Jacques Bredy, as well as lyrics, chord charts, and full recording credits for all the songs.

File Under: Indie Rock
Listen Here

3842_foto1_product_xl

Mike Westbrook: Metropolis (Music on Vinyl) LP
The English jazz pianist Mike Westbrook released his album Metropolis in 1971. In the height of the British-jazz’s golden age this concept album was recorded over three days in the famous Lansdowne studios. The 9-movement album shows the best of the London jazz scene with it’s big-band jazz sounds and funk-rock rhythms. In this collective effort, which included 23 musicians, the sum is greater than its parts and Westbrook worked-out the ideas really great. Musicians like Mike Osborne, Ray Warleigh, Kenny Wheeler, Harold Beckett and John Taylor all playing their part on this incredible record. The wonderful arrangements and chord progressions building on one of Westbrook’s best recordings. It is an absolute classic and a must for any serious jazz listener. Pressed on 180 gram vinyl and comes in a gatefold sleeve.

File Under: Jazz
Listen Here

windhand

Windhand: Eternal Return (Relapse) LP
Eternal Return, the fourth full length from Richmond, Virginia’s heavy psychedelic quartet Windhand represents a new era for the group, a chrysalis moment that takes them to new and unforeseen heights. Across nine songs and 63 minutes, Eternal Return offers an infectious display of songcraft cloaked in alluring atmosphere, molten fuzz, eerie psychedelia and ethereal vocals. The album was once again produced by Jack Endino (Nirvana, Soundgarden) with vivid artwork by Arik Roper (Sleep, High on Fire). Equally informed by heavy, fuzzed-out psych along with the iconic grunge/alternative groups of the ’90s, Windhand have crafted a record brilliant in scope, powerful in execution, and perfect for an era of increasingly blurry yet still heavy borders.

File Under: Metal
Listen Here

…..Restocks…..

Against All Logic: 2012-2017 (Other People) LP
David Axelrod: Song of Innocence (Now Again) LP
Beta Band: s/t (Because) LP
Bon Iver: s/t (Jagjaguwar) LP
Death Grips: No Love Deep Web (Harvest) LP
Emperor: Anthems to the Welkin at Dusk (Spinefarm) LP
Emperor: In the Nightside (Spinefarm) LP
Jungle: Ever For (4AD) LP
National: Sleep Well Beast (4AD) LP
National: High Violet (4AD) LP
OST: Annihilation (Lakeshore) LP
Pink Floyd: Wish You Were Here (Pink Floyd) LP
Queens of the Stone Age: Villains (Matador) LP
Rage Against The Machine: s/t (Legacy) LP
Skinny Puppy: Mind The Perpetual Intercourse (Nettwerk) LP
Skinny Puppy: Cleanse Fold & Manipulate (Nettwerk) LP
Spoon: Hot Thoughts (Matador) LP
Talk Talk: Laughing Stock (Verve) LP
Townes Van Zandt: s/t (Fat Possum) LP
Townes Van Zandt: Rear View Mirror (Fat Possum) LP
Kurt Vile: Bottle It In (Matador) LP

Tagged , , , , , ,

…..news letter #872 – hallowas…..

It doesn’t seem to be letting up! Another stacked week of killer new arrivals! I’ve got a lot of pricing to do so I’ll leave you to it….

CHECK OUT OUR WEBSTORE!!! 
SUBSCRIBE TO OUR NEWS LETTER!!!!

…..picks of the week…..

669439870723_mainCoil Presents Black Light District: A Thousand Lights in a Darkened Room (Dais) LP
In tomorrow…. During the transitional period in which Coil’s primary leadership (Peter “Sleazy” Christopherson and John Balance) reorganized their creative direction by taking on new membership in the group through their inclusion of Drew McDowall, Coil took a drastic turn towards the metaphysical unknown. Employing the subtle handiwork of Coil’s “real life” members, as well as the cleverly guised aliases and spiritual collaborators, the band chose to filter their identity through a the nome de guerre, Black Light District, setting the precedent of Coil’s future exploration of otherworldly influence. Recorded during the Winter of 1995/96, Black Light District reflects more on their formal avant-garde pursuits and academic interests rather than their industrial pedigree resume. Starting off with an obvious nod to John Cage with their introductory “Unprepared Piano”, the tone is prepared in exactly the same way… unpredictable. Conceptually abstract, Black Light District shows Coil’s old guard disregarding the pop rhythms found on previous albums, such as Love’s Secret Domain, and fully embracing their experimental electronic trajectory. Subtle patterns of looping melancholy and malaise are placed delicately underneath ghostly electronic timbre. Approaching their creative method as something from the beyond, another realm in which sounds blur and performers seemingly appear from the ether.

File Under: Electronic, Ambient, Industrial
Listen Here
Buy Here

a0994797387_10Shooting Guns: Nosferatu (Cardinal Fuzz) LP
The Shooting Guns Live Nosferatu Score. Captured live at the Roxy Theatre (Saskatoon) where psych renegades The Shooting Guns create the perfect doomy apocalyptic soundtrack for F.W. Murnau’s cinematic classic. Over 70 minutes The Shooting Guns ramp up the dread and tension that is perfect for Nosferatu’s gothic aesthetic. Haunting melodies chill the hairs on your neck until Count Orlok appears and they let loose the best Wagnerian bummer riffs these ears have heard. Give yourself 70 minutes a darkened room and a spare pair of pants to absorb this masterpeice.

File Under: Metal, Ost
Listen Here
Buy Here

…..new arrivals…..

LDA00318_

Ar-Kaics: In This Time (Wick) LP
Wick Records presents the sophomore long player from Virginia’s Troglodytic Troubadours, the group with the antediluvian je ne sais quoi: The Ar-Kaics! Recorded in three days at Adrian Olsen’s Montrose Studio and produced by Wayne Gordon (Black Lips, King Gizzard, John Spencer Blues Explosion, Michael Rault,) In This Time is a low brow journey through the teen-beat sounds of the 1960’s and beyond. From the opening crude thud of “Don’t Go with Him,” the Velvet Underground-tinged swagger of “She’s Obsessed with Herself,” the breezy, late-period psych of “Long Way Down,” to the unpretentious, sap-free balladry of “It’s Her Eyes,” The Ar-Kaics flex their deft understanding of the subtle intricacies that define bonafide garage rock. A must for fans of the Back from the Grave compilations!

File Under: Garage, Punk
Listen Here

881970015610_main

Bad Sports: Constant Stimulation (Dirtnap) LP
In tomorrow…. Texas trio Bad Sports release their fourth full-length to Dirtnap and with it, push their sound into a more modern sphere of punk. Orville Neeley (guitars / vocals), Daniel Fried (bass / vocals) and Gregory Rutherford (drums) have spent over ten years together and this progression is justified. This time, the production quality is more lean and tense, giving an air that is decidedly frustrated, and more world-weary, but is still the great stripped-down classic-leaning punk band with deep power-pop vs. proto-punk undercurrents. They are not a “retro” band, however—Constant Stimulation is simply a timeless-yet-modern masterpiece. The band’s history with their Texas peers (OBN IIIs, Radioactivity, Wax Museums, VIDEO, etc) has served them well—they’ve honed themselves into being a complicated and calculating rock machine with finesse and more care taken to let Neeley’s words and voice ring out—it’s as close to “sing-singing” the band has ever come. The record broils and stews over a response to the modern world and its eroding and addling effects, kicking its lyrics out to be heard clearly. No track exemplifies this better than the title track on which Neeley sings, “I need constant stimulation in my ears and in my eyes or I don’t sleep at night…deprivation chambers only worsen my dreams.” Maybe this more spaciously spare sound is their response to that veritable constant stimulation. Welcome to the modern age.

File Under: Punk
Listen Here

647603401720_main

Bosse-De-Nage: Further Still (Flenser) LP
In tomorrow…. San Francisco-based post-black metal act Bosse-de-Nage have returned to The Flenser for their fifth studio album titled Further Still. This latest album sees the band eschew the sprawling arrangements and hypnotic repetition of their previous efforts in favor of tight, propulsive song structures. It is deliberately succinct in approach while maintaining the band’s unique lyrical style set to unpredictable melodies. Bosse-de-Nage takes their name from a character in the book The Exploits and Opinions of Dr. Faustroll, Pataphysician by the French symbolist author Alfred Jarry. They recorded their first demo in 2006, which was subsequently released on cassette by Aesop Dekker’s The Funeral Agency label. Their first album was recorded the following year, but the band became inactive for awhile, and their debut sat on the shelves until The Flenser released it in 2010. This sparked new life into the project and they recorded and released two more self-titled albums over the next two years. In 2012 BDN released a split EP with fellow Bay Area “blackgaze” upstarts Deafheaven. They subsequently released their monstrous and surreal masterpiece, All Fours (Profound Lore), in 2015 to critical applause. Further Still sees the band refine their multitude of ideas, distilling them to their most basic forms yet retaining their idiosyncratic footprint.

File Under: Black Metal
Listen Here

647603402628_main

Carbonas: Your Moral Superiors (Goner) LP
In tomorrow…. Fast, tight, and irresistibly tuneful, Atlanta’s Carbonas took America by storm in the mid-2000s with a slew of catchy singles and hit-laden albums. The group dragged into its orbit some of the best and brightest of Atlanta’s burgeoning punk scene, launching careers and developing a rabid fan following (and inspiring at least five tattoos). At the height of their popularity, they disbanded, leaving the masses clamoring for more material. As songwriters, the band were incredibly prolific, gradually developing from a lo-fi treble blast (à la Rip-Off Records) into a finely tuned Euro-punk steamroller, and drummer / producer Dave Rahn was there to record all of it. For the past decade, however, many of these tracks languished on four-track cassettes, hard drives, and out-of-print singles and compilations. Finally, as they enter their twilight years and reflect on their legacy in the face of impending death, the Carbonas have decided to give these tracks to the world. Ryan Bell (Scavenger Of Death Records) was tasked with raiding the archives and tracking down tapes and files, as well as sequencing and mixing audio, wrangling posters, flyers and liner notes and cover layout. Goner Records is proud to present this collection of all the hits and misses from Atlanta’s finest.

File Under: Punk
Listen Here

LDC13016_

Cloud Nothings: Last Building Burning (Carpark) LP
Last Building Burning is the product of eight days with producer Randall Dunn (Sunn O))), Wolves in the Throne Room, Boris) in Texas studio Sonic Ranch. Clocking in at just over half an hour, the eight-song album sees Cloud Nothings capture their onstage appeal with help from Dunn, who Dylan Baldi describes as “technically minded without relying on technology to perfect the live sound.” In that, Last Building Burning is a return to Cloud Nothing’s sharpest form – the unhinged, feverish, guitar-heavy sound that they explode with onstage – without their early angst. “It’s not an angry record,” says Baldi. “It’s a very joyous thing for me. And it feels so nice to scream again, especially when you know people in the crowd will be screaming along back at you.”

File Under: Indie Rock
Listen Here

LDC33212_

Ian William Craig: Thresholder (130701) LP
Eighteen months on from his last new release, Vancouver-based singer/composer Ian William Craig returns to FatCat with an (album-length) EP of eleven brand new tracks. Entitled Thresholder, the record sees Craig return towards the smudged and scoured beauty of his 2016 opus, Centres, a record which was universally acclaimed, making many end-of-year lists. For Craig the focus of the album was a great boundlessness of space, the sound of the big bang, the spookiness of the quantum world, and vacillations of different kinds of conflicting time. Besides as the often-quoted William Basinski reference point, the music here recalls the visceral media-decay of early ‘00s operators like Fennesz, Belong, Desormais, Philip Jeck or Pimmon. “Idea for Contradiction 2” is like a massively over-driven or sandpaper-scoured version of Brian Eno’s “An Ending” or some shredded Colin Stetson stem. The ending of”And Therefore the Moonlight” – is reminiscent of Sigur Rós while “Sfumato” exists in the same dimension as The Caretaker’s haunted ballroom with its reverb-drenched and occluded distant vocals.

File Under: Ambient
Listen Here
Buy Here

curran

Alvin Curran: Canti e Vedute del Giardino Magnetico (Superior Viaduct) LP
In tomorrow…. American composer and multi-instrumentalist Alvin Curran has remained one of the great emblems of experimental music for the last half-century. In 1966, along with Frederic Rzewski and Richard Teitelbaum, Curran co-founded Musica Elettronica Viva, a seminal gesture in collective free improvisation. In the early ’70s, his solo work would become a crucial bridge between minimalist traditions on both sides of the Atlantic. Canti E Vedute Del Giardino Magnetico, Curran’s solo debut, was recorded by the artist himself and issued on Ananda, the small Italian imprint started by Curran and fellow composers Giacinto Scelsi and Roberto Laneri. The piece itself was put together in the winter of 1973 and presented for the first time at Teatro Beat 72 (Rome’s The Kitchen). Encouraged by the work of Terry Riley, La Monte Young, Charlemagne Palestine and Simone Forti, Curran binds the listener to aberrant notions of place and time: blending field recordings (wind, high-tension wires, beach waves, etc.) with simple and often primitive instruments. Across two sidelong tracks, Giardino Magnetico forms a lyrical collage of synthesizer, glass and metal chimes, plastic tubes, brass and the composer’s alluring voice—converging in an immersive realm of Curran’s inner / outer experiences. This first-time vinyl reissue is recommended for fans of Harry Bertoia, Michel Redolfi and Lino Capra Vaccina.

File Under: Electronic, Experimental, Avant Garde
Listen Here
Buy Here

603111729923_main

Electric Citizen: Helltown (Riding Easy) LP
In tomorrow…. Helltown, the forthcoming third album by Electric Citizen is, in many ways, a homecoming. While the title may seem fittingly metal (if not exceedingly so), it actually has real relevanc: Helltown, while also multidimensional, is named after the Cincinnati, OH, neighborhood in which the band lives, practices, and where the album was written, recorded and mixed. Now known more prosaically as Northside, Helltown earned its name in the 1800s due to its reputation for rowdy taverns frequented by the neighborhood of factory workers and immigrants. Inasmuch as this album is an ode to the band’s home and its buried past, it also represents a return to the grittier sound of their 2014 debut, Sateen. Furthermore, it marks the return of original bassist Nick Vogelpohl, who rejoins vocalist Laura Dolan, guitarist Ross Dolan and drummer Nate Wagner. It’s a fun, tough, dirty rock ‘n’ roll album. The band’s 2016 album Higher Time was an expansive and somewhat cleaner effort mixed by Black Keys engineer Collin Dupuis. It was a landmark moment for the band earning considerable press praise—Consequence Of Sound named it in the 20 Most Anticipated Albums of 2016 with “the most breakout potential of all the young bands on this list.” And, the band’s endless touring since the first album earned them stints opening for acts like Pentagram, The Crazy World of Arthur Brown, Fu Manchu, Budos Band, and Wolfmother. What sets Electric Citizen apart from contemporary heavy counterparts is their songwriting. The band writes concise, three-minute, heavy rock songs. While others might now be following suit, when they started, most bands of their ilk were content writing drawn-out slow doom dirges. Regardless, none can deliver quite like Electric Citizen: Laura Dolan’s captivating star-power, Ross Dolan’s perfect tone and riffs, Wagner’s pugilistic and swinging beats, glued together by Vogelpohl’s gliding bass lines.

File Under: Metal
Listen Here

857661008117_main

Exek: A Casual Assembly (W.23th) LP
In tomorrow…. Right on the heels of their Ahead Of Two Thoughts LP released earlier this year, A Casual Assembly is the latest offering from Melbourne’s EXEK. The EP coalesces around a stirring theme for synthesizer, trumpet and bass, bringing together reference points to Laurie Spiegel, Jah Wobble and The Velvet Underground’s “The Gift.” Frontman Albert Wolski’s disembodied narration – at times reminiscent of Samuel Beckett or Robert Ashley – unfolds over a series of dark vignettes set in a dystopian near-future. Autotune has been banned, secret police patrol the redoubts of the wealthy, and world beaches have been cleared of their sand for the construction of enormous ur- ban prisons. As these events turn more fraught and absurd, Wolski reveals just how much is gained through EXEK’s stripped-down arrangements and dreamlike tones. A Casual Assembly echoes like the lost soundtrack to a Kubrick or Jarman film. Recommended for fans of Normil Hawaiians, Jenny Hval and Harmonia.

File Under: Electronic, Post Punk
Listen Here

855985006475_main

The Fall: The Rough Trade Singles (Superior Viaduct) LP
In tomorrow…. The Rough Trade Singles collects The Fall’s four singles recorded for this influential label in 1980 and 1983 – How I Wrote ‘Elastic Man’ / City Hobgoblins, Totally Wired / Putta Block, The Man Whose Head Expanded / Ludd Gang and Kicker Conspiracy – none of which appeared on any of the band’s studio LPs. With 7-inches being the era’s vehicle for buzzing communiqués, The Fall would use the format for short-form, standalone works rather than as mere promotional devices for forthcoming albums. “Totally Wired” is often cited (and rightfully so) as The Fall’s most infectious tune – an amphetamine-fueled anthem with stuttering nods to forebears, yet too incisive to have been made by anyone else. “How I Wrote ‘Elastic Man’” is another mad hoedown, one reimagined for the post-punk age. While the playful rhythm machine on “The Man Whose Head Expanded” almost suggests danceability, Mark E. Smith’s idiosyncratic shriek on “Kicker Conspiracy” pierces through the twin drumming of Paul Hanley and Karl Burns and the group’s unpredictable / unmistakable racket. Together these songs remain some of the absolute best material The Fall would ever release. Superior Viaduct’s edition is the first time that The Rough Trade Singles has been available on vinyl domestically. Liner notes by Brian Turner.

File Under: Punk
Listen Here
Buy Here

5b50bdb236d6b_main

Hiro Kone: Pure Expenditure (Dais) LP
In tomorrow…. Since assuming the recording moniker HIRO KONE in 2011, New York City-based electronic artist NICKY MAO has personalized a space predicated on dark layers interacting with rhythm. With her early EPs on Group Tightener and Bitterroots, leading up to the EP Fallen Angels and the acclaimed debut full length album, Love Is the Capital (both on Geographic North), Mao’s meticulously crafted textures attracted collaborators like Drew McDowall (Coil), Little Annie, and Roxy Farman (Wetware) while driving against the grain of experimental techno. Mao’s explorations often cast themselves against danceable structures, creating a duality of crisis and escapism. For Pure Expenditure—her debut on DAIS Records—Mao continues to weave a labyrinth of electronic pattern, with an often economical usage of repeating sequences and ethereal stasis to drive the narrative. The title refers to the sovereign release of a surplus energy, divorced from all imperatives of utility, which otherwise threatens to become morbid. As a journey, Pure Expenditure plunges into meditation and throbs in and out of a lucid consciousness orchestrated by Mao, but never veering into vanity. Pure Expenditure is as much rumination as it is ritual, querying the corners of Capitalism by hypnotically circling its tenets in measured cadence. Since assuming the recording moniker HIRO KONE in 2011, New York City-based electronic artist NICKY MAO has personalized a space predicated on dark layers interacting with rhythm. With her early EPs on Group Tightener and Bitterroots, leading up to the EP Fallen Angels and the acclaimed debut full length album, Love Is the Capital (both on Geographic North), Mao’s meticulously crafted textures attracted collaborators like Drew McDowall (Coil), Little Annie, and Roxy Farman (Wetware) while driving against the grain of experimental techno. Mao’s explorations often cast themselves against danceable structures, creating a duality of crisis and escapism. For Pure Expenditure—her debut on DAIS Records—Mao continues to weave a labyrinth of electronic pattern, with an often economical usage of repeating sequences and ethereal stasis to drive the narrative. The title refers to the sovereign release of a surplus energy, divorced from all imperatives of utility, which otherwise threatens to become morbid. As a journey, Pure Expenditure plunges into meditation and throbs in and out of a lucid consciousness orchestrated by Mao, but never veering into vanity. Pure Expenditure is as much rumination as it is ritual, querying the corners of Capitalism by hypnotically circling its tenets in measured cadence.

File Under: Electronic, Experimental
Listen Here
Buy Here

isbell

Jason Isbell: Live from the Ryman (Thirty Tigers) LP
Live From The Ryman was primarily recorded during Jason Isbell and the 400 Unit’s six sold out nights at Nashville’s legendary Ryman Auditorium in 2017. The double album features 13 live versions of songs from Isbell’s last three critically acclaimed, award-winning studio albums – Southeastern (2013), Something More Than Free (2015) and The Nashville Sound (2017) – including the Grammy winning tracks “24 Frames” and “If We Were Vampires” plus fellow standouts “Cover Me Up,” “Something More Than Free” and “Elephant,” fully documenting Jason Isbell and The 400 Unit’s emergence as one of the finest live bands on the road today.

File Under: Country
Listen Here

880882339517_main

King Gizzard & The Lizard Wizard: 12 Bar Bruise (ATO) LP
In tomorrow…. King Gizzard & The Lizard Wizard are the most exciting head-spinning, third-eye opening, double-drumming goddamn rock ‘n’ roll band on the planet. The unexpected is just about the only thing we have come to expect from the Melbourne band. Via a series of carefully considered yet wildly divergent concepts The Gizz’s collective body of work offers visceral thrills a-plenty without ever once resorting to indulgence. Their music works on so many levels, providing a transcendental, hair-swinging soundtrack for some, a transportive journey to the center of one’s id for others, while in their more reflective moments also tenderly offering succour and guidance for the lost and spiritually malnourished. ATO is partnering with Flightoless Records to bring you five King Gizzard and The Lizard Wizard reissues in November 2018! The first five titles from the band’s incredible back catalogue – 12 Bar Bruise, Eyes Like The Sky, Float Along – Fill Your Lungs, Oddments, and the Willoughby’s Beach EP – will be reissued on 12″ vinyl for the first time with re-imagined artwork, packaging, liner notes and fresh colors. 12 Bar Bruise is the debut full-length by King Gizzard, originally released in 2012 and limited to 500 hand numbered copies. To the wider world it appeared as if the stars had aligned to beam this band in from another dimension, fully-formed and ready to melt faces. The reissue includes new artwork re-imagined by Jason Galea and comes on colored vinyl.

File Under: Garage, Psych
Listen Here
Buy Here

880882339418_main

King Gizzard & The Lizard Wizard: Eyes Like the Sky (ATO) LP
In tomorrow…. King Gizzard & The Lizard Wizard are the most exciting head-spinning, third-eye opening, double-drumming goddamn rock ‘n’ roll band on the planet. The unexpected is just about the only thing we have come to expect from the Melbourne band. Via a series of carefully considered yet wildly divergent concepts The Gizz’s collective body of work offers visceral thrills a-plenty without ever once resorting to indulgence. Their music works on so many levels, providing a transcendental, hair-swinging soundtrack for some, a transportive journey to the center of one’s id for others, while in their more reflective moments also tenderly offering succour and guidance for the lost and spiritually malnourished. ATO is partnering with Flightless Records to bring you five King Gizzard and The Lizard Wizard reissues in November 2018! The first five titles from the band’s incredible back catalogue – 12 Bar Bruise, Eyes Like The Sky, Float Along – Fill Your Lungs, Oddments, and the Willoughby’s Beach EP – will be reissued on 12″ vinyl for the first time with re-imagined artwork, packaging, liner notes and fresh colors. Eyes Like The Sky is King Gizzard’s second full-length album, released in 2013 and originally limited to 500 copies. A cult western audio book, the album tells a story of the American Frontier. The reissue features new artwork re-imagined by Jason Galea and comes on colored vinyl.

File Under: Garage, Psych
Listen Here
Buy here

880882339616_mainKing Gizzard & The Lizard Wizard: Float Along – Fill Your Lungs (ATO) LP
In tomorrow…. King Gizzard & The Lizard Wizard are the most exciting head-spinning, third-eye opening, double-drumming goddamn rock ‘n’ roll band on the planet. The unexpected is just about the only thing we have come to expect from the Melbourne band. Via a series of carefully considered yet wildly divergent concepts The Gizz’s collective body of work offers visceral thrills a-plenty without ever once resorting to indulgence. Their music works on so many levels, providing a transcendental, hair-swinging soundtrack for some, a transportive journey to the center of one’s id for others, while in their more reflective moments also tenderly offering succour and guidance for the lost and spiritually malnourished. ATO is partnering with Flightless Records to bring you five King Gizzard and The Lizard Wizard reissues in November 2018! The first five titles from the band’s incredible back catalogue – 12 Bar Bruise, Eyes Like The Sky, Float Along – Fill Your Lungs, Oddments, and the Willoughby’s Beach EP – will be reissued on 12″ vinyl for the first time with re-imagined artwork, packaging, liner notes and fresh colors. Float Along – Fill Your Lungs is King Gizzard’s third full-length LP, released in 2013 and home to the fan favorite “Head/On-Pill.” The band cranks up the fuzzbox and sets the delay on infinity, assembling a cosmic force field that draws their sonic creations of the recent past into one unified, throbbing whole. The 2018 reissue features a 24″ x 24″ double-sided fold out poster and comes on colored vinyl.

File Under: Garage, Psych
Listen Here
Buy Here

LDK39715_

King Gizzard & The Lizard Wizard: Oddments (ATO) LP
In tomorrow…. King Gizzard & The Lizard Wizard are the most exciting head-spinning, third-eye opening, double-drumming goddamn rock ‘n’ roll band on the planet. The unexpected is just about the only thing we have come to expect from the Melbourne band. Via a series of carefully considered yet wildly divergent concepts The Gizz’s collective body of work offers visceral thrills a-plenty without ever once resorting to indulgence. Their music works on so many levels, providing a transcendental, hair-swinging soundtrack for some, a transportive journey to the center of one’s id for others, while in their more reflective moments also tenderly offering succour and guidance for the lost and spiritually malnourished. ATO is partnering with Flightless Records to bring you five King Gizzard and The Lizard Wizard reissues in November 2018! The first five titles from the band’s incredible back catalogue – 12 Bar Bruise, Eyes Like The Sky, Float Along – Fill Your Lungs, Oddments, and the Willoughby’s Beach EP – will be reissued on 12″ vinyl for the first time with re-imagined artwork, packaging, liner notes and fresh colors. Oddments is King Gizzard’s fourth studio album. Released in 2014, it features a collection of “odd” songs recorded between 2007-2014 and was originally limited to 500 copies. The 2018 reissue features a re-designed gatefold of original artwork by Jason Galea, and comes on colored vinyl.

File Under: Garage, Psych
Listen Here
Buy Here

855985006642_mainCurtis Mayfield: Curtis/Live! (Antarctica Stars Here) LP
In tomorrow…. Recorded in early 1971, Curtis/Live! finds Curtis Mayfield in top form at the intimate Greenwich Village club The Bitter End. With veterans from Chicago’s soul and jazz scene, Mayfield runs through a superb setlist of Impressions classics (“Gypsy Woman,” “People Get Ready”), gems from his first solo LP (“We The People Who Are Darker Than Blue,” “The Makings of You”) and fierce originals that would make their recording debut here (“I Plan To Stay A Believer,” “Stare And Stare,” and “Stone Junkie”). As author Lloyd Sachs writes in the liner notes for this vinyl reissue, “All of the songs are lovingly reworked – in some cases stretched out and in others, brightened with humor. The band redefines groove via the West African polyrhythms of conga and bongo great Henry Gibson and the intertwined guitars of Mayfield – whose dulcet, vocal-like tone was a revolution in and of itself – and Craig McMullen. The group creates excitement through tension and release, through building up and letting go.” Curtis/Live! was originally issued on Mayfield’s own Curtom label just before his second studio album, 1971’s Roots, and his influential Super Fly soundtrack. While the singer would continue to establish himself as one of the key voices of his generation, the powerful anthems and in-the-pocket perfection on this double-LP live set demonstrate how brilliant Curtis truly was – a master class in restraint and fearless expression.

File Under: Funk, Soul
Listen Here
Buy Here

moonfaceMoonface: This One’s For the Dancer… (Jagjaguwar) LP
Seven years in the making, placed repeatedly on hold while other releases came and went, This One’s for the Dancer & This One’s for the Dancer’s Bouquet is the final album Spencer Krug will release as Moonface. Like the title itself, the album is made up of two distinct yet connected ideas. The music is culled from two separate projects, each with different collaborators, recorded in different studios, in different towns, in different years. The songs are sung from two completely different standpoints. But rather than split the songs into separate releases, or group them respectively onto the two discs of vinyl they inhabit, Krug has blended them together into one sequence; a long weave of enjoyable variation. Half the songs are sung from the perspective of the Minotaur. A whimsical, empathetic look at a monster’s demise from the monster’s POV, in them we hear the Minotaur examining the horrible nature of a lifetime trapped unjustly within a labyrinth, while simultaneously forgiving those responsible for putting him there. Here Krug collaborates with fellow percussionist Michael Bigelow, and together on marimbas, vibraphone, steel drum, keys, and drums pads the two create dense walls of rhythm with quick turns of melody; dreamy halls from within which the Minotaur’s vocoder-voice can cry out. The remaining songs are results of Krug exploring keyboard treated with delay. These too are set in a percussive world, also lush and trance-inducing in their use of fast repetition over slow progression, but with Ches Smith joining on drums and Matana Roberts on saxophone, they lean into a more improvised and acoustic space. Here Krug sings more as himself, sifting through and trying to exorcise modern-day feelings of anxiety, loneliness, regret, and alienation. The two sessions compliment each other, like sun and moon to the same musical planet. Each song is in some way unmerciful, saturated with notes that act as single raindrops within a downpour. And whether it’s Krug and Bigelow wailing on percussion as though in a race for most hits, or Smith and Roberts pouring out wild first takes onto Krug’s OCD compositions; whether it’s the Minotaur lamenting the twisted familial circumstances that landed him in the labyrinth, or Krug scraping at the earth and wincing at the stars, cursed with a human heart, the album contains a self-betraying darkness that creeps in unexpectedly, exposing real weight to what seemed at first something lighter. Though this is the last Moonface album, this does not mark the end of Spencer Krug writing, recording, and performing outside of Wolf Parade. He’s simply putting the old moniker aside in order to move forward under his own name, to release and tour new music in a more natural, real-time rhythm, and be less tied to album cycles, project names, and the past. For now, as a sort of parting gift before Moonface sails into oblivion, the alter-ego offers up this last album, a swan song, with sincere gratitude for anyone willing to receive it.

File Under: Indie Rock
Listen Here

LDM30691_Morphine: Yes (Run Out Groove) LP
Consisting of the late Mark Sandman on two-string slide bass and vocals, Dana Colley on baritone saxophone, and drummer Billy Conway, Morphine turn any alleged restrictions of their instrumentation to their advantage on 1985’s Yes. Opening with the monstrous riffs of “Honey White,” the album takes Morphine’s trademark low-rock sound to new, exciting, challenging heights. Colley swoops and soars, and on “Radar” and “Super Sex,” he plays tenor and baritone sax simultaneously. While certifiable pop hooks abound, the combo stretch the boundaries of rock on “Sharks” and “The Jury,” two forays into near-spoken-word territory. Throughout the album, Sandman continues to baffle traditionalists with his provocative two-string slide bass, while Conway’s soulful backbeat locks in the groove. Indeed, Morphine’s third release offers some of Sandman’s sleekest, most consistent songwriting efforts, and the band never again sounded so inviting. Out of print on vinyl for nine years and extremely scarce, this limited deluxe edition of Morphine’s third studio album has been expanded to include a bonus LP of 10 live and studio rarities hand-picked by Dana Colley with audio mastered directly from the original source tapes.

File Under: Indie Rock
Listen Here

niblockPhil Niblock: Niblock for Celli/ Celli Plays Niblock (Superior Viaduct) LP
In tomorrow…. Composer, filmmaker and photographer Phill Niblock is a true pillar of the New York avant-garde. In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early ’80s to release any recordings. Nothin To Look At Just A Record, a powerful debut with densely layered trombones, would be the first to unfurl his unique approach to sound. The second album and perhaps the most rare in Niblock’s vast catalogue, 1984’s Niblock For Celli / Celli Plays Niblock is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli’s oboe and English horn to create seamless, enchanting drones. Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing. This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome.

File Under: Avant Garde, Drone, Minimalism
Listen Here
Buy Here

5ba93fef43bc6_mainWill Oldham: Songs of Love and Horror (Drag City) LP
Fall of 2018 sees the release of a celebrated lyrics archive that has been growing for over 25 years—the words to the songs sung by BONNIE PRINCE BILLY and PALACE MUSIC. The author of the songs is WILL OLDHAM, and the book, to be released by W.W. Norton, is titled Songs of Love and Horror, the same as this album. The songs of Will Oldham have been written most often for the aliases of Palace or Bonny. Their identities, kept necessarily separate from Will’s, has allowed them to bring to the stage the reach needed to project to everyone in the room, to everyone outside the room, to whomever chose to make the audience. The songs were written to create a singular encounter, to be shared among those who choose to listen. Songs of Love and Horror is a rare entry in this oeuvre: a Will Oldham album, with the writer taking a turn as singer. As befits the nature of this project, the songs are sung and played by Will alone, in a setting enjoyed by fans of his music—that of one voice and one guitar, the better to savor the spare changes and starkly-cut lyrics, operating in quiet tension and ultimate collaboration. Will brings to the songs all that he has learned from his stagecrafting fellows over the years, singing new versions that quiver like fresh young things in the air of today. Starting with such classics as “Ohio River Boat Song,” “I See A Darkness,” and “The Way,” the sequence wanders into deeper cuts, and before it is over, Will is singing other kinds of “greatest hits”—Richard and Linda Thompson’s “Strange Affair,” a Bonny contribution to the Refugee benefit album, “Most People,” and a previously unheard writer’s demo from years ago. This microcosmic revisitation touches on the breadth of Oldham’s musical conception—the songs that came before him, the songs that came out of him, but didn’t make it on to the album, the songs that never came out at all. Will Oldham sings some favorites on Songs of Love and Horror — some of yours, some of his, and some other songs too. The world keeps on turning, and as it does, it ruthlessly turns away from ages of creation, heaving toward new creations as they come along. In this sense, nothing on the planet is getting any younger, but as it revolves, it becomes continuously newer. Songs of Love and Horror celebrates not one legacy, but rather a confluence of them, flowing in the stream towards an unknown and often unknowing future, with the hope that these notes in a bottle ever pass on through.

File Under: Folk
Listen Here

5bad11bebc5af_mainOrb: The Space Between (ATO) LP
Australia’s ORB return with their third album (following their Birth and Naturality albums on Castle Face). The Space Between is a progressive heavy metal album dripping in paranoia and escapism, but let’s not over intellectualize, it’s just riffs and drum rolls and the occasional synth. And it couldn’t be better. The Space Between was produced by STU MACKENZIE and ORB.

File Under: Psych, Garage, King Gizzard
Listen Here

647603402215_mainOSC: Live in San Francisco (Rock is Hell) LP
In tomorrow…. A mesmerizing live set by OCS—JOHN DWYER and BRIGID DAWSON with a 7-piece backing band featuring PAUL QUATTRONE, TIM HELLMAN, TOM DOLAS, HEIDI MAUREEN ALEXANDER, and a string section comprised of HEATHER LOCKIE, EMILY ELKIN and ERIC CLARK. Recorded by ERIC BAUER at the Chapel in SF, December 17, 2017.

File Under: Garage, Psych

600197014325_main

Jon Porris: Voices of the Air (Ba Da Bing) LP
In tomorrow…. One of the most incisive comments on how best to appreciate art came from the Indian musician Gita Sarabhai. In a recorded conversation with John Cage, Sarabhai described art’s effect as serving “to sober and quiet the mind, thus rendering it susceptible to divine influences.” Some of the best exploratory music incorporates this approach, and Jon Porras adopted it as a conceptual foundation for his new album, Voices Of The Air. The sounds Porras creates intend to provoke contemplativeness beyond expressing a concrete idea. As half of the duo Barn Owl, Porras composed intricate dual guitar improvisations that would shift and shimmer through multiple mutations within any singular piece. At the same time, his voyages into minimalism were served by Elm, his solo act. His focus has now shifted from guitar to synthesizer, narrowing in on the intersections between sound and neurology. Taking the Yamaha DX7 as his main instrument for this solo work, Porras read and incorporated John Chowning’s frequency modulation synthesis, the result being a nuanced and multidimensional sound with endless possibilties. Porras stacked, arranged and adjusted these sounds through digital synthesis and effects. “The process felt like mixing paint to get the right color and texture, then laying down a brushstroke, each day returning to the canvas to build on something I left there from the day before,” says Porras. Voices Of The Air broadcasts these intricate balances of sounds that slowly set together, creating an album of delicacy and power.

File Under: Electronic, Ambient
Listen Here
Buy Here

759718532623_main

Ty Segall: Fudge Sandwich (In The Red) LP
In tomorrow…. Take a tour through Ty Segall’s musical psyche with his new solo album, Fudge Sandwich, a collection of Segall’s take on eleven songs that were originally done by other people. These aren’t just cover versions. Cover versions happen at weddings and high school band battles. The songs here are what happens when someone loves a song so much, they need to get inside it and let it propagate and transform into what it would have been if they had actually written it. Equal parts reverence and reimagination, this album shows Segall inhabiting the world of a song’s intent, filtering it through the muse that drove this year’s exceptional Freedom’s Goblin. Cluttered, passionate and inspired, the songs are barely recognizable, irresistible and by album’s end, present a cohesive collection that stands proudly alongside the best of Segall’s considerable output.

File Under: Garage, Punk
Listen Here
Buy Here

silverjews_americanwater_mainSilver Jews: American Water (Drag City) LP 
In tomorrow…. A 20th anniversary reissue of SILVER JEWS’ Amerian Water. Even as an unapologetic anti-metallite, I still can’t escape the call of this band’s silvery gleam. Still pleasant, still clever, still all the good-great pop action DAVID BERMAN and STEPHEN MALKMUS can dream up o’er the course of an album’s time. Twelve chuckle-along songs hitting red on your geekest hip-o-meter. Vinyl version half-speed remastered at Abbey Road. Received a 9.4 rating from Pitchfork.

File Under: Folk
Listen Here

759718532920_mainJon Spencer: Spencer Sings the Hits (In The Red) LP
In tomorrow…. Jon Spencer, the Blues Explosion man who put the “Bellbottoms” on Baby Driver! The top cat who spread the secret sauce in Boss Hog! The rockabilly right-hook from heavyweight outlaws Heavy Trash! The swank-fucking master of Pussy Galore! Jon Spencer is back! Often imitated, never duplicated, the original NYC underground-rock legend returns from the wilderness with twelve red-hot hits, each more powerful than the last! This is Garage Punk for Now People! A wizard’s brew of rhythm and blues and subversive dance grooves, weaponized with sci-fi skronk and industrial attitude, calibrated for the Revolution, a Molotov cocktail of sound guaranteed to destroy any post-modern hangover. Pulsing with energy, clanging with excitement, and dripping with radioactive soul and raw emotion, Spencer opens up his heart like never before, exploring man’s modern condition with caustic guitars and outerworld crooning, asking and answering the musical question, “Is it possible to torch the cut-throat world of fake news and pre-fab, plastic-coated teen rebellion with the power of rock ’n’ roll?” The answer is yes—on Spencer Sings The Hits! This is the truth serum America has been craving, the beginning of a rock ’n’ roll rebellion that takes no prisoners and puts the squares on ice!

File Under: Garage, Punk

LDT693427_Tropical Fuck Storm: A Laughing Death in Meatspace (Joyful Noise) LP
The phantasmagorical debut album by Tropical Fuck Storm, A Laughing Death in Meatspace, delivers a fraught vision of algorhythmic apocalypse. Featuring Gareth Liddiard and Fiona Kitchin from Australian heroes The Drones, Tropical Fuck Storm is an end-of-days consciousness-stream across nine seething tracks. The debut dive-bombs into the realms of mortality and immortality, moralizing and amorality; the passing of time, and how little we have left. These are lurid songs, urgently told through Liddiard’s barbed and byzantine lyricism, abrasive guitar slashes, drum adrenaline, raunchy bass and electronic undercurrents. They’re raging, rapscallion, and funny, lyrically delving into everything from internet shaming to the kuru “laughing death” disease of the PNG highlands to Russian chess great Gary Kasparov’s portentous loss to an IBM computer. A Laughing Death in Meatspace howls along with us as we peer into the maelstrom ahead.

File Under: Rock
Listen Here
Buy Here 

LDA68959_Uncle Acid & The Deadbeats: Wasteland (Rise Above) LP
A disorientating journey through Kevin Starrs’ (aka Uncle Acid) wonkiest dreams, Wasteland glides majestically from punchy and direct psych-rock anthems like “I See Through You” and “Shockwave City” to the viscous, somnambulant ooze of the eight-minute “No Return” and the twinkly-eyed bad trip of the album’s mesmerizing title track. Recorded at the legendary Sunset Sound studio in Los Angeles, Wasteland boasts the kind of irresistibly raw and exuberant sound that only the greatest bands can generate. Yet more confirmation that Uncle Acid exist in their own musical universe, Wasteland is also a powerful cautionary tale: one rooted in the alien landscapes of Starrs’ imagination, but with a very clear connection to the deranged chaos of today’s political world. As humanity cheerfully circles the plughole, Dystopian visions and present-day horrors have become more-or-less interchangeable, making Wasteland’s ghoulish surrealism a lot more pertinent and disturbing in the process. While most musicians seem content to chase their own (or other people’s tails), Uncle Acid & The Deadbeats remain proud and resolute individualists and Wasteland is simply their most powerful and memorable spurge of creativity to date. Masterfully echoing the magical atmospheres of heavy music’s turbulent past while sounding entirely unlike anything else available to human ears, this is what happens when the shadows come to life and suffocating darkness, Uncle Acid & The Deadbeats style, is the only show in town.

File Under: Metal, Psych
Listen Here

…..Restocks…..

Arctic Monkeys: Tranquility Base Hotel & Casino (Domino) LP
Big Thief: Capacity (Saddle Creek) LP
BigThief: Masterpiece (Saddle Creek) LP
Bing & Ruth: Tomorrow Was the Golden Age (RVNG Intl) LP
Alice Coltrane: A Monastic Trio (Superior Viaduct) LP
Dead Kennedys: Fresh Fruit For Rotting Vegetables (Manifesto) LP
Death From Above 1979: Heads Up (Ancient Fashion) LP
Mac Demarco: 2 (Captured Tracks) LP
Mac Demarco: Salad Days (Captured Tracks) LP
Ned Doheny: Hard Candy (Be With) LP
Elder: Dead Roots Stirring (Armageddon) LP
Elder: Lore (Armageddon) LP
Elder: Reflections of a Floating World (Armageddon) LP
Fuzz: s/t (In The Red) LP
G0ggs: Pre Strike Sweep (In The Red) LP
Eddie Hazel: Games Dames & Guitar Thangs (Be With) LP
Hide: Castration Anxiety (Dias) LP
Hot Snakes: Suicide Invoice (Sub Pop) LP
Hot Snakes: Jericho Sirens (Sub Pop) LP
JPEGMafia: Veteran (Deathbomb Arc) LP
Kid Koala: Carpal Tunnel Syndrome (Ninja Tune) LP
Kikagaku Moyo: Forest of Children (Beyond Beyond is Beyond) LP
King Gizzard & The Lizard Wizard: Quarters (Castleface) LP
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) LP
Drew McDowall: Unnatural Channel (Dais) LP
Charles Mingus: Plays Piano (Superior Viaduct) LP
Charles Mingus: Black Saint and the Sinner Lady (Superior Viaduct) LP
Mudhoney: Digital Garbage (Sub Pop) LP
Jim O’Rourke: Insignificance (Drag City) LP
Oh Sees: Smote Reverser (Castle Face) LP
A. Savage: Thawing Dawn (Dull Tools) LP
Sha La Das: Love in the Wind (Daptone) LP
Tom Waits: Brawlers (Anti) LP
Tom Waits: Heartattack & Vine (Anti) LP
Tom Waits: Small Change (Anti) LP

Tagged , , , , , ,

…..news letter #871- stones…..

While you’d think as we inch towards November and the Xmas shopping season, new releases would start to taper off, but it really doesn’t seem that way. Loads in again this week and the next few weeks have some MASSIVE releases coming out. Keep an ear out, cuz there’s gonna be a lot to cram in there.

CHECK OUT OUR WEBSTORE!!! 

…..pick of the week…..

SOAVE01920LP_CU

Roberto Musci/Giovanni Venosta: A Noise, A Sound (Soave) LP
Soave present a reissue of Roberto Musci and Giovanni Venosta’s A Noise, A Sound, originally released in 1992. The third episode of the alchemical association between Roberto Musci and Giovanni Venosta, reprinted for the first time. This work seems to be even more enigmatic than the previous ones. The “plunderphonics” style of the compositional process, significant to allowing a technical experimentalism of inexhaustible variety of materials used (compendium of sounds, harmonies, ethnic timbres) and the infinite possibilities of assembly between non-sense and provocation, still remains. You might be almost stimulated to guess — in the articulated sound architectures of the tracks — every single fragment of popular or cultured music from every part of the world (Asia, Africa, Middle East, South America) related to the ad hoc inserts of polyphonic instrumentation distorted and dazed. The music expressed is basically a polyhedral pataphysical gaze on the complexity of the existing, an immersion in the contradictory forces of reality; the attentive listener will be able to recognize the tortuous and magical lines of a free and imaginative artistic creation, which is absolutely counter-current and unconventional. Comes in gatefold sleeve.

File Under: Electronic, Ambient, World
Listen Here
Buy Here

…..new arrivals…..

TRANSVERS007LP_PROD

Francois Bayle: Electrucs! (Transversales Disques) LP
Transversales Disques present Electrucs!, a new release of never-released music by Francois Bayle. On the occasion of the 60th anniversary of the GRM, composer Bayle introduces some of his unpublished archives; pieces include the title composition, “Electrucs !” (1974) composed on a 1970s Synthi AKS synthesizer like an imaginary soundtrack, “Foliphonie” (1974) inspired by La Grande Polyphonie (1978), and “Marpège” (1995), dedicated to Bernard Parmegiani. Also included is “Cinq Dessins En Rosace” (1973). Born in 1932 in Tamatave, Madagascar, where he lived for 14 years, Bayle is a major figure of electro-acoustic music and member of Pierre Schaeffer’s historic Groupe de Recherches Musicales (GRM), formed in Paris in 1958. In 1975, the GRM was integrated with the new Institut National de l’Audiovisuel (INA) with Bayle as its head, a post he held until 1997, bringing invaluable contributions to the opening of musical research in these original innovative institutions. Ever since his first productions, L’expérience Acoustique (1971) Bayle has developed through a great variety of formats and designed the Acousmonium, a sound diffusion system used originally by the GRM. He also originated the record series Collection INA-GRM, and continues to organize concerts and support the development of technologically advanced musical instruments (Syter, GRM Tools, etc.).

File Under: Early Electronic
Listen Here
Buy Here

betaband

Beta Band: s/t (Because) LP/DLX LP
Because Music presents a reissue of The Beta Band’s 1999 self-titled debut. 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. Innovative and singular, 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 they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. The Beta Band followed 1998’s critically acclaimed compilation The Three E.P.’s. With high anticipation for The Beta Band, the band originally planned to record the album in four separate continents, but financial constraints slimmed the recording locations down. However, the album was still recorded in a variety of locations and pulling inspiration from sources as diverse as Jamaican reggae, Disney’s The Black Hole (1979) and Bonnie Tyler’s “Total Eclipse of the Heart”. The band also originally intended the album to contain a bonus disc of two long-form ambient pieces, “Happiness and Colour” and “The Hut”, both of which lasted over 20 minutes and represented the band’s desire to “make a record of sound as a description for something like happiness, where a distinct first part gives way to a distinct second part”. However, the band and label ultimately decided to remove these tracks from the original album prior to release; for this edition they have been restored as a bonus disc.

File Under: Rock, Pop
Listen Here

FAITICHE001RLP_CU

Ursula Bogner: Recordings 1969-1988 (Faitiche) LP
Faitiche is ten years old. October 2008 saw the release of Ursula Bogner – Recordings 1969-1988, for which the label was created. While working as a pharmacist, Ursula Bogner experimented with electronic music, undiscovered, for over three decades. When Jan Jelinek first heard Bogner’s work in 2008, he was enthusiastic. The resulting album, compiled by Jelinek from Bogner’s extensive oeuvre, is being reissued in a remastered version to mark the label’s tenth anniversary. This new version also includes four bonus tracks that were previously only available on a 7″ single. Jelinek on the music’s initial discovery: “It seems incredible that Bogner’s musical talents should have remained undiscovered, but in view of her biography, this might have been inevitable. I met Sebastian Bogner, Ursula’s son, on a flight, and the usual small talk led to the topic of his mother, who ‘liked to play around with synthesizers’, albeit purely on an amateur level. Among her acquaintances, it was considered an eccentric hobby and not paid a great deal of interest. Bogner’s life seemed simple and bourgeois to the core: she was a pharmacist, wife and mother. This situation made her obsession with electronic music all the more bizarre – an obsession that saw her build her own home studio. Throughout her early twenties, she followed the activities of Studio für elektronische Musik, attended seminars by Studio founder Herbert Eimert, exhibited enthusiasm for Musique Concrète and later shared her children’s enthusiasm for new wave. Nevertheless, Bogner never involved herself in any scene, never made her music public. Her compositions, betray few signs of esotericism; they are closer to studies and sketches, humorous and almost silly, rather than tied to any particular school. Nevertheless, it is remarkably hard to grasp or classify her work as a whole. Over the course of 20 years, she dabbled in many different styles, leading to a bewildering variety of titles. In the late 1960s, Bogner started to record her own music on reel-to-reel tapes. Covering a fairly short period of her creative career, this music conveys a peculiar coherence in both form and content, a coherence that reflects her accessible, rhythmic and sometimes even poppy side. My own preference played a part in the selection process, but a further compilation is already in the works. I hope that listeners will enjoy the same exhilaration I experienced on discovery of Ursula Bogner’s music” Gatefold sleeve, includes download.

File Under: Early Electronic
Listen Here
Buy Here

HAFTW029LP_CU

The Caretaker: Everywhere at the End of Time – Stage 5 (History Always Favours the Winners) LP
The penultimate release in the series, Stage 5 of The Caretaker’s Everywhere At The End of Time charts severe levels of musical/mental deterioration and sensory detachment through four extended, smudged and hallucinatory side-long pieces. Nearing the end, Stage 5 sees our protagonist enter a near-permanent state of confusion and horror. Mirroring the endemic deterioration of dementia’s latter phases, one is pulled through the most extreme entanglements in the series so far; repetition and ruptures, barely maintaining a connection to waking life and a sense of self. In the most classic sense, one becomes witness to an abandonment and dissolution of ego, as the mulch of bygone 78s totally loses itself in a way that connotes misfiring synapses failing to properly relay information at advanced levels of the disease. It feels as though one’s skull is being scraped out, uncovering hellish layers of accreted sensation and mulched imagery, occasionally recognizing calmer patterns, only for them to fray into the ether before it’s possible to parse and dwell on them. At this point it’s also perhaps worth pointing out the uncannily profound synchronicity between the timelines of Everywhere At The End of Time and Brexit, which both started in 2016 and are due to wrap up in spring 2019. It should be no stretch of the imagination to read into their parallel progression from nostalgia and historic/collective amnesia, to progressive dementia and complete obliteration of (the) sense(s). Mastered and cut by Lupo, artwork by Ivan Seal.

File Under: Ambient
Listen Here
Buy Here

BF004LP_CU

Loren Connors: Unaccompanied Acoustic Guitar Improvisations Vol 10 (Blank Forms) LP
Before the spectral, romantic electric guitar miniatures for which he is celebrated today, Loren Connors recorded a string of nine solo acoustic guitar improvisations under the name of Loren Mazzacane between 1979 and 1980. The records feature Loren’s contorted impressions of Delta and country blues, persistently kneaded into sidelong guitar excursions entangled with wordless, mournful vocal utterances, hummed and moaned in imitation of the dogs that often howled outside his window. Originally released on Loren’s own Daggett Records (named after the street he lived on in New Haven), these LPs slipped into obscurity after Daggett’s distributor went bankrupt, forcing the guitarist, who didn’t have a car, to dispose of their unsold stock rather than drag the records home without transportation. Now, thanks to a recording found by Unseen Worlds’s Tommy McCutchon in the archives of Columbia University, Blank Forms presents the tenth volume of the series. Recorded in Woodstock, in front of a live audience at the Creative Music Studio (the improvised music nonprofit founded by Karl Berger, Ornette Coleman, and Ingrid Sertso), Unaccompanied Acoustic Guitar Improvisations Vol. 10 provides a welcome addition to the canon of Loren’s early solo releases and is the first contemporary vinyl publication of material from his Daggett Street period. As with the original Daggett records, the LP is issued in handmade covers with paste-on art featuring a replica of a recent drawing included in Loren’s October 2018 art exhibition Wild Weeds, presented by Blank Forms. One of the world’s most singular guitarists, Connors is among few living musicians whose prolific body of work can be said to be wholly justified in its plenitude. On more than 100 records across almost four decades on labels like Table of the Elements, Drag City, Ecstatic Yod, and his own Daggett Records, Connors has wrung distinctive shades of ephemeral blues from his guitar, its sound ever-shifting while remaining unmistakably his own. From his early, splintered take on the Delta bottleneck style through his song-based albums with Suzanne Langille and on to the painterly abstraction that defines his current work, Connors has earned the admiration of many, leading to collaborations with the likes of John Fahey, Jim O’Rourke, Keiji Haino, Kim Gordon, Thurston Moore, Alan Licht, and Jandek. Creative Music Studio is an ongoing organization that engages musicians and listeners from all backgrounds to deepen and broaden their musical sensitivity, expression, and understanding through workshops, recordings, and concerts worldwide.

File Under: Guitar, Ambient
Buy Here

CREP058LP_CU

Mike Cooper: Tropical Gothic (Discrepant) LP
It’s 2018 and it’s time for some new discoveries into Mike Cooper’s limitless exploration in his collection of guitars. The title itself, Tropical Gothic references Cooper’s beloved areas of “the South” with a Gothic, dark, remote interplay… he explains: ”Tropical Gothic includes, but is by no means limited to, a reflection on a region where European colonial powers fought intensively against indigenous populations and against each other for control of land and resources.” On each side, Mike Cooper studies different approaches to his method of uniting guitar and field recordings into a constant stream of sound, where he delivers chaos and melody — not necessarily in that order. Side A is composed of shorter pieces. Each of them offers a myriad of images and sensations, between the enigmatic and terror (“The Pit”), joy, happiness and freedom (“Running Naked”) or pure contemplation (“Onibaba”). “Onibaba” runs as a fitting introduction to Side B and its 18th minute magical piece “Legong/Gods Of Bali”. A mix of ambient exotica music, silent film soundtrack and distorted rhythms that dance around Mike’s guitar. It keeps reinventing and transforming itself throughout those eighteen minutes, summing up the dexterity and muscle of Mike Cooper’s music of the last two decades. With another grand collage artwork by Evan Crankshaw.

File Under: Guitar, Exotica
Listen Here
Buy Here

PAN079LP_CU

Pan Daijing: Lack (Pan) LP
Pan Daijing presents her debut album Lack on PAN. Culminating as the purgative “finale” to her improvisational live performances, Pan Daijing’s debut album also offers an insight to her future works. The process was intuitive and raw, born out of her previous explorations. Over the past two years, she has composed, recorded, and edited different concerts and field recordings across Europe, China, and Canada, forming the basis of the album. Arriving as her first full-length album, Lack was crafted from this long, painstaking mental and physical practice. Daijing’s pieces are created around a very intense and intimate mental catharsis, often expressed through a close physical interaction with strangers in her live sets which seek to engage them in a highly personal way. “When I was finalizing this album, they didn’t feel like tracks to me anymore, but more like a psychoanalytical process,” she says. “I saw myself being this absurd, mad person ‘acting’ out the sounds… It’s rather physical, and became like a mind game. All things came out naturally as part of me.” The narrative of the album presents a perspective of the world as “the theater of our minds”, where Daijing sees the record as an “opera piece” in its storytelling and drama. Photography by Ralf Marsault; Artwork by Bill Kouligas. Mastered by Rashad Becker at Dubplates & Mastering.

File Under: Electronic, Experimental
Listen Here

forno

Carla Dal Forno: Top of the Pops (No Label) CS
Carla Dal Forno offers Top Of The Pops, a self-released cassette disclosing six songs of sultry pop devotion. This late-spring cassette of cover songs now gets the wider autumnal release it deserves, showcasing the full range of Dal Forno’s virtuous taste, style and production in her distinct post-punk, pop (but) minimalist sensibility. Not without cheek, the wink-and-a-nod blue-film bawdiness of “Lay Me Down” (Renee) and “Give Me Back My Man” (The B-52s) are complemented by the earnest ballads of “A Silver Key Can Open A Lock Somewhere” (Liliput) and The Fates’s “No Romance.” Kiwi Animal’s “Blue Morning” finally gets a recorded release as well. This cosmic inner dialogue of love lost is matched only by the penultimate track, “Summertime Sadness” which is the best example of how devastatingly personal a pop song truly can be. It’s all emphasized by Dal Forno’s sparse production which, as with each of these six songs, brings her vocal interpretations to the fore. Pearl blue cassette wrapped in color-printed J-cards and with color sticker inlays. Artwork designed by Carla Dal Forno.

File Under: Electronic, Synth Pop
Listen Here

TRANSVERS005LP_CU

Francois De Roubaix: Le Saut De L’Ange/R.A.S. (Transversales Disques) LP
Never released before on LP, here are the complete original soundtracks of French cult film composer François de Roubaix for director Yves Boisset. Two movies that embody the two sides of Francois de Roubaix’s approach to recording. For Le Saut De L’Ange (1971) the self-taught composer wrote an orchestration for some fifty musicians playing strings, woodwinds, brass, and percussion with two distinct solo instruments alternating the main theme: Indian sitar on the one hand and accordion on the other. This beautiful score creates the seam that binds Bangkok to Marseille, the two places where the action takes place. Le Saut De L’Ange was originally released as a 7″ in 1971. R.A.S (1973) was recorded on a 8-track tape recorder, in François de Roubaix’s home studio rue de Courcelle, where most of his ’70s scores were recorded. The result is a mix of military-march rhythms, rolls on the snare-drum with sounds of Synthi AKS synthesizer: de Roubaix invented a modern sound for this contemporary-history tragedy. Includes extensive liner notes.

File Under: OST, Early Electronic
Listen Here
Buy Here

dengue

Dengue Dengue Dengue: Semillero (On The Corner) LP
Dengue Dengue Dengue are the Peruvian duo known for raising a tropical storm. Their electronic psychedelia and bass flows from their roots in Lima, Perú upstream to global dancefloors. In this six-tracker, Dengue Dengue Dengue team-up with label mates Penya. The band feature on the first track “Pua” that sets a rich scene for the sonic journey ahead. The flip is stormed with title track “Semillero” whilst hearts, minds and imaginations are set to be inspired with their versioning of “Habu Raminibu” which is a healing chant of the Huni Kuin people. Also features Mikongo and Joutro Mundo.

File Under: Electronic, Tribal
Listen Here

AALP087LP_CU

Dur-Dur Band: Dur-Dur of Somalia (Analog Africa) LP
Following Analog Africa founder Samy Ben Redjeb’s dangerous trip to Mogadishu in November of 2016, the label presents Dur Dur of Somalia: Volume 1, Volume 2 & Previously Unreleased Tracks. Dur-Dur, a young band from the ’80s, climaxed as a band in April of 1987 with the release of Volume 2, their second album. The secrets to Dur-Dur’s rapid success is inextricably linked to the vision of Isse Dahir, founder and keyboard player of the band. Isse’s plan was to locate some of the most forward-thinking musicians of Mogadishu’s buzzing scene and lure them into Dur-Dur. Ujeeri, the band’s mercurial bass player was recruited from Somali jazz and drummer extraordinaire Handal previously played in Bakaka Band. Isse also added his two younger brothers to the line-up: Abukar Dahir Qassin was brought in to play lead guitar, and Ahmed Dahir Qassin was hired as a permanent sound engineer. On their first two albums, Volume 1 and Volume 2, three different singers traded lead-vocal duties back and forth. Shimaali, formerly of Bakaka Band, handled the Dhaanto songs, a Somalian rhythm from the northern part of the country that bears a striking resemblance to reggae; Sahra Dawo, a young female singer, had been recruited from Somalia’s national orchestra, the Waaberi Band. Their third singer, the legendary Baastow, who had also been a vocalist with the Waaberi Band, and had been brought into Dur-Dur due to his deep knowledge of traditional Somali music, particularly Saar, a type of music intended to summon the spirits during religious rituals. From the very beginning, Dur-Dur’s doctrine was the fusion of traditional Somali music with whatever rhythms would make people dance: funk, reggae, soul, disco, and new wave were mixed effortlessly with Banaadiri beats, Dhaanto, and spiritual Saar music. The concoction was explosive. It initially seemed that Dur-Dur’s music had only been preserved as a series of murky tape dubs and YouTube videos, but after Samy arrived in Mogadishu he eventually got to the heart of Mogadishu’s tape-copying network and ended up finding some of the band’s fabled master tapes, long thought to have disappeared. This set reissues the band’s first two albums — the first installment in a three-part series dedicated to Dur-Dur Band — representing the first fruit of Analog Africa’s long labors to bring this extraordinary music to the wider world. Remastered from the best available audio sources. Includes two previously unreleased tracks; Accompanied by extensive liner notes, featuring interviews with original band members.

File Under: Funk, Afrobeat, Africa
Listen Here
Buy Here

SNDW129LP_CU

Julien Dyne: Teal (Soundways) LP
New Zealander Julien Dyne is a multi-instrumentalist with a long and impressive history of collaborative, live and solo musicianship, and Teal marks his debut for Soundway. Dyne is best-known for his solo work as BBE and having worked with the likes of Theo Parrish, Steve Spacek, Andreya Triana, and Lord Echo (one of Soundway’s most successful artists). Dyne has also accumulated a number of accolades over the course of a ten-year career including, but not exclusive to, being hotly tipped by both Moodymann and Gilles Peterson. Dyne’s new project for 2018 is an 11-track LP on Miles Cleret’s extolled Soundway label. Demonstrating a shift in gears and movement toward a more up-tempo, Afro-inspired sound, Teal melds instrumental flair with astute production and a persistent grain of impassioned, effortless soul. The album features fellow New Zealanders Lord Echo and Mara TK, long term band-mate Ladi6, Fat Freddy’s Drop trumpeter Toby Laing, plus Australian vocalist Tim Guy and jazz luminaries Jonathan Crayford and John Bell. This is a body of work for the listener and the dancer alike with a mood as fitting for headphones as it is for the floor, with the double vinyl album cut loud at 45 RPM.

File Under: Funk, Jazz, Electronic
Listen Here
Buy Here

LDF09618_

The Fall: I Am Kurious Orangj (Beggars) LP
I Am Kurious Oranj is The Fall’s eleventh studio album. Released by Beggars Banquet 30 years ago, in 1988, it contains some of their most loved songs including “Cab It Up!”, “New Big Prinz” and “Jerusalem” which takes its lyrics from a poem by William Blake. The album was written as the soundtrack to an avant-garde ballet titled I Am Curious, Orange, produced by the experimental Michael Clark Company and performed in London with The Fall playing live. As it said in the original ballet program, replicated inside this reissue, “Mark E. Smith is a history buff and admirer of Michael Clark, and I Am Curious, Orange spawned the idea of a thematic delving into the foibles and littleknown psyche of William of Orange.” According to Smith in his book, Renegade, “We adapted the title from a Swedish porno film – I am Curious, Yellow. I was trying to make the point that we all share some kind of common knowledge that’s within ourselves; that comes out in all sorts of things. Some people call it a gene pool. It’s as if you already know subconsciously about historical incidents. You don’t have to have been taught it. It’s in-built. At the time I wanted to put this across, basically as a loose explanation of what was happening in Belfast: it’s in the head and bones and there’s nothing you can do about it. I was on a roll at the time. I’m rarely short of ideas, and I’m not into preserving them much, either. If it’s in your head and you’ve got the right people around you them there’s no better time to tell the story.”

File Under: Punk
Listen Here
Buy Here

holter

Julia Holter: Aviary (Domino) LP
Aviary is an epic journey through what Julia Holter describes as “the cacophony of the mind in a melting world.” It’s the Los Angeles composer’s most breathtakingly expansive album yet, full of startling turns and dazzling instrumental arrangements. The followup to her critically acclaimed 2015 record, Have You in My Wilderness, it takes as its starting point a line from a 2009 short story by writer Etel Adnan (“I found myself in an aviary full of shrieking birds”). It’s a scenario that sounds straight out of a horror movie, but it’s also a pretty good metaphor for life in 2018, with its endless onslaught of political scandals, freakish natural disasters, and voices shouting their desires and resentments into the void. On Aviary, we travel a world populated by birds, angels, and ghosts – at once characters in a mystery of uncertain denouement and a stand-in for the memories and thought-images that seem to fly through the mind on their own volition. Inklings of impending doom (“Everything Is an Emergency”) hover side-by-side with ecstatic professions of love (“Turn the Light On”) and moments of triumphant solidarity (“Voce Simul”). Like other recent projects – composing and performing a live score to Carl Theodor Dreyer’s The Passion of Joan of Arc, as well as arranging her album Tragedy for opera, in 2017 – Aviary sees Holter juxtaposing ancient and contemporary reference points. Time collapses, with references to the deep past – Joan of Arc, the Christian Crusades, the mass hysteria of the dance of Saint Vitus – seeming to double as metaphors for our hopes and anxieties in the present. Jetting between medieval chamber music and proggy jazz-rock transports, plaintive balladry and android robotics, it’s a journey full of wild twists and turns – but it’s one that seems to cling to a sense of radical hope, even in its most somber moments.

File Under: Indie Rock
Listen Here

MUSIQ218LP_CUFumio Itabashi: Watarase (Mule Musiq) LP
Is Watarase the best jazz record from Japan, as the French-born Gilles Peterson once assumed? Or is it maybe the best jazz record of all jazz records? Everyone can decide for themselves and listen to Watarase, the second solo piano album of the Japanese pianist Fumio Itabashi, originally released in 1982. Tokyo-based Mule Musiq have unearthed it, re-mastered the original recordings and brought it back to the world in order to seduce all music lovers that embrace notes which come straight from the heart and soul. Any sensible listener finds the instrumental piano pieces are somehow soulfully connected to what Keith Jarrett plays on his legendary Köln Concert (1975). Like Jarrett, Itabashi does not play his notes academically. He lets them fly, gives them some kind a life of their own, hits the piano keys deeply emotionally and injects his into compositions and interpretations a kind of nervous human soul. In terms of style, some call his Watarase recordings post-bop, others contemporary jazz. It is all, however, just that kind of agitating jazz that melts spirituality with humanity. Three tunes, the epic “Someday My Prince Will Come” as well as “Msunduza” and “I Can’t Get Started”, are interpretations, respectively, of compositions by Frank Churchill, Dollar Brand, and Vernon Duke. The other four compositions were written and by Itabashi, who started to play the piano when he was eight years old. While studying at Tokyo-based Kunitachi College Of Music, he fell in love with jazz. In the 1970’s, he worked with such musicians like trumpet player Terumasa Hino, drummer Takeo Moriyama, and saxophonist Sadao Watanabe. Today Itabashi is still a vital part of Japanese jazz culture as a performer and composer. Those who want to see how he makes love with his piano should check the Internet for the French documentary Jazzed Out (2010), that captured his unique way of playing in one episode. But as music is always firstly for the ears, and not the eyes, one had to be directed to play the Watarase recordings loud, to get hooked by the highly infectious piano gems that have been recorded at Nippon Columbia 1st studio in Tokyo on 12th and 13th of October 1981. They will force one to become a good friend with the repeat button, in whatever medium one chooses to surrender to the music of Fumio Itabashi.

File Under: Jazz, Japan
Listen Here
Buy Here

MANA005LP_CUNicolas Jaar: Pomegranates (Mana) LP
“Mana is pleased to finally present Pomegranates by Nicolas Jaar as a double LP, with new mastering by D&M. The sleeve is designed by David Rudnick, with labels by Stéphane Jourdan and a new insert created by Jaar collaborator and friend Maziyar Pahlevan. Longer and slower-releasing than his other albums, Pomegranates often parallels the cinematic epic on which it’s based (Նռան գույնը), with ideas pursued over long timelines and across dark landscapes, assembling elements and moods from the aesthetic and folkloric landscapes of Armenia. Jaar’s identity is perceived within this, folding in his heritage as Palestinian and Chilean as he attempts to build a musical architecture outwards that frames as much of the mess and sprawl of life as possible; using a language that investigates the movement and fluctuation of his own artistic career and character similarly to the film’s tracing of the coming of age of the young poet, Sayat-Nova. At times, Pomegranates feels profoundly intimate, as though looking through the archive of a friend’s music and discovering the accent and common currency that lives within each of these tracks. Much of Jaar’s most elegant and touching melodic work is nestled here, its power residing in its simplicity and willingness to speak to the heart and not the mind of the listener. In the text document included in the first freely distributed version of the album in 2015, Jaar writes that the album was conceived during a moment of change, and that the pomegranate became an icon that heralded that passage of time. The physical publication of Pomegranates closes one door whilst opening another, keeping promises and marking a significant point in the career of an artist who restlessly reinvents himself, with a document that illustrates a common language of lyricism, freedom, and emotional resonance that links his many paths and projects.”

File Under: Electronic
Listen Here
Buy Here

CREP059LP_CUKoray Kantarcioglu: Loop Works (Discrepant) LP
Originally released by Wounded Wolf Press as a limited cassette in 2016, Loopworks compiles Turkish visual and sound artist Koray Kantarcıoğlu’s (b. Ankara 1982) loop-based work composed of samples taken from Turkish records released in ’60s and ’70s as source material. Loopworks impacts almost instantly mainly because it shows some familiarity with the recent work of Leyland Kirby as The Caretaker, particularly with the “haunted ballroom” effect. Koray explores the usage and the dynamic of these sounds as ambient music for different scenarios as well as the importance of a newfound life with the raw material he used to create these songs. The source material appears as enigmatic as these new sounds and activates a sense of discovery and constant wonder throughout Loopworks. With the vinyl release of Loopworks Discrepant continues to manifest the importance of showing how technology and geography create different and original approaches to the standard western interpretation of field recordings and sound manipulation. Kantarcıoğlu’s work here is a strong manifestation of that and how “haunted music” can express a myriad of feelings and sensations. Loopworks has a tremendous vision of the metamorphosis that’s been occurring in ambient music during the last decade. Sometimes it’s dreamy and calm as aquarium music is (“500606” or “22 47 91 Take 1”); surprising and infinite as “263 Loop”, one of the few tracks with a voice, in this case a mysterious and transcendental one; or part of a John Carpenter or David Lynch film yet to be made (“Organ Extract KP 001”). A fantastic voyage, from earth to space, through time or simply as the most beautiful and peaceful dive into the ocean, this is old music transformed into something new and unique; that’s special.

File Under: Electronic, Turkish
Listen Here

LDK20852_Kinks: Are the Village Green Preservation Society (Sanctuary) LP
Somewhat overlooked upon its release in November 1968, The Kinks Are The Village Green Preservation Society is now seen as one of the best British albums ever recorded. Created in difficult circumstances by a band who refused to follow fashion, it’s an album of timeless, perfectly crafted songs about growing up and growing old, and the decline of national culture and traditional ways. Enduring and unsurpassed, with its wit, sadness, quiet anger, regret and charm, it’s generally considered the high point of The Kinks’ outstanding career and Ray Davies’ masterpiece. A calm, nostalgic record which feels like a sweet, hazy dream but with endless layers of musical and lyrical innovation, its defiantly British sensibilities became the foundation of generations of British guitar pop. Celebrating its 50th anniversary in 2018, The Kinks present special editions of their 1968 landmark including this stereo remaster of the original album, from original tape high definition transfers. The 180g vinyl pressing is housed in a gatefold sleeve and features an insert with notes, band quotes and Village Green era photos.

File Under: Rock, Pop
Listen Here

LOVE109LP_CUMary Jane Leach: Flute Songs (Modern Love) LP
For Mary Jane Leach’s Flute Songs, Modern Love is honored to bring together four pieces composed for flute and voice, spanning a period of over 30 years and triggered by a fascination with sound and performance. As Leach explains, “In the late 1970s I was practicing playing and singing with tapes that I had made of myself performing long sustained tones. It had started out as an exercise in intonation, and ended up with a fascination for sound phenomena: difference, combination, and interference tones. The first piece I wrote for an instrument that I couldn’t play was Trio For Duo (1985), for live and taped alto flute and voice. I had noticed that my voice matched the sound of the bottom fifth of the alto flute, and so the voice in this piece is sung to sound as much like an alto flute as possible. By using glissandos, more ‘extra-notated’ sounds are created than appear on the page. Bruckstück (1989) was originally written for eight sopranos, but is played on flutes on this recording, using the same pitches, but sounding very different. The piece is polyphonic, with a lot of closely resolving intervals; primarily major and minor seconds. I initially wrote Dowland’s Tears (2011) for nine flutes, thinking of it as a recording project and not a concert piece (it now has a ‘solo’ tenth part added), while Semper Dolens (2018) is for solo and six taped flutes, with sustained harmony and dissonance in mind”. These four recordings feature noted Roman flutist Manuel Zurria, who has worked with some of the most important composers around the world. In 1990 he founded Alter Ego, a leading group for contemporary music in Italy. Numerous composers have written pieces for him, and he has expanded the repertoire even further by re-orchestrating compositions into pieces for multiple flutes, as heard on almost forty albums. Mary Jane Leach has played an instrumental role in NYC’s pioneering Downtown avant-garde community since the 1970s, working alongside peers including Arthur Russell, Ellen Fullman, Peter Zummo, Philip Corner, and Arnold Dreyblatt, as well as devoting years to the preservation of Julius Eastman’s legacy since his death in 1990. Her vinyl debut Pipe Dreams was issued via the Blume imprint (BLUME 011LP, 2017). Mastered and cut by Matt Colton.

File Under: Ambient, Drone, Avant Garde
Listen Here
Buy Here

EMEGO257LP_CU

Heather Leigh: Throne (Editions Mego) LP
On Throne, Heather Leigh takes her place as queen of pedal steel with a suite of heart-rending ballads cauterized with burning riffs. After the rawness of its precursor I Abused Animal, Throne is a record of late night Americana and heavy femininity; intimate love songs smoked in sensuality. The songs on Throne are woozy, gorgeous and uncomfortable, smothered in thick layers of bass but lifted by multi-tracked vocals. These are rich song forms that stand in contrast to the stripped down steel in her duo with Peter Brotzmann. “Prelude To Goddess” sashays in wearing leopard-print jeans under the twinkling fluorescent illuminations of the British seaside, like Brighton Rock with extra bass. It is followed in by “Lena” -arguably Leigh’s “Jolene” – a perverse love song soaked in a subversive sexuality, weighed down with a heavy pulse. “Soft Seasons” is anchored with sunken beats shrouded in wailing, growling steel and an earwormy melody. “Gold Teeth”, the longest track on the record, crests and breaks in waves; ecstatic peaks balanced and echoed by melancholic troughs. It soars on an updraft, and from cosmic heights dives seaward into a gnarly and riotous pedal steel breakdown, before catching the breeze again. “Days Without You” and “Scorpio & Androzani” are shorter, intimate songs; in the latter the synths seethe and the steel bows and bends as Leigh’s voice falters above a Greek chorus of shadows and reflections. But this isn’t autobiography, and Throne departs on “Days Without You”, a confrontationally unfinished romantic song, anxious with half-thoughts and missed connections. It glides into the night on stilettos leaving unanswered questions, in a fugue of psychic disturbance and lovesick sensuality. Leigh’s artwork (which she photographed and designed) is a visual mirror of the songs on Throne. It is an album of cosmic echoes, abstractions and introspection, of characters and stories that make up Leigh’s first best pop record, its melodies and hooks set alight with the fiery core of her unique and distinctive pedal steel. Additional instrumentation by John Hannon (violin, synthesizer) and David Keenan (electric bass). Recorded and engineered by John Hannon, Rayleigh, Essex, March 2018. Photographs and design: Heather Leigh.

File Under: Experimental
Buy Here

TRANSVERS006LP_CUEnnio Morricone: Grazie Zia (Transversales Disques) LP
For the first time on vinyl, Transversales Disques presents Ennio Morricone’s full score for the 1968 erotico-giallo film Grazie Zia. Grazie Zia was directed in 1968 by Salvatore Samperi and starred Italian actress Lisa Gastoni. On this unique soundtrack, Morricone has created a magical and suspenseful atmosphere based on the recurrent use of the Boys’ Choir Of Renata Cortiglioni, including the killer theme “Guerra E Pace, Pollo E Brace”, with its funny rhyme and ferocious drums. Remastered from the original tapes and presented in a limited edition with an obi strip.

File Under: OST
Listen Here
Buy Here

mossJessica Moss: Entanglement (Constellation) LP
Jessica Moss has been blossoming as a solo artist since the release of her acclaimed debut album Pools Of Light in spring 2017. The violinist, composer and singer best known for her 15-year tenure in political post-punk band Thee Silver Mt. Zion is newly ascendant as a soloist, captivating audiences with gritty, warmly expressive electronic and drone-inflected post-classical Minimalism (and sometimes Maximalism), accented by a distinctive melodic sensibility that channels Klezmer, Balkan and Middle Eastern tropes. On Entanglement, her new and second album, Moss channels quantum theory as a metaphor for creating energetic connections through esoteric processes. Using violin (and occasionally, voice) as sound source, her compositions are set in motion like entangled particles – spinning, ricocheting, warping and stretching in extra-dimensional space. “Particles,” the magnificent 22-minute opus on Side One, is a stunning transmission of cosmos-level wonder, mystery and dread. Conjuring up sound as if from dark energy, the piece gradually humanizes the void as a circling string theme develops then retracts to a single note, stretches space-time through a slowly developing drone, and clears a haunted celestial expanse for Moss to introduce hushed, keening vocal lines that layer one upon the other. “Fractals” on Side Two is a work in four parts that unspools through various iterations of folk-inflected phrases, played on amplified violin, sampled in real-time, and redeployed in entwined pairings, echoes and cascades. Here, Moss wields the violin with a narrative intent perhaps more commonly associated with solo horn in the jazz tradition – the power of the single melodic line, the instrument as expressive analogue to human speech and voice. Profoundly informed by the experiences of travelling alone – playing in precarious spaces preserved by passionate subcultural communities, attempting fragile, intimate, abstract transmissions through sound and performance – Moss’s new music on Entanglement invokes the striving for communication/connection in isolation, the mysterious energies that bind the singular and the universal, and the indomitably terrestrial energies that bring micro-communities of people together to partake sustainably and attentively in human-scale shared experiences. This is long-attention-span music that wonderfully synthesizes form and substance, spit and polish, austerity and lushness, expansiveness and intimacy. Entanglement is a deeply felt and deeply rewarding work that testifies to the unique stylistic and textural space Moss is carving out in the contemporary/New Music continuum. 180-gram vinyl (pressed at Optimal, Germany) includes 12 x 24 art print poster plus download.

File Under: Classical
Listen Here

ARCHIVE036LP_CUMuslimgauze: Ingaza (Staalplaat) LP
Staalplaat presents a double LP reissue of Muslimgauze’s Ingaza, originally released in 1999 (the year of his death) as part of the Box Of Silk And Dogs set. Those not familiar with Bryn Jones’s style will listen slack-jawed at the sheer anticipatory nature of his sound collages. He was a cult artist, politically motivated for the Arab-Palestinian cause and a seminal experimenter with ethnic samples’ and minimal and electronic rhythms. The atmospheres retain their original charm, full and gloomy, but pulsating with provocative emotions, different from the exotic and ornamental processing of certain world music. Drum machines, old synths, and percussion are all combined in a traditional way, without any computer assistance. “Peace is a distant dream,” said Bryn Jones, in one of his last interviews before passing away from a rare blood disease, and on both sizes things seem to unfortunately still be the same. Ingaza is thematically and stylistically all over the place, sporting atmospheric instrumental loops one moment and jarring, heavily barbed and distorted beats the next. Differences between tracks, not unlike changing channels on television or switching between net browsers, predominate, with imagery conjuring Middle Eastern travel and tourism on one screen whilst grisly proxy war footage plays on the next.

File Under: World, Electronic
Listen Here
Buy Here

MNQ121LP_CU

Doris Norton: Artificial Intelligence (Mannequin) LP
Mannequin Records concludes its trilogy of reissues from the avant-garde Italian-born producer Doris Norton with Artificial Intelligence (1985). Apple’s first music “endorsement” (Norton was also later a consultant for IBM) and early Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro/computer music. While the beat-oriented style of Norton’s music aligns her with such global fellow-travelers as Yellow Magic Orchestra and Kraftwerk, her championing of the personal computer as a tool for self-sufficient musical creativity also connects her to musicians such as Pietro Grossi, Laurie Spiegel, and the League of Automatic Music Composers. Norton’s predilection for the bright, glossy timbres of early digital instruments also recalls Hubert Bognermayr and Harald Zuschrader’s bizarre Erdenklang (1982). A year on from Personal Computer (MNQ 120LP, 2018), Norton released Artificial Intelligence in 1985, setting a step up in her deep electronic music research and innovation. “The whole album was composed and programmed only with the alphanumerical keyboard of the computer. The total of the notes and coded events takes to the number 124,648: of these 123,827 were coded with ‘step time’ procedure and the rest with real-time procedure. Having reduced the keyboard, Norton used only a hexaphonic JX.8P with memory processed by her and interfaced to the computer. No drums were used, neither electronic nor much less acoustic. All the rhythms were obtained by A.D.A. conversions and processing of wave ranges with the use of expanders with a very special handling of envelopes, frequency, resonance, and noise. Doris Norton fed the computer the parameters of vowels and consonants of her own voice, like A, O, U, E, D, and N, through an A.D.A conversion card. By processing these values and assembling them in phonemes in hundreds of different combination, at various compressed resolutions she was able to make the computer sing a complete song in a totally human way (with the voice of Doris). Many other synth sounds resulting from A.D.A. conversions are present in Artificial Intelligence, amongst these: pipe organ, plate, electric discharge, iron beat, birds, dog, harp, and woods, all sampled and handled by the computer. Artificial Intelligence is a perfect example of how human intelligence can bend the coded ‘artificial intelligence’ to its own will.” –ComputerMusik, 1985.

File Under: Electronic
Listen Here

TRANSVERS008LP_CU

Bernard Parmegiani: Memoire Magnetique Vol 1
(Transversales Disques) LP

Transversales Disques announces the release of Bernard Parmegiani’s Mémoire Magnétique, Vol. 1. Spanning 1966-1990, this is a revelatory collection of never-released commercial and secret music by electronic music pioneer Parmegiani. Since the late 50’s, Bernard Parmegiani, a major figure of electroacoustic music and a founding member of GRM has created some sixty pieces. From the start, Parmegiani’s work was closely linked to the screen, with dozens of documentaries, films, long features, animation films but also musical pieces for dance, stage or television. If many of his pieces are landmarks in the history of electro-acoustic music (De Natura Sonorum (1978), La Roue Ferris (1971)), his application of music compositions is strongly embedded in the subconscious landscape of the French public (Stade 2, Roissy CDG Paris Airport…). The first volume of this compilation allows one to discover some of these lost tapes and unpublished recordings which were composed for the screen or the performing arts.

File Under: Early Electronic
Listen Here
Buy Here

paternosterPaternoster: Die Ersten Tage (Now Again) LP
“Before releasing their lone self-titled debut album, one of the most rare rock records to be released in Europe in the 1970s, Paternoster provided the soundtrack for a film that could only have been made while the psychedelic movement was still in its first wave. The group’s first recordings presented here are the soundtrack for Herbert Holba’s 1971 hippie sci-fi film Die Ersten Tage (The First Days), screened at the Berlin International Film Festival, and interestingly played on Austrian TV in August of that year. The material issued here is the genesis of Paternoster and set the stage for the release of one of the world’s great rock albums with their self-titled debut the following year. The music has been painstakingly transferred directly from master tapes, never before released in any form.”

File Under: Prog, Psych
Buy Here

HOS601LP_CURainforest Spiritual Enslavement: Red Ants Genesis (Hospital) LP
Low Jack and Equiknoxx join Dominick Fernow’s Rainforest Spiritual Enslavement on a new double vinyl expansion of Red Ants Genesis, originally issued on limited cassette in 2018. Recorded in winter 2017, Red Ants Genesis finds the Hospital Productions boss discovering strength in collaboration following the triumph of his classic Ambient Black Magic, which was conjured with the crucial assistance of Juan Mendez aka Silent Servant. Here, he works with Phillippe Hallais aka Low Jack and of Editions Gravats, who also tags in his pals Gavsborg and Time Cow from Jamaican digidub futurists Equiknoxx for a killer new version of the title track. On the tape’s original four tracks, Low Jack transmogrifies Fernow’s high volume microphone recordings of synthetic field ecologies with masterful sleight of hand in-the-edits, resulting in a hyperreal detachment and realignment of spatial proprioceptions executed with exquisite textural tactility. It’s far more oblique and desiccated than the relatively lush Ambient Black Magic outing, rendering the stark durational immersion of their 30 minute “Red Ants (Mics)” split over the first disc, while Low Jack’s percussive edits really come into play on the utterly gutted “Shields Ferns / Brown Pine Magic” and the slow, febrile push of “Papua Land (Live Edit).” No doubt one of the biggest attractions here is the curveball of an Equiknoxx remix of “Red Ants Genesis”. Surely one of the first meetings of Jamaican dancehall and dark ambient in existence, it’s a spellbinding piece of dub physics that demonstrates the endless, mutable imagination of Gavsborg and Time Cow in haunting and deeply mystic effect. Unmissable. Cut at Dubplates & Mastering, Berlin.

File Under: Ambient, Electronic
Listen Here
Buy Here

MODE300LP_CUSteve Reich: Sextet – Double Sextet (Mode) LP
“This release couples two of Reich’s ‘sextets’ for the first time: the Sextet of 1984 and the Pulitzer Prize winning Double Sextet of 2007, which also makes its first appearance on LP. A striking difference between the two pieces is that the rhythmic world of Sextet mostly consists of a single-meter grooving, while Double Sextet works in the angular, off-kilter shifting meters reminiscent of Reich’s Tehillim (also of Stravinsky). Ekkozone impart a uniquely chamber music feel and color to these works while maintaining their propulsive character. Liner notes by Adam Sliwinski. LP lacquers and mastering by veteran Scott Hull at Masterdisk. Plated and pressed by RTI, California. Danish percussionist and conductor Mathias Reumert lives and breathes contemporary classical music. An in-demand soloist, he explores new percussive territory while remaining a committed interpreter of yesterday’s masterworks. As creator and leader of the acclaimed ensemble Ekkozone, he explores the boundaries between classical, world and experimental music in performances at rock and jazz festivals. Ekkozone is a Danish crossover ensemble that masterfully explores the lines between classical, world and experimental music. Formed by Mathias Reumert in 2013, the ensemble enjoys a special connection with Reich’s music and has performed a large part of his oeuvre, including several performances of Music for 18 Musicians.”

File Under: Avant Garde
Listen Here

sp1Skinny Puppy: Cleanse Fold & Manipulate (Nettwerk) LP
In its four decades of existence, Skinny Puppy has established itself as a groundbreaking innovative voice in the world of electronic music, fearless in both its musical experimentation and taking a stance on the issues of our times. Released in June of 1987, Skinny Puppy’s third studio album Cleanse Fold and Manipulate dove deeper into sociopolitical issues that the band cared about such as AIDS and PTSD and features classic cuts like “Deep Down Trauma Hounds” and “Addiction” and was supported by the Head Trauma world tour featured in their 1989 live film Ain’t It Dead Yet. Now available on vinyl for the first time in over 25 years!

File Under: Industrial, Electronic
Listen Here

sp2Skinny Puppy: Mind: The Perpetual Intercourse (Nettwerk) LP
In its four decades of existence, Skinny Puppy has established itself as a groundbreaking innovative voice in the world of electronic music, fearless in both its musical experimentation and taking a stance on the issues of our times. Released in September of 1986, Skinny Puppy’s second studio album Mind: The Perpetual Intercourse is infamous for both its pornographic album photo (the political backlash resulted in the Parental Advisory label) and for inspiring the next generation of industrial music contemporaries (Nine Inch Nails) with tracks like “Dig It” and “Stairs and Flowers.” Now available on vinyl for the first time in over 25 years!

File Under: Industrial, Electronic
Listen Here

stvincentSt. Vincent: MassEducation (Loma Vista) LP
In tomorrow… A stunning standalone work in its own right, MassEducation is in fact another dimension of St. Vincent’s universally acclaimed 2017 album Masseduction. Recorded live in the studio over two nights in August 2017 while at Electric Lady Studio mixing the original album, MassEducation lays bare the exquisite songcraft of its other half. Performed entirely by Annie Clark on vocals and Thomas Bartlett on piano, the new album renders songs like “Young Lover” and “Fear The Future” and their subjects in vivid, vulnerable new light. Clark describes the refashioned versions as “two dear friends playing songs together with the kind of secret understanding one can only get through endless nights in New York City.”

File Under: Indie Rock, Pop
Listen Here

HTH105LP_CUPenelope Trappes: Penelope Two (Houndstooth) LP
Following her debut album Penelope One for Optimo Music, antipodean vocalist, musician, and soundscaper Penelope Trappes presents sophomore long player Penelope Two, for Houndstooth. Elements from multiple sources are subsumed by Trappes’s sonic presence; one hears Badalamenti and Julee Criuse’s work for Blue Velvet (1986) and Twin Peaks, Galaxie 500 and Slowdive’s dreampop, the scorched comedowns of early Primal Scream, Tuxedomoon and Colin Newman’s dark melancholia, plus contemporaries like Grouper, Tropic Of Cancer, and Sky H1. A deeply melodic record, with her intimate, maternally-tender voice floating in the middle of each three-dimensional, womb-like sonic space. Originally from Byron Bay Australia before moving to New York, meeting partner Stephen and developing experimental electronic projects Locke and Priscilla Sharp, prior to their best-know incarnation The Golden Filter. Cut and mastered by Matt Colton; Manufactured at optimal media, Germany.

File Under: Pop, Dream Pop, Gloom
Listen Here

LDY93610A_ (1)Thom Yorke: Susperia (XL) LP
In Luca Guadagnino’s 2018 remake of Dario Argento’s cult classic 1977 horror film Suspiria a darkness swirls at the center of a world-renowned dance company, one that will engulf the troupe’s artistic director (Tilda Swinton), an ambitious young dancer (Dakota Johnson), and a grieving psychotherapist (Lutz Ebersdorf). Some will succumb to the nightmare. Others will finally wake up. Thom Yorke provides his first ever film score featuring 25 original compositions recorded and produced by the Radiohead frontman and Sam Petts-Davies. Comprised of instrumentals, interludes and more traditional songs, additional contributions are made by the London Contemporary Orchestra and Choir, flutist Pasha Mansurov, and Yorke’s son Noah on drums. Yorke admitted that it took “few months to even contemplate the idea. When they first came to see me, the producers and [editor] Walter [Fasano], I just thought they were mad, because I’ve never done a soundtrack before. And Suspiria is one of those legendary soundtracks. It was one of those moments in your life where you want to run away but you know you’ll regret it if you do. I watched the original film several times, and I loved it because it was of that time, an incredibly intense soundtrack. Obviously Goblin and [director] Dario [Argento] worked incredibly closely when they did it together.” Goblin’s original score, Krautrock and ’70s-era Berlin all served as inspiration for Yorke’s mesmerizing score. “It was just a really cool way to totally immerse myself in an area I wouldn’t normally go with full permission,” he adds.

File Under: OST, Radiohead
Listen Here
Buy Here

PAN077LP_CU

Various: Mono No Aware (Pan) LP
Repressed! Mono No Aware is the first compilation to be released on PAN, collating unreleased ambient tracks from both new and existing PAN artists. Featuring Jeff Witscher, Helm, TCF, Yves Tumor, M.E.S.H., Pan Daijing, HVAD, Kareem Lotfy, ADR, Mya Gomez, Sky H1, James K, Oli XL, Bill Kouligas, Flora Yin-Wong, Malibu, and AYYA, the compilation moves through more traditional notions of what is called “ambient”, to incorporating wider variations that fall under the term. “Mono no aware”, “the pathos of things”, also translates as “an empathy toward things”, or “a sensitivity to ephemera”. A term for the awareness of impermanence, or the transience of things. A meditation on mortality and life’s transience, ephemerality heightens the appreciation of beauty and sensitivity to their passing. In investigating the passing of time, the boundaries between memory and hallucination become blurred; between fiction and reality. The movement of time transforms into an eternal present. James K’s “Stretch Deep” features Eve Essex. Features photography by Molly Matalon; Design by Bill Kouligas. Mastered and cut by Rashad Becker at Dubplates & Mastering.

File Under: Ambient, Electronic
Listen Here
Buy Here

…..Restocks…..

Courtney Barnett/Kurt Vile: Lotta Sea Lice (Matador) LP
Bing & Ruth: No Home of the Mind (4AD) LP
Fugees: The Score (Columbia) LP
Sarah Hennies: Embedded Environments (Blume) LP
Jackie O Motherfucker: Flags of the Sacred Harp (Textile) LP
Jasss: Weightless (Ideal) LP
The National: Boxer (Beggars) LP
The National: Trouble Will Find Me (4AD) LP
Pixies: Come on Pilgrim… It’s Surfer Rosa (4AD) 3LP
Radiohead: Kid A (XL) LP
Red House Painters: Rollercoaster (4AD) LP
Sigur Ros: Valtari (XL) LP
Simon & Garfunkel: Sounds of Silence (Columbia) LP
System of a Down: s/t (American) LP
System of a Down: Toxicity (American) LP
System of a Down: Mezmerize (American) LP
Cosey Fanny Tutti: Time to Tell (CTI) LP
Kurt Vile: Bottle it in (Matador) LP
Colter Wall: Songs of the Plains (Thirty Tigers) LP
Yo La Tengo: Summer Sun (Matador) LP

Tagged , , , , , ,

…..news letter #870 – schwifty…..

So much great stuff in, and sitting on my counter! You read, I’ll receive. Come dig!

CHECK OUT OUR WEBSTORE!!! 

…..pick of the week…..

moon

Haruomi Hosono: Cochin Moon (Light in the Attic) LP
My top pick of the Hosono reissues, this one is not to be missed! 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. 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). Released in September 1978, a mere two months before YMO’s debut, Cochin Moon is a clear precursor to the groundbreaking synth and sequencer-dominated sounds that would come to define the iconic trio. Credited to Hosono and Pop Art legend Tadanori Yokoo (who created the cover art), Cochin Moon is a fictional soundtrack to a journey into unknown worlds, inspired by Hosono and Yokoo’s trip to India. Initially the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of Kraftwerk and krautrock during the trip, Cochin Moon became something much stranger. Created almost entirely on synthesizers and sequencers with the help of future YMO collaborators Ryuichi Sakamoto and Hideki Matsutake, the music on the album is the perfect encapsulation of Hosono’s concept of “sightseeing music,” transporting the listener to an exotic place that may or may not exist. This highly sought-after album sees its first-ever official release outside of Japan. 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: Electronic, Japanese, OST
Listen Here
Buy Here

…..new arrivals…..

big black

Big Black: Songs About Fucking (Touch & Go) LP
Big Black was started by Steve Albini in 1982 while he was living in Evanston, Illinois, and attending Northwestern University. Contrary to popular belief, Big Black was not Steve’s first band. Prior to forming Big Black, Steve was in a band called Just Ducky, in Montana and a band called Small Irregular Pieces of Aluminum, in Chicago. Lungs, the first Big Black release, was recorded by Steve in 1982 on a borrowed 4-track. He played everything on the EP himself except the sax bleating courtesy of pal John Bohnen and the drums courtesy of Roland. Lungs, was originally issued on the Chicago label Ruthless Records. Soon after, Steve recruited Jeff Pezzati (Naked Raygun) to help him out on bass. Santiago Durango, another founding member of Naked Raygun, joined them on guitar. In 1983, together with live drummer Pat Byrne, they recorded the Bulldozer EP. It was initially released in a limited galvanized metal album jacket on Fever Records. By 1984, the band did some touring and signed a deal with Homestead Records. They recorded one more time with Jeff Pezzati on bass, which resulted in their Homestead debut, the Racer X EP, and the start of the Il Duce 7″. After that, Jeff returned full time to Naked Raygun, and he was replaced with Dave Riley. In 1985, the new trio recorded Big Black’s first full length, Atomizer as well as finishing and releasing the Il Duce 7″. 1986 saw the release of Atomizer, as well as the release the Hammer Party album which was a compilation of the Lungs EP and the Bulldozer EP. Shortly after those releases, freed from their Homestead deal, Big Black signed with Touch and Go and recorded the Headache EP and Heartbeat 7” in the summer of 1986. The first limited pressing of the Headache EP (released in 1987) boasted artwork that would make any of today’s black metal bands foam gleefully at the mouth. 1987 was a very full year for Big Black. The Headache EP and Heartbeat 7” were released. They recorded and released the 7” of “The Model/He’s A Whore,” as well as their second full length album, Songs About Fucking. They toured extensively (for Big Black). And they broke up. To quote the album insert in Songs About Fucking: “Hey, breaking up is an idea that has occurred to far too few groups. Sometimes to the wrong ones.” When they broke up, Santiago Durango decided to go to law school and is now a lawyer. While in law school, he released two EP’s on Touch and Go as Arsenal. Steve Albini went on to form Rapeman, and then Shellac. He also owns and operates Electrical Audio recording studio in Chicago. Big Black’s second and final full-length – Songs About Fucking – has been remastered by Steve Albini and Bob Weston at Chicago Mastering and is reissued here on vinyl with an accompanying MP3 album download.

File Under: Punk
Listen Here

chandler

Gary Chandler: Outlook (Tidal Waves) LP
Gary Chandler (born in 1938) started playing professionally in 1960 in the thriving Columbus Ohio club scene with Hank Marr, Don Patterson and Benny Maupin. He worked in the Motown Revue from 1965-67 and led his own group for over a year. Over the following years Chandler joined the bands of Lou Donaldson & Charles Earland where he remained until the recording of his debut album. Producer Bob Porter, who decided it was time for the skilled trumpeter to make a record in his own right, provided him with an all-star line up of musicians to collaborate on the album. ‘Outlook’ features Idris Muhammad on drums (which means a frenzy of funky JB-influenced over-the-top soul-jazz drumming), on bass is the legendary Gordon Edwards (known for his work with James Brown, Weldon Irvine, Funk Inc., Aretha Franklin, etc.) and on guitar we have Cornell Dupree (you all know his opening riff on the intro of Aretha Franklin’s ‘Respect’). Last but least, we have the percussion duties which are handled by Buddy Caldwell (THE session musician for respected labels such as Prestige and who also collaborated on albums by Ceasar Frazier & Melvin Sparks)… speaking of Ceasar Frazier, he’s also featured on ‘Outlook’ with his trademark organ sound. ‘Outlook’ is one long STEAMROLLER groove & one of the true lost soul-jazz-funk classics. Crate diggers and DJs have coveted “Baby Let Me Take You (In My Arms)” for years, but in truth, damn near every second of the album demands consideration as a sample. All of this is carefully overseen by e  ngineer Rudy Van Gelder & producer Bob Porter (known for their work with Herbie Hancock, Coltrane, Thelonious Monk, Miles Davis…and many others). Gary Chandler’s first (and only) album was originally released in 1972 on Eastbound Records, super rare and fetching large sums on the collectors market, now finally back available as a limited deluxe vinyl edition (500 copies) featuring the original artwork and liner notes.

File Under: Jazz, Soul Jazz
Listen Here

cursive

Cursive: Vitriola (15 Passenger) LP
Over the past two decades, Cursive has become known for writing smart, tightly woven concept albums where frontman Tim Kasher turns his unflinching gaze on specific, oftentimes challenging themes, and examines them with an incisively brutal honesty. The band’s remarkable eighth full-length, Vitriola, required a different approach — one less rigidly themed and more responsive as the band struggles with existentialism veering towards nihilism and despair; the ways in which society, much like a writer, creates and destroys; and an oncoming dystopia that feels eerily near at hand. For the first time since Happy Hollow, the album reunites Kasher, guitarist/singer Ted Stevens and bassist Matt Maginn with founding drummer Clint Schnase, as well as co-producer Mike Mogis (Bright Eyes, M. Ward, Jenny Lewis) at ARC Studios in Omaha. They’re joined by Patrick Newbery on keys (who’s been a full-time member for years) and touring mainstay Megan Siebe on cello. Schnase and Maginn are in rare form, picking up right where they left off with a rhythmic lockstep of viscera-vibrating bass and toms, providing a foundation for Kasher and Stevens’ intertwining guitars and Newbery and Siebe’s cinematic flourishes. The album runs the sonic gamut between rich, resonant melodicism, Hitchcockian anxiety, and explosive catharsis — and no Cursive album would be complete without scream-along melodies and lyrics that, upon reflection, make for unlikely anthems. There’s a palpable unease that wells beneath Vitriola’s simmering requiems and fist-shakers. Fiery opener “Free To Be or Not To Be You and Me” reflects the album’s core: a search for meaning that keeps coming up empty, and finding the will to keep going despite the fear of a dark future. The record directs frustration and anger at not only modern society and the universe at large, but also inward towards ourselves. On “Under the Rainbow,” disquiet boils into rage that indicts the complacency of the privileged classes; “Ghost Writer” has a catchy pulse that belies Kasher chastising himself for writing about writing; and “Noble Soldier/Dystopian Lament” is a haunting look at potential societal collapse that provides little in the way of hope but balances beauty and horror on the head of a pin. Vitriola raises a stark question: is this it? Is everything simply broken, leaving us hopeless and nihilistic? Maybe not. There can be reassurance in commiseration, and the album is deeply relatable: Cursive may not be offering the answers, but there is hope in knowing you’re not alone in the chaos.

File Under: Indie Rock
Listen Here

large_550_tmp_2F1534885993210-ycm17eaanpb-de2715bb6f754a35f5a42cec6c7103b1_2FcoverKTB67_WEB_2000px

Brigitte Fontaine & Areski Belkacem: Vous et Nous (Kythibong) LP
Art is a matter of different phases and influence. The artists’ core reaches out like heat waves. And very rarely do these artists’ core merge like Brigitte Fontaine and Arseki Belkacem have. Their Saravah Era lasted ten years (1969 to 1979), ten years of «folle sagesse» (crazy wisdom), above all genres and song limitation. Released in 1977, this free flowing record contains 33 songs, was their 6th album together, and it continues to spread the wide and generous spectrum of the couple fully blossoming talent. Electronic experiments, North African trance, refined acoustics and medieval drones gracefully blend with the acid and candid tongues of the singers. The making of this record was also full of twists and turns. It started out as a solo effort by Areski at Jean-Pierre Chambard’s studio. Little by little, as Areski was filling tapes with poems and improvised skits, Brigitte would sneak into the studio at nightfall, adding her voice here and there, her whispers then became screams, giving fuel to the fire in a total blaze, a surreal blaze. The solitary work (“je”) thrived to become us (“nous”) and you (“vous”) …

File Under: French, Rock, Experimental
Listen Here

gordon

John Gordon: Step by Step (Pure Pleasure) LP
John Gordon, a trombone master, brings us another gem from that most renowned of 70’s record labels, Strata-East. The trombone is a difficult instrument. In the hands of an artist like John Gordon, however, it can create vivid images and conjure up beautiful music. And when the cohort of other players includes the likes of Charles Tolliver & Stanley Cowell, you know you’re in for an extra treat.

File Under: Jazz
Listen Here

hammond

Doug Hammond: Reflections in the Sea of Nurnen (Pure Pleasure) LP
An incredible session from the legendary Tribe Records scene — an equal effort from leader Doug Hammond and keyboardist David Durrah, who contributes some ground breaking Fender Rhodes and moog work to the set! Hammond handles drums plus a bit of vocals and synthesizer on the session — working alongside Durrah in a groove that mixes electric and acoustic instrumentation into a totally righteous sound with lots of heavy Afro Jazz leanings. A number of tracks feature great vocals from Hammond — righteous, and with a beautifully soulful message-oriented approach — and a few other tracks, such as the classic “Space I” and “Space II”, feature a sparer all-electric sound. The whole thing’s wonderful — skittishly rhythmic, warmly flowing, and righteously beautiful. Titles include “Sea Of Nurnen”, “Fidalgo Detour”, “Reflections”, “Space II”, and “For Real”. (Dusty Groove, Inc.)

File Under: Jazz
Listen Here

tribe

Wendell Harrison & Phillip Ranelin: A Message From the Tribe (Pure Pleasure) LP
Genius work from the Detroit underground of the 70s – one of the greatest records ever on the now-famous Tribe Records label, and a masterpiece of soul, jazz, and righteous spirit! The session’s headed by tenor player Wendell Harrison – and it’s got an all-star Motor City lineup that includes Marcus Belgrave on trumpet, Phil Ranelin on trombone, Jeamel Lee on vocals, Charles Eubanks on electric piano, and Charles Moore on flugel horn. The tracks have a spacious spiritual approach that recalls some of the later Archie Shepp on Impulse – a blend of soul jazz with slight touches of electric instrumentation, some vocals, and a very progressive spirit overall – stepping proud in the new freedoms of the 70s, yet still swinging and very groovy. (Dusty Groove, Inc.)

File Under: Jazz
Listen Here

woodchucks

Lee Hazlewood’s Woodchucks: Cruisin’ For Surf Bunnies (Light in the Attic) LP
Deep in the LHI tape archive hid a mysterious tape marked “Woodchucks.” The tape held a “lost” instrumental surf album recorded by Lee Hazlewood in the early 1960s. Some of the songs have been recorded by The Astronauts, Jack Nitzsche, Dick Dale and His Del-Tones, Takeshi Terauchi, The Ventures, John Paul Jones (Led Zeppelin), The Trashmen, The Challengers and The Surfaris. Lee’s original recordings have never been released. Bask in the reverb drenched twang of Lee Hazlewood’s original versions for the first time ever! Light in the Attic Records is proud to continue it’s Lee Hazlewood archive series with this very special release. Not a reissue, but rather a brand new, never before released time capsule from the surf era. Lee Hazlewood’s Woodchucks Crusin’ for Surf Bunnies is the perfect soundtrack for sun-baked skin and salty waves, hot rods and summer love. It’s the soundtrack to the American dream in the early 1960s and it comes from California. Though Lee and Suzi Jane Hokom hadn’t met yet, they were both living that dream…Suzi with her group The Surf Bunnies and Lee on his brief surf music tangent with albums like Al Casey’s Surfin’ Hootenanny, Hal Blaine and the Young Cougars and The Glaciers From Sea to Ski. “He was trying to do too much at that period of time. He was just throwing stuff around, but this sounds like a complete project. If there was an airplay record in there, he probably could’ve had a band go out and be the Woodchucks or whatever he wanted to call them. It’s a good surf album. I really loved it. He was a master…there’s no question about it. He invented sounds that no one was doing.” – Shackleford and “Lonely Surfer,” Marty Cooper

File Under: Rock, Surf
Listen Here

house

Haruomi Hosono: Hosono House (Light in the Attic) LP
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 has put his unmistakable stamp on hundreds of recordings as a session player, producer, and auteur of his own idiosyncratic musical world. 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 Happy End’s amicable break up in 1973, Hosono released Hosono House, an intimate slice of Japanese Americana recorded at home with a back-to-basics approach akin to Music from Big Pink or McCartney. While his former band helped pave the way for the rise of “city pop” that reflected upon urban themes and city life, Hosono took a 180 degree turn towards the countryside for his highly-regarded first solo album. Located an hour from Tokyo in Sayama, Saitama Prefecture, the actual Hosono House was one of several American-style houses originally built for the families of troops stationed at the nearby Johnson Air Base, active during the post-war occupation years. By the early ‘70s this small community had become a hub for creative types looking for a break from Tokyo’s hustle and bustle – and cheaper rent. For Hosono, this was as close as he could get to living in America without leaving his home country. With rooms filled to the edges with recording gear, the house became a live-in studio for Hosono and his crack band – soon to become known as the in-demand session group Tin Pan Alley. The songs on Hosono House display the breadth of Hosono’s talents, from the hushed acoustic folk of “Rock-A-Bye My Baby” and the country twang of “Boku Wa Chotto” to the New Orleans funk of “Fuyu Koe” and the unexpected breakbeats in “Bara To Yajuu.” Lauded by artists such as Jim O’Rourke and Devendra Banhart, Hosono House remains a touchstone of the early phase of Hosono’s career. 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. 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: Rock, Pop
Listen Here
Buy Here

jerusalme

Jerusalem in my Heart: Daqa’iq Tudaiq (Constellation) LP
Jerusalem In My Heart (JIMH) returns with Daqa’iq Tudaiq, the third full-length album from the Montréal-Beirut contemporary Arabic audio-visual duo, following the acclaimed 2015 release If He Dies, If If If If If If. Featuring voice, electronics, buzuk and other instrumentation from composer-producer Radwan Ghazi Moumneh (Matana Roberts, Suuns, Big Brave) and abetted by the 16mm analog film work of Charles-André Coderre in live performance, JIMH continues to expand the horizons of its profound conceptual and aesthetic engagement with Arabic/Middle-Eastern traditions. Daqa’iq Tudaiq translates as “minutes that bother/oppress/harass” – which presumably needs no further explanation – and features two distinct album sides of music. Side One realizes a long-held dream of Moumneh’s to record a modern orchestral version of the popular Egyptian classic “Ya Garat Al Wadi” by the legendary composer Mohammad Abdel Wahab. Side Two comprises four tracks of non-ensemble “solo” material by Moumneh which push rupture and decomposition/recomposition of tradition further into avant-garde territory – voice, buzuk and electronics take the lead on a suite of emotive and evocative songs, including the percussive loop-driven instrumental “Bein Ithnein” (“Between Two” ) and the stunningly unsettling processed vocal track “Thahab, Mish Roujou’, Thahab” (“(The Act Of) Departing, Not Returning, Departing”). Daqa’iq Tudaiq is a masterful, mesmerizing artistic statement and confirms Jerusalem In My Heart as one of the most engaged and forward-looking avant-Arabic projects at work in contemporary music today. 180-gram vinyl (pressed at Optimal, Germany) includes 12″ x 24″ art print poster plus 320kbps download card.

File Under: Electronic, Experimental, Arabic
Listen Here

khruangbin

Khruangbin: The Universe Smiles Upon You (Night Time Stories) LP
Available again! Taking influence from 1960’s Thai funk – their name literally translates to “Engine Fly” in Thai – Khruangbin’s debut album The Universe Smiles Upon You is steeped in the bass heavy, psychedelic sound of their inspiration, Tarantino soundtracks and surf-rock cool. The Texan trio is formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums. The Universe Smiles Upon You was recorded at their spiritual home, a remote barn deep in the Texas countryside where their first rehearsals took place. The band listened to a lot of different types of music on the long drives out to the country but their favorites were ’60s and ’70s Thai cassettes gleaned from the cult Monrakplengthai blog and compilations of southeast Asian pop, rock and funk. This had a heavy impact on the direction of the band, the scales they used and the inflection of the melodies; which coupled with the spaciousness of the Texan countryside culminated in Khruangbin forming their exotic, individual sound. Although the band was conceived as an instrumental outfit, The Universe Smiles Upon You features the first Khruangbin recordings with vocals. Tracks “People Everywhere (Still Alive),” “Balls and Pins” and recent single “White Gloves” show a new dimension to the band. “We never really thought of ourselves as having a “singer” but we knew that we wanted a voice for Khruangbin. We decided to write about something close to us, tell a story as simply as possible, and sing it together.” The band explains: “We feel like there is an ease that comes from being immersed in a space, away from the distractions of the city and everyday life. We make our music in a barn, in the Texas hill country, because it makes sense to us. Being there allows us to make music that comes naturally, and that’s what we wanted this album to be. We wanted to make a record that just let the music happen, and we hope that’s what you can hear.”

File Under: Psych, Funk, World
Listen Here

kokubo

Takashi Kokubo: A Dream Sails Out to Sea (Get at the Wave) (LAG) LP
Recorded in 1987 as promotion for a luxury air conditioning line, Takashi Kokubo’s Balearic gem A Dream Sails Out To Sea gets first ever official release from Lag Records, complete with previously unheard music. Originally only available as a sought-after promo by the name of Get At The Wave, Takashi Kokubo’s mini-masterpiece of halcyon mastery finally re-emerges for the first time since 1987 with a remastered vinyl edition courtesy of UK label Lag Records. A Dream Sails Out To Sea (Get At The Wave) comes not only with a new title, but also a brand new B-side as taken from Get At The Wave’s original recording sessions. Never-before released, the epic Ocean Breeze makes the perfect companion for the sonic world Kokubo created with his original release, imbued as it is with the same serene sense of understated beauty. The original story of A Dream Sails Out To Sea is as interesting as Kokubo’s own backstory as a musician and sound artist. Originally composed to ‘soundtrack’ a high-end air conditioning line from Japanese electronic giant Sanyo, the album was meant to transport the consumer into a paradise far away from the heat and hurry of urban life. One listen to something as splendorous as Underwater Dreaming, and it’s mission accomplished. Takashi Kokubo meanwhile is a musician whose work, without many knowing it, has perhaps touched the most lives in Japan. Composer of environmental music such as nationwide phone alerts to warn of oncoming earthquakes, and the fruitful jingle of a standard contactless payment, Kokubo’s oeuvre also includes anime soundtracks and works in the avant garde realm. It is with Kokubo’s blessing and original masters that the Lag Records release has been made possible, with a remastering courtesy of Jerome Schmitt at the AirLab. A Dream Sails Out To Sea (Get At The Wave) also comes with new artwork by Ella Mclean in a standard sleeve on clear blue vinyl LP.

File Under: Japanese, Ambient, New Age
Listen Here

mckinney

Harold McKinney: Voices & Rhythms of the Creative Profile (Pure Pleasure) LP
One of the most righteous albums ever issued by the always-righteous Tribe Records label of Detroit – a really collective effort, one that features ensemble vocals and spiritual jazz – all pulled together by pianist Harold McKinney! The album showcases a group named Voices Of The Creative Profile – formed by McKinney to accompany his Creative Profile instrumental group – and the overall style is a great blend of spiritual soul jazz that gives equal time to the voices and instruments in the set. Gwen McKinney heads up the vocal ensemble, and other players on the set include Wendell Harrison on flute, Marcus Belgrave on trumpet, Billy Turner on percussion, and Ed Pickins on bass. Also features some cool moog from Darryl Dybka  (Dusty Groove, Inc.)

File Under: Jazz
Listen Here

music inv

Music Inc.: s/t (Pure Pleasure) LP
The remarkable Music, Inc. Big Band remains the apotheosis of trumpeter Charles Tolliver’s singular creative vision. Rarely if ever has a big band exhibited so much freedom or finesse, while at the same time never overwhelming the virtuoso soloists on whom the performances pivot. Built around the core of Tolliver, pianist Stanley Cowell, bassist Cecil McBee, and drummer Jimmy Hopps, the music boasts the kind of give-and-take born equally of talent and telepathy — each player seems to communicate with his colleagues on a higher plane, delivering performances to rival any in their careers. Tolliver in particular plays like a man possessed, summoning an energy and clarity that slice through the big, bold arrangements like the proverbial hot knife through butter.

File Under: Jazz
Listen Here

ofegeOfege: Try & Love (Tidal Waves) LP
Ofege was formed in the early 1970s by a bunch of teenagers at the St. Gregory’s College in Lagos Nigeria. They were largely influenced by the guitar solos of Carlos Santana, Jeff Beck & Jimmy Page while closer to home, they were influenced by the music of ‘BLO’ (Berkley Jones, Laolu Akins and Mike Odumosu), ‘Monomono’ (led by Joni Haastrup), The Funkees, and Ofo The Black Company. Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom. At the turn of the century (and because of tracks appearing on various psychedelic music compilations) Ofege would receive international acknowledgment for being the first of their kind and the ultimate West-African psychedelic funk band! Their first album was recorded while the band members were still in high school (average age of 16), Ofege’s debut album ‘Try And Love’ was originally recorded and released in 1973 on EMI Nigeria. ‘Try And Love’ is wild and uncompromising blend of soul, funk and rock with complex and groovy rhythms. Ofege succeeded in creating a debut album drenced with fuzzy guitars, plaintive/wailing vocals and a backbeat as influenced by James Brown as it is by Fela Kuti. It’s a unique, raw and beautiful take on the psychedelic sound. The ingenuity allied with the inexperience of its members makes this album a real treasure. Tidal Waves Music now proudly presents the first OFFICIAL reissue of this landmark Nigerian album. This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited vinyl edition (500 copies) complete with the original artwork and exclusive liner notes/pictures provided by Ofege’s founding member ‘Melvin Ukachi’ who also supervised this reissue.

File Under: Afro-Funk, Nigeria
Listen Here

call of dutyOST: Call of Duty: Infinite Warfare(iam8bit) LP
“Instead of concentrating on the epic vastness of space, the music aims to capture the loneliness felt in space and the burdens of war. The score is equal parts electronic and orchestral. It combines cold and aggressive analog synths with small, intimate string sections and a gnarly low brass ensemble. A lot of the percussion is from metallic found objects. It’s not a traditional score by any means. We wanted to do something different than the typical epic orchestral action sound.” – Sarah Schachner, Composer for Call of Duty: Infinite Warfare. iam8bit has teamed up with Infinity Ward and Activision to mint the music of Call of Duty: Infinite Warfare on wax. The moment we heard composer Sarah Schachner’s epic score, tinged with sci-fi subtleties and big orchestra crescendos, we couldn’t shake its trappings. During development, the Infinity Ward team fell in love with Chris Skinner’s illustrations, so it only made sense to recruit him for the album design. Skinner’s skills are uniquely honed – deft at inking detailed vehicle battle scenes, but also the intricacies of the human condition. It’s a classy match for the Call of Duty universe. As with all iam8bit vinyl releases, the music is mastered specifically for vinyl audio supremacy.

File Under: OST, Video Games
Listen Here

ftlOST: FTL: Faster Than Light (iam8bit) LP
Indie developer Subset Games first released FTL: Faster Than Light to the world in 2012. Since then, this incredible space ship simulator has won countless awards, and has been downloaded millions of times. To accompany the game, Ben Prunty composed a masterful sci-fi soundtrack that we’re thrilled to release on vinyl for the very first time! Give it a listen here. To do this vinyl recording its ultimate justice, we had the audio mastered at Telegraph Mastering Studio. We can’t wait for you to hear it like this! We teamed up with Leif Podhajsky to design a vinyl package that blows our minds with its awesomeness! Leif’s pedigree includes album covers for many top labels, including famed rock group, Tame Impala.

File Under: OST, Video Games
Listen Here

sbr213-halloween-300_1_1024x1024OST: Halloween(Sacred Bones) LP
When the new Halloween movie hits theaters in October 2018, it will have the distinction of being the first film in the series with creator John Carpenter’s direct involvement since 1982’s Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies. The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green’s film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape’s knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter’s famously shoestring original, its musical spirit was preserved. “We wanted to honor the original Halloween soundtrack in terms of the sounds we used,” Davies explained. “We used a lot of the Dave Smith OB-6, bowed guitar, Roland Juno, Korg, Roli, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano.” Unlike the Lost Themes albums, where the composers wrote the soundtracks for imaginary movies, Halloween saw the Carpenters and Davies collaborating on music set to images for the first time. Though it marked a significant change from their previous creative process, the trio thrived under the constraints and tight deadlines that film scoring work demands. “Being limited by the length of time in scoring the sequence, we focused on the director’s tempo, timing, and vision,” Davies said. “He would tell us what he had in mind, how long the cue should be, what emotion he wanted, and we would take it from there. It’s only the three of us, there is no elaborate system. We wrote, performed, and orchestrated everything.” For John Carpenter, who reunited on the new film with original Halloween star Jamie Lee Curtis, composing the score felt like a homecoming. Not only had he not worked on a Halloween movie in 35 years, he hadn’t composed a soundtrack since his 2001 sci-fi thriller Ghosts of Mars. “It was great,” Carpenter said of the experience. “It was transforming. It was not a movie I directed, so I had a lot of freedom in creating the score and getting into the director’s head. I was proud to serve David Gordon Green’s vision.” For Cody Carpenter, John’s son, and Davies, his godson, it was surreal to work on something that means so much to generations of fans, and that they grew up around. “It was an honor for us to be involved, and we are really happy to be a part of something that so many people are anticipating and excited about,” Davies said. “Working together with both the director of the new Halloween and the creator of the original Halloween was really a fantastic experience.”

File Under: OST, Horror
Listen Here

halloween 2OST: Halloween II (Death Waltz) LP
Death Waltz Recording Company is proud to present the return of one of horror’s scariest boogeymen, as well as one of the genre’s most iconic theme tunes with John Carpenter and Alan Howarth’s score to HALLOWEEN II. Set directly after the events of the first film, Rick Rosenthal’s sequel sets itself up as the slasher equivalent of THE EMPIRE STRIKES BACK, making a family connection between Laurie Strode and Michael Myers while getting some good kills in at the same time. Carpenter and Howarth’s score is beefier and more intense than before, using layers of electronics to drive the audience to madness. As before, Myers aka “The Shape” is propelled by that theme, souped up with a new and more powerful arrangement from Carpenter and Howarth. HALLOWEEN II is more overtly synth and is perhaps less focused than the original score, although that certainly means it’s nastier and more schizophrenic. The score also brings back the evocative ’Laurie’s Theme’, incorporating into a score full of harrowing musical effect, its synthesised howls and wails piercing your ears so that by the time ‘Mr. Sandman’ comes around, you’ll feel just like the final girl, delirious at having survived the aural ordeal. And that’s just when The Shape wakes up.

File Under: OST, Horror
Listen Here

lukecageOST: Luke Cage Season Two (Mondo) LP
Mondo Music, in partnership with Marvel, are proud to present the soundtrack to the Netflix original series Marvel’s Luke Cage Season Two. The all new score by composers Adrian Younge (Venice dawn, Ghostface Killah) and Ali Shaheed Muhammad (A TRIBE CALLED QUEST) is an incredible follow up to one of the best scores of 2016. Set in the aftermath of first season, our hero has finally cleared his name but finds himself up against an all new opponent that threatens Harlem…the mysterious and powerful Bushmaster. Recorded in the Winter of 2018, in Los Angeles California, at Blakeslee Studios and Linear Labs Studios by composers Adrian Younge and Ali Shaheed Muhammad, the score to Luke Cage Season Two is just as epic and powerful as the first. Exploring the vast sonic cultural landscape of Harlem, Adrian and Ali have introduced a dub-reggae motif for the character of Bushmaster, on top of the classic themes that made the original soundtrack so essential.

File Under: OST
Listen Here

rickandmorty-soundtrack-cover-digital-3000x3000OST: Rick & Morty (Sub Pop) LP
LIMITED LOSER EDITION on COLOURED VINYL…. Rick and Morty is the critically acclaimed, half-hour animated hit comedy series on Adult Swim that follows a sociopathic genius scientist who drags his timid grandson on insanely dangerous adventures across the universe. Rick and Morty stars Justin Roiland (Adventure Time), Sarah Chalke (Scrubs), Chris Parnell (Saturday Night Live) and Spencer Grammer (Greek). The series is created by Dan Harmon (Community) and Roiland who also serve as executive producers. This release is the first official collection of music from Rick and Morty. All formats feature 26 songs, 24 of which are from the first 3 seasons of the show, and 18 of which were composed by Ryan Elder specifically for the show. The album also includes songs by Mazzy Star, Chaos Chaos, Blonde Redhead, and Belly, all of which have been featured in the show, as well as two new tunes from Chad VanGaalen and Clipping inspired by the show.

File Under: OST
Listen Here
Buy Here

sageGreg Sage: Straight Ahead (Luxury) LP
I didn’t think too much about acoustic guitar before, but Greg Sage somehow made it ok. If all these great songs were gonna come out of it, maybe it’s not so bad. Straight Ahead sold me on the concept of acoustic guitar. Now it was something I had to deal with. – J. Mascis This quote from Dinosaur Jr. guitar hero, J. Mascis sums up the impact Straight Ahead had upon it’s initial 1985 release – and continues to have on subsequent generations. Few, if any punk musicians had dared step so far out of their safety zone as Sage did here, re-defining the definition of what “punk” could be. Arriving two years after the release of Wipers’ seminal Over The Edge LP, Straight Ahead was Sage’s first proper release of new material since signing to a major label (Enigma-offshoot, Restless Records) – a statement itself in an era where “selling-out” was a looming concern in the DIY community. Despite this, Sage’s first solo album remains even more insulated from the outside world than the Wipers – a quality exacerbated by the stripped-down instrumentation and themes of alienation. Today, some might call it “death folk” but in 1985 there were few precedents for the spectral, echo-laden folk-punk of Straight Ahead. While the first half of the record bears some of the familiar urgency and hooks of the Wipers’ trademark sound (On The Run, Straight Ahead), Side 2 is given over entirely to slower, longer, hollowed-out songs and arrangements, and signaled Sage’s increasing devotion to studio craftsmanship over performing live. While the album was misunderstood by some who weren’t looking for a mellow “singer-songwriter” effort from the Wipers frontman, it’s stature has grown exponentially over time, with everyone from J. Mascis to Ryan Adams paying tribute with cover versions, and a younger generation rightly referencing the album for the groundbreaking work it remains. Indeed, you can’t look back – you just look straight. Straight Ahead.

File Under: Punk, Wipers
Listen Here

Suara SemaraSaron Luang Alit Semara Dahana: Suara Semara (Insitu) LP
This collection of new works for the Balinese gamelan Saron Luang performed by Sanggar Alit Semara Dahana (est. 2013) of Desa Ubung Kaja emerges from one of the many junctures at which longstanding gamelan traditions meet new creativity. Composer I Ketut Sujena skillfully navigates this crossroads by exploring new sonic and symbolic territory without abandoning performance styles recognizably derivative of the Saron Luang repertoire, which provide much of the foundation upon which subtle and more creative departures rest. The hauntingly beautiful vocals in kidung style composed by A.A. Ngurah Oka that float above these textures point to Saron Luang’s ritual associations, while choreographies by A.A. Ngurah Bagus Supartama that were inspired by ritual rejang dances point to the religious undertones permeating much creativity on Bali today.

File Under: World, Gamelan
Listen Here

sterreolabStereolab: Switched On Vol 1 (Duophonic) LP
An entry point to their motorik soundworld, Duophonic offers up a remastered vinyl edition of Switched On Vol. 1, a compilation of Stereolab’s first three singles, originally issued in 1992. It’s reissued alongside new vinyl editions of the companion volumes Refried Ectoplasm: Switched On Volume 2, Aluminum Tunes: Switched On Volume 3, and a 4CD box set anthology of all three volumes. Hosting some of Stereolab’s finest moments, the Switched On compilations act as a true testament of Stereolab’s reputation as one of the truly greatest groups of the ’90s and beyond. Each album has been remastered by Calyx in Berlin and includes an accompanying download card.

File Under: Indie Rock
Listen Here

stereoStereolab: Refried Ectoplasm Vol 2 (Duophonic) LP
An entry point to their motorik soundworld, Duophonic offers up a remastered double vinyl edition of Refried Ectoplasm: Switched On Vol. 2, a compilation of Stereolab singles and rarities, originally issued in 1995. It’s reissued alongside new vinyl editions of the companion volumes Switched On Volume 1, Aluminum Tunes: Switched On Volume 3, and a 4CD box set anthology of all three volumes. Hosting some of the band’s finest moments, the Switched On compilations act as a true testament of Stereolab’s reputation as one of the truly greatest groups of the ’90s and beyond. Each album has been remastered by Calyx in Berlin and includes an accompanying download card.

File Under: Indie Rock
Listen Here

stereolab1Stereolab: Aluminum Tunes Vol 3 (Duophonic) LP
An entry point to their motorik soundworld, Duophonic offers up a remastered triple vinyl edition of Aluminum Tunes: Switched On Vol. 3, a compilation of Stereolab singles and rarities, originally issued in 1998. It’s reissued alongside new vinyl editions of the companion volumes Switched On Volume 1, Refried Ectoplasm: Switched On Vol. 2, and a 4CD box set anthology of all three volumes. Hosting some of the band’s finest moments, the Switched On compilations act as a true testament of Stereolab’s reputation as one of the truly greatest groups of the ’90s and beyond. Housed in a screenprinted gatefold sleeve, each album has been remastered by Calyx in Berlin and includes an accompanying download card.

File Under: Indie Rock
Listen Here

swearingSwearin’: Fall Into the Sun (Merge) LP
Swearin’ is the kind of band that comes around, at best, once a decade. Thankfully for us, they’ve come around twice. After releasing two beloved full-lengths, 2012’s Swearin’ and 2013’s Surfing Strange, the Philadelphia band quietly put things on hold. It was due, at least in part, to the band’s main songwriters, Allison Crutchfield and Kyle Gilbride, ending their romantic relationship. And though Swearin’ tried to soldier on, it became far too stressful to keep going. But after a few years apart, those bad feelings disappeared. And when the band’s three members – Crutchfield, Gilbride, and drummer Jeff Bolt – found themselves in a room again, the conversation inevitably turned back to Swearin’. They realized that what they all wanted was to not just play shows, but to make a new record. Before the band initially split, they’d already started writing for what would have been their third album, but instead of going back to that old material, they wanted to do something that reflected the people they’d become during those intervening years. Before long, Crutchfield and Gilbride had a new batch of Swearin’ songs, ones that meshed with the sound they’d originally developed together but boldly pushed things forward. The result is Fall into the Sun, a Swearin’ record that doesn’t try to obscure the passage of time but instead embraces it. Those changes, though subtle, are impactful, making Fall into the Sun what Crutchfield calls “the adult Swearin’ album.” It can be seen in songs like “Big Change,” where she says goodbye to Philly and the scene that she came up in, or in “Dogpile,” where Gilbride offers the line any aging punk can relate to: “By pure dumb luck I’ve gotten where I’m going.” Where Swearin’ used to pummel through their songs, on Fall into the Sun, they bask in what this newfound openness offers. It’s most notable on the ambling “Stabilize,” which sees the band throw their weight around in the song’s back half, offering up what’s easily the heaviest riff in the band’s catalog. “I think both me and Allison have gone through huge transitions in our lives. There was a lot on our minds, and it was a super fertile time to put a bunch of songs together,” said Gilbride. It’s true of the material found on Fall into the Sun, but it’s noticeable in the album’s production, too. Much like the band’s previous albums, Gilbride anchored the recording and producing of the record, but this time around, the band worked to make the process feel more collaborative than ever before. Recorded in both Philly and Los Angeles, where Crutchfield now resides, Fall into the Sun took shape by the members giving their full trust to one another, and it can be seen in the final product. Listening to Fall into the Sun, the old Swearin’ is still there, but it’s a more confident, collaborative version than the one people first came to know. Crutchfield and Gilbride always had an innate ability to mirror the other’s movements in songs, but here, they build a focused lyrical perspective across their songs, one that’s thankful for their past, but looks boldly toward the future. Though it may have taken them a while, Swearin’ finally made the third album they always wanted. Fall into the Sun is as riotously affirming as their early work…

File Under: Indie Rock
Listen Here

titus

Titus Andronicus: Home Alone on Halloween (Merge) LP
With Home Alone on Halloween, noted rock band Titus Andronicus [hereafter +@] celebrate the spookiest of the seasons by staring into the abyss and confronting the bone-chilling terror which lies at the haunted heart of our human experience. Bearing the justly feared catalog number MRG666, the 12-inch EP spans 31 minutes and features three tracks recorded concurrently with the group’s most recent full-length A Productive Cough, offering an autumnal tableau of dread and decay to complement its LP companion’s springtime visions of rebirth and new possibilities. The title track remixes A Productive Cough’s hardest-rocking selection, foregrounding its ominous strings and swelling organ and featuring a soulful new lead vocal from frequent +@ special-teams captain Matt “Money” Miller, while “Only a Hobo” plucks an oft-forgotten gem from the dusty corners of the Bob Dylan songbook to paint a grim portrait of hopes dashed and potential squandered. Eeriest of all is “A Letter Home,” which, across nearly 17 minutes and more than 1,200 words, drags the listener along for a harrowing descent into the darkness and proves definitively that this ceremony is no mere monster mash. “Death is not scary,” explains +@ singer-songwriter Patrick Stickles, shaking off a cold sweat. “Everyone has to die, but not everyone gets to die surrounded by love with the satisfaction of a life well-lived. What frightens me, far more than ghouls or goblins, is knowing that I may yet face the former without the comfort of the latter. When it comes to that of which nightmares are made, a werewolf popping out of the bushes is nothing next to a life without love when it is too late to turn back.”

File Under: Indie Rock
Listen Here

tumor

Yves Tumor: Safe in the Hands of Love (Warp) LP
Yves Tumor presents his highly anticipated Warp Records debut Safe in the Hands of Love. Ever the sonic chameleon, Safe in the Hands of Love sees Yves peaking out of the shadows with strong vocals and amped up production, channeling energy into deeply psychedelic and emotional compositions that manage to balance rampant experimentation with an indiosyncratic pop sensibility. From noise and industrial denizens to adventurous beat heads and a much wider field of adventurous music lovers of all kinds, Yves maintains a curiously wide appeal here and offers up an amazing ride.

File Under: Electronic, Pop
Listen Here

blazeVarious: Blaze (Cinewax) LP
“This short life will soon be over, and my vision will be told, and songs will sound more sweeter, when those pearly gates unfold” – Blind Willie McTell, “Pearly Gates” The cornerstone of Blues and Country music is storytelling, but only the most able messengers can carry the words of another as their own. So goes the story of Texas singer/songwriter/poet Blaze Foley, whose vision has been kept alive by legendary artists like Willie Nelson, Merle Haggard, Lucinda Williams and John Prine. It’s in the spirit of this great musical tradition that writer/director Ethan Hawke and his cast and crew set out to create the first ever “Gonzo Indie Country-Western Opera” film, BLAZE. Hawke, an Austin native, understood the jury he’d likely face in making a film about Texas’ own drunken angels, Blaze Foley and Townes Van Zandt. An able messenger of this story, Hawke brought in the people that loved them most, including Foley’s partner Sybil Rosen (the film is based on her book Living In The Woods In a Tree…), longtime friend and bandmate Gurf Morlix, Charlie Sexton (portraying Van Zandt and overseeing music production). Alia Shawkat and Alynda Segarra (Hurray for the Riff Raff) already knew the words to Foley’s songs and went all in. Finally, songwriter and chef Ben Dickey was pulled out of the kitchen and placed in front of the camera to portray Foley, a performance by this first-time actor that couldn’t have been played by anyone else. As the cameras rolled, the actors began to sing and the singers began to act, and in many ways what’s captured in the film is the spirit of music itself. Found in the atmospheric noises of clinking beer bottles, birds, and the cast cheering each other on are the makings of any good album—a group of artists with a collective vision of creating something eternal, and doing it all, as Van Zandt put it best, “for the sake of the song.”

File Under: OST
Listen Here

…..Restocks…..

13th Floor Elevators: Psychedelic Sounds (Charly) LP
Air: Moon Safari (EMI) LP
Jorge Ben: Big Ben (Elemental) LP
Jorge Ben: s/t (Elemental) LP
Beta Band: Three Eps (Because) Box
Black Angels: Directions to See a Ghost (Light in the Attic) LP
Black Angels: Passover (Light in the Attic) LP
Tim Hecker: Konoyo (Kranky) LP
Jungle: For Ever (XL) LP
King Gizzard & Lizard Wizard: Flying Microtonal Banana (ATO) LP
OST: Logan’s Run (Waxwork) LP
Anderson.Paak: Malibu (Ere) LP
Parquet Courts: Wide Awake (Rought Trade) LP
Sigur Ros: Agaetis Byrjum (XL) LP
Midori Takada: Through the Looking Glass (WRWTFWW) LP
This Heat: Live 80-81 (Modern Classics) LP
This Heat: Repeat/Metal (Modern Classics) LP
This Heat: Made Available (Modern Classics) LP
Tinariwen: Amassakoul (Modern Classics) LP
Hiroshi Yoshimura: Pier & Loft (17853) LP
War on Drugs: A Deeper Understanding (Universal) LP
Various: Hillbillies in Hell 777 (Iron Mountain) LP
Various: Pornosonic (Enjoy the Ride) LP

Tagged , , , , , ,

…..news letter #868 – vile…..

Well, another classic short week = short news letter kinda week around here. Still, do you need much more than a new Kurt Vile, and Fucked Up?

CHECK OUT OUR WEBSTORE!!! 

…..pick of the week…..

za

Zacht Automaat: Memory of the World (Alicia’s Klassic Kool Shoppe) LP
In tomorrow… Super awesome psych/krautrock from Toronto. “Recorded 2017 at ELECTRONICS COMPASSIONATE HOUSE while M__ M___ visited from Oxford and a bit more after he left. This is a wonderfully compact pop masterpiece and a sprawling psychedelic exploration. We consider it our best work and are delighted to offer it to you.”

File Under: Krautrock, Rock, Psych
Listen Here
Buy Here

…..new arrivals…..

basinski

William Basinski & Lawrence English: Selva Obscura (Temporary Residence) LP
For over half a decade, William Basinski and Lawrence English have been in regular contact with one another. During that time their paths have crossed repeatedly in various cities; Zagreb, Los Angeles, Hobart and more, in a variety situations. It was from these chance encounters – and the strange familiar of lives lived in transit – that their first collaboration, Selva Oscura, was seeded. The phrase draws its root from Dante’s Inferno. Literally translated as “twilight forest,” it metaphorically speaks to both those who find themselves on the unfamiliar path and more explicitly the nature of losing one’s way in place and time. Each of the extended pieces on this record maps an acoustic topography that draws on the concept of drifting into the strange familiar. The works each dwell in an ever shifting, yet fundamentally constant state of unfolding. As one sound fades away, another is revealed in its place, creating a sense of an eternal reveal. Selva Oscura was recorded in Brisbane and Los Angeles simultaneously. The compositions were each created through a process of iteration and rearrangement that inverted the micro and macro characteristics of the raw sonic materials. Dynamics and density were chiseled with restraint and at other times intensely reductionist approaches to create a limitlessly deep, but open sound field – as rich as the suggested place from which its title is drawn.

File Under: Ambient, Electronic
Listen Here
Buy Here

CH155-Kath-Loren-Restless-1500-570x570

Kath Bloom & Loren Connors: Restless Faithful Desperate
(Chapter Music) LP
The extraordinary creative partnership of New Haven, CT duo Kath Bloom and Loren Connors has haunted psych-folk fans since the early 80s. Kath taught herself guitar during shifts as a janitor at a New Haven cemetery, while Loren’s free-form idiosyncratic style had been developing since the late 60s. Between 1981 and 1984, the duo recorded two live and four studio albums, mostly self-released in tiny quantities. Early on, their music mixed folk and blues traditionals with a handful of Kath’s vulnerable, moving originals. By the later albums the songs were all Kath’s – her fragile voice and subdued finger-picking set against Loren’s abstract but always supportive playing. Together the duo created a sound almost impossibly emotional and haunting. Restless Faithful Desperate emerged in 1984, in an edition of 200-300 copies. As her creativity accelerated, Kath’s songs became looser and more intuitive, but Restless contains one of her most gorgeously realised compositions, Look at Me. Loren’s long-term collaborator Robert Crotty contributed electric guitar on a couple of tracks. By 1984, however, Kath was married with a young son, and Connors was entering a new relationship, so the duo found themselves drifting apart. Kath did not release anything again until a 1993 solo cassette Love Explosion, but then developed a devoted cult following through the pivotal use of her song Come Here in Richard Linklater’s 1995 film Before Sunrise. Kath has since released three solo albums on Chapter Music (Finallyin 2005, Terror in 2008 and Pass Through Here in 2015), as well as the Bloom tribute album Loving Takes This Course, featuring covers by the likes of Bill Callahan, Mark Kozelek, Devendra Banhart, Josephine Foster and many more. She has also recorded two albums and an EP for Mark Kozelek’s Caldo Verde records. Loren also retreated from music for a period until re-emerging in the late 1980s. He is now recognised as a pioneering guitar explorer, and has worked with the likes of Thurston Moore, Keiji Haino, Jim O’Rourke and many more. After reissuing four of Kath & Loren’s landmark albums on CD in the late 2000s, Chapter now embarks on the first ever vinyl reissues for these remarkable records. Expect more volumes in early 2019. This album includes a digital-only bonus track of 1982 compilation track Tell Him. Each LP will include digital bonus material.

File Under: Folk, Psych
Listen Here
Buy Here

dj_shadow_-_the_private_press_-_088_112_937-1_z1

DJ Shadow: The Private Press (Island) LP
Deluxe gatefold sleeve reissue of this truly unmissable DJ Shadow album from 2002. Combines crazy B-boy Breaks, DJ Cut-Ups, sublime Hip Hop instrumentals, oddball Samples with quirky beats and Leftfield Rock weirdness. Classic & epic music from DJ Shadow.

File Under: Hip hop
Listen Here

LDF66110_

Fucked Up: Dose Your Dreams (Arts & Crafts) LP/DLX LP
In tomorrow… “I was sent an unfinished version of Dose Your Dreams so that I might contribute string parts. I couldn’t stop listening to the rough mixes I received. A friend asked me how the record was. I replied, “My God, Fucked Up have made their Screamadelica.” And psych-rock-groove it is. The drums mixed wide, propensity for drones, for delay pedal, for repetition, groove. The politics and aesthetics of hardcore married to an “open format” approach to genre. Elements of doo-wop, krautrock, groove, digital hardcore. “None of Your Business Man” opens the album in familiar enough territory, a sax-assisted exit from an office space. But things get psychedelic very quickly. By the time the title track arrives, Mike Haliechuk is whispering, wah pedals are in full effect, and we’re wearing oversized t-shirts and pinwheeling. “Accelerate,” the lyrical centerpiece of the album, storms in like Boredoms on a bullet train and dissolves into a digital nightmare. The album closer, “Joy Stops Time,” finds Fucked Up at their most Düsseldorfian, nearly eight minutes of blissful motorik. “At the center of it all is Damian Abraham’s scream – a man chained, a man tortured, a true protagonist. The effect is one of an epic, every chapter attempting its own narrative devices, its own genre hybridization – and it works, it works so insanely well. The drama unfolds like a miniature world of many parts being explored, a map being illuminated, location by location. As with David Comes to Life, there is a story here. David – who once came to life – is now indentured to a desk job. David meets the elderly Joyce who closes his eyes, opens his mind, and sends him on a spiritual journey. David embarks on his own metaphysical odyssey. He sees a stage adaptation of his own life. He speaks to an angel in a lightbulb. He sees an infinite series of universes as simulations within simulations. “Meanwhile, Lloyd – Joyce’s lover – was sent, decades ago, by Joyce on the same odyssey, but was lost in the void. Lloyd seeks to be found and reunited with his lover. Where will David end up? Will Joyce and Lloyd be reunited? Dose Your Dreams – meaning: treat your dreams as you would a dream, allow yourself to be lost within them, allow them to open your heart and your mind, enjoy them as you would a drug. Reach out for my hand and pull me close.” – Owen Pallett

File Under: Punk
Listen Here

Hold On Now, Youngster... square art-800x800

Los Campensinos: Hold on Now, Youngster (Arts & Crafts) LP
In tomorrow… Los Campesinos! first album, February 2008’s ‘Hold On Now, Youngster…’ has been remastered and is available to buy again on vinyl for the first time in many years. This deluxe version comes in the original gatefold design but with an additional C and D side, featuring flotsam, jetsam and spindrift from the era. Each piece of vinyl is 180g heavyweight, and the album comes with a download code for all the remastered tracks, plus lyric sheet.

File Under: Indie Rock
Listen Here

We Are Beautiful, We Are Doomed square art-800x800

Los Campensinos: We Are Beautiful, We Are Doomed (Arts & Crafts) LP
In tomorrow… Available for the first time on vinyl outside of North America, here comes the remaster of our second studio album, from October 2008, ‘We Are Beautiful, We Are Doomed’. Previously only available on import or the black market, it’s now available on 180g heavyweight vinyl, and comes with lyric sheet and download code.

File Under: Indie Rock
Listen Here

Joe Strummer_Joe Strummer 001

Joe Strummer: 01 (Ignition) Box
In tomorrow… Punk pioneer, singer, songwriter, recording artist, activist, musical and political inspiration for a generation and mighty diamond Joe Strummer was the most charismatic and passionate frontman to emerge from the punk explosion of the late ’70s. After Joe’s untimely death in December 2002 it was discovered that he had been an archivist of his own work, having barns full of writings and tapes stored in his back garden. The archiving of this material and compiling of Joe Strummer 001 was overseen by Joe’s widow Luce and Robert Gordon McHarg III.  Featuring 32-tracks, Joe Strummer 001 is the first compilation to span Strummer’s career outside of his recordings with The Clash collecting fan favorites from his recordings with the 101ers and The Mescaleros, his solo albums, soundtrack work plus an album of 12 unreleased songs. The previously unreleased material includes an early demo of “This Is England” entitled “Czechoslovak Song/Where Is England,” a solo demo of “Letsagetabitarockin” recorded in Elgin Avenue in 1975, outtakes from Sid & Nancy featuring Mick Jones and unreleased songs “Rose Of Erin,” the biographical and mythical recording “The Cool Impossible” and “London Is Burning” one of the last songs Joe recorded. This 180g 4LP box set edition includes all three Joe Strummer 001 albums – each in their own single sleeve and combined in to one wide-spined outer sleeve – all featuring restored and remastered audio by Grammy award winning Peter J Moore. Also included is an additional 180g heavyweight 12″ single of the previously unreleased “U.S North.” All four vinyl discs come packaged together into outer slipcase, sealed on one side.

File Under: Punk
Listen Here

system

System of a Down: s/t (American) LP
The intensity of metal, the social commentary of rap and a plethora of influences – ranging from the band’s Armenian heritage to jazz to Middle Eastern melodies to the nightly news – has made System Of A Down an international powerhouse. The members’ shared and diverse musical and personal experiences created such an explosive musical mine field of such volatile, incendiary ferocity that Rick Rubin elected to sign and produce the group as the first new act on American Recordings under a pact with Columbia Records. The Los Angeles, CA outfit delivers a thrilling mix of thrash metal, sharp lyrics and unusual melodies on their platinum certified eponymous 1998 debut. Full of powerful guitar work and vicious screams, System of a Down is intelligent rock with a rebellious spirit as encapsulated on the name making singles “Sugar” and “Spiders.”

File Under: Metal
Listen Here

system2

System of a Down: Steal This Album (American) LP
The intensity of metal, the social commentary of rap and a plethora of influences – ranging from the band’s Armenian heritage to jazz to Middle Eastern melodies to the nightly news – has made System Of A Down an international powerhouse. The members’ shared and diverse musical and personal experiences created such an explosive musical mine field of such volatile, incendiary ferocity that Rick Rubin elected to sign and produce the group as the first new act on American Recordings under a pact with Columbia Records. 2002’s Steal This Album!, System Of A Down’s platinum certified third full-length release, is an archival collection of material the band recorded from the mid-1990s through 2001 yet stressed as not being “B-sides or outtakes.” Praised as some of the band’s finest work, the 18-track, 2LP affair is as fluidly diverse and impactful as anything in their catalog.

File Under: Metal
Listen Here

tf

Teenage Fanclub: Songs from Northern Britain (Sony) LP
Songs From Northern Britain gave Teenage Fanclub their highest ever UK Chart placing (No. 3) on release in 1997. The LP shifts focus to a cleaner pop sound than previous efforts, adding lush orchestrations to tracks like “Planets” while retaining their ability to blend beautiful harmonies and gives it an optimistic and happy mood – as close to a summer album as they have ever made. It’s the sound of a band maturing and being totally comfortable in their own skin. Exhibiting a classic contemporary sound that ages extremely well, tracks like the UK Top 20 hit “Ain’t That Enough” and “Your Love Is The Place Where I Come From” remain firm live favorites. Remastered from the original tapes at Abbey Road Studios, London under the guidance of the band and packaged in a faithful re-production of the original vinyl artwork. The band has also selected rarities, favorites and tracks previously unavailable on vinyl to include as a bonus 7″ with the album. The 7″ single features two tracks and will only be available with the initial pressing of each album.

File Under: Indie Rock
Listen Here

LDV14611_

Kurt Vile: Bottle It In (Matador) LP
Travel can inspire in surprising ways: Kurt Vile discovered as much making his first record in three years, the eclectic and electrifying Bottle It In, which he recorded at various studios around the country over two very busy years, during sessions that usually punctuated the ends of long tours or family road trips. Every song, whether it’s a concise and catchy pop composition or a sprawling guitar epic, becomes a journey unto itself, taking unexpected detours, circuitous melodic avenues, or open-highway solos. If Vile has become something of a rock guitar god – a mantle he would dismiss out of humility but also out of a desire to keep getting better, to continue absorbing new music, new sounds, new ideas – it’s due to his precise, witty playing style, which turns every riff and rhythm into points on a map and takes the scenic route from one to the next. Using past albums as points of departure, Bottle It In heads off in new directions, pushing at the edges of the map into unexplored territory: Here be monster jams. These songs show an artist who is still evolving and growing: a songwriter who, like his hero John Prine, can make you laugh and break your heart, often in the same line, as well as a vocalist who essentially rewrites those songs whenever he sings them in his wise, laconic jive-talkin’ drawl. He revels in the minutiae of the music – not simply incorporating new instruments but emphasizing how they interact with his guitar and voice, how the glockenspiel evokes cirrocumulus clouds on “Hysteria,” how Kim Gordon’s “acoustic guitar distortion” (her term) engulfs everything at the end of “Mutinies,” how the banjo curls around his guitar lines and backing vocals from Lucius to lend a high-lonesome aura to “Come Again.”

File Under: Indie Rock
Listen Here

wall

Colter Wall: Songs of the Plains (Young Mary) LP
After two years of relentless touring, Colter Wall wanted to make an album about home. Drawing on the stories of Saskatchewan, Canada, the young songwriter’s corner of the world takes shape throughout his second full-length album, Songs of the Plains. Produced by Dave Cobb in Nashville’s Studio A, the project combines striking original folk songs, well-chosen outside cuts, and a couple of traditional songs that reflect his roots growing up in the small city of Swift Current. Wall captures the spaciousness of the Canadian plains by relying on minimal production and his resonant baritone, which he’s strengthened into a mighty instrument in its own right. It’s a deep and knowing voice you wouldn’t expect of a man who’s not yet 24 years old. Songs of the Plains begins with “Plain to See Plainsman,” a sincere portrait of a man whose rural heritage follows him into the greater world. As Wall lists the kinds of people he meets on the road – beautiful women, bikers, junkies, hippies – it’s easy to imagine the autobiographical component. The darkly comical “Saskatchewan in 1881” recalls a stubborn encounter between a Toronto businessman and a steadfast farmer who cultivates the province’s land. And although Wall racked up a body count on his prior album, this time he stops just short of killing the title character in “John Beyers (Camaro Song),” which he says is inspired by true events. Evoking the most remote reaches of the plains, “Wild Dogs” sounds like a cinematic Colter Wall composition, but he actually first heard the Billy Don Burns song in Little Rock, AR. He found himself captivated by its minor-chord progression, no rhyme scheme, and unique perspective of being told from the dog’s point of view. As a folk singer, Wall places equal importance on crafting songs as well as carrying older songs into the present day. That sense of tradition is part of the reason he recorded Canadian folk hero Wilf Carter’s “Calgary Round-Up,” a snapshot of the iconic Calgary Stampede. To make it his own, he put a Western Swing feel to it and brought in steel guitarist Lloyd Green and harmonica player Mickey Raphael. Through his favorite folk singer, Ramblin’ Jack Elliott, Wall discovered “Night Herding Song.” Because the song was a cappella, and because Wall doesn’t wear headphones when he records, he couldn’t nail down the campfire vibe inside the sprawling Studio A. So, for this track only, he went to Cobb’s house, started a fire in the outdoor fireplace, and recorded it on the spot. The immediacy of his voice is unmistakable. Wall says he spent the last three or four years trying to get better as a singer. By putting in the work, his range is now far more dynamic and expressive. He describes the vocal development as “less gravel, without losing the baritone that I’ve developed over the years.” Meanwhile, Wall’s ability as a songwriter is especially clear in the second half of Songs of the Plains. “Wild Bill Hickok” distills that legendary gunfighter’s epic life and death into less than three minutes. While “The Trains Are Gone” laments the loss of an era, “Thinkin’ on a Woman” hints at a heartbreak as a truck driver concocts a lethal combination of whiskey, wine, and a mountain road. Wall turns far more introspective on “Manitoba Man,” a devastating song he wrote about a dark period in his life. The desperation in that track quickly gives way to the outrageous traditional song, “Tying Knots in the Devil’s Tail,” featuring verses from Blake Berglund and Corb Lund. “I went into the studio and knew exactly the story I wanted to tell,” Colter says of Songs of the Plains. “That made it easier on a sonic level and a musical level, to be able to tell Dave that it’s a record about my home. That changes it at the roots level because it’s like having a mission statement, saying, ‘All right, let’s make a Western album.'”

File Under: Country
Listen Here

…..Restocks…..

Arcade Fire: Everything Now (Sonovox) LP
Death Grips: Bottomless Pit (Harvest) LP
Flying Lotus: Cosmogramma (Warp) LP
Arve Henriksen: Cartography (ECM) LP
Lauren Hill: Miseducation of (Legacy) LP
Pharoah Sanders: Thembi (Impulse) LP
Siouxsie & the Banshees: Juju (Universal) LP
Sunn o))): White 1 (Southern Lord) LP
Sunn o))): White 2 (Southern Lord) LP

Tagged , , , , , ,

…..news letter #867 – nuts…..

Oh boy, now we’re cooking! What a killer week, I could have 10 picks this week, but that would be cheating. So many great things to stick in your ear. We’re open all weekend so bring your out of town family and pals down for a dig!

Also…. in case you missed it… 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! But sooner is better!

CHECK OUT OUR WEBSTORE!!!

…..picks of the week…..

beak

Beak>: >>> (Temporary Residence) LP
Acclaimed UK out-rock trio, Beak>, return with their first album in six years, the aptly-titled >>>. Written over the last year and, for the most part, written and recorded live at Invada Studios, the band continue to forge their own path through their own genre of oddness. “>>> definitely sounds like a step forward. The production and feel of the first two albums were like listening through frosted glass; a band playing behind a curtain. Now we are hearing Beak> in sharp focus, but without forfeiting what the band see as its ‘wrongness’. This could be the result of having played bigger stages and festivals – something that was never part of the plan – or perhaps it is just a reaction to the infinite cut & paste fuzz pedal kraut bands on the planet.” – Redg Weeks, Invada Label Manager

File Under: Electronic, Krautrock, Rock, Portishead
Listen Here
Buy Here

796441821921_main

Tim Hecker: Konoyo (Kranky) LP
Experiential composer Tim Hecker’s ninth official full-length, Konoyo (“the world over here”) was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo. Inspired by conversations with a recently deceased friend about negative space and a sense of music’s increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone. As with the Icelandic choir he arranged on 2016’s Love Streams, the heights of Hecker’s talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay. Hecker will stage a series of special performances in tandem with the album’s release, featuring members of the gagaku ensemble on shō, ryuteki and hichiriki, accompanied by Kara-Lis Coverdale.

File Under: Ambient, Electronic
Listen Here
Buy Here

…..new arrivals…..

blood orange

Blood Orange: Negro Swan (Domino) LP
Producer, multi-instrumentalist, composer, songwriter and vocalist Devonte Hynes returns with his fourth album as Blood Orange entitled Negro Swan. Raised in England, Hynes started out as a teenage punk in the UK band Test Icicles before releasing two orchestral acoustic pop records as Lightspeed Champion. In 2011, he released Coastal Grooves, the first of three solo albums under the moniker Blood Orange. His last album, Freetown Sound, was released to critical acclaim in 2016, and saw Hynes defined as one of the foremost musical voices of his time, receiving comparisons to the likes of Kendrick Lamar and D’Angelo for his own searing and soothing personal document of life as a black man in America. He has collaborated with Solange Knowles, FKA Twigs, and many other artists, and was recently one of four artists invited to the Kennedy Center to perform alongside Philip Glass. In addition to his production work, he scored the film Palo Alto, directed by Gia Coppola and starring James Franco. Hynes’ newest album, Negro Swan, was written and produced by Hynes. Says Hynes: “My newest album is an exploration into my own and many types of black depression, an honest look at the corners of black existence, and the ongoing anxieties of queer/people of color. A reach back into childhood and modern traumas, and the things we do to get through it all. The underlying thread through each piece on the album is the idea of hope, and the lights we can try to turn on within ourselves with a hopefully positive outcome of helping others out of their darkness.”

File Under: Soul, RnB, Hip Hop
Listen Here

bowles

Nathan Bowles: Plainly Mistaken (Paradise of Bachelor) LP
On his playfully subversive fourth solo album, Nathan Bowles (Steve Gunn, Pelt, Black Twig Pickers) extends his acclaimed banjo and percussion practice into the full-band realm for the first time, showcasing both delicate solo meditations and smoldering, swinging ensemble explorations featuring Casey Toll (Jake Xerxes Fussell, Mt. Moriah) on double bass and Rex McMurry (CAVE) on drums. As he considers the cycles of deceit and self-deception that shape both our personal and political lives, a mixed mood of melancholy and merriment permeates Bowles’s own compositions as well as the interpretive material, which draws from traditional Appalachian repertoires and the diverse songbooks of Julie Tippetts, Cousin Emmy, and Silver Apples. Deluxe virgin vinyl LP featuring heavy-duty board jacket, color LP labels, and high-res download code.

File Under: Folk, Roots
Listen Here

catpower

Cat Power: Wanderer (Domino) LP
In tomorrow… There are few voices more deeply embedded in the iconography and mythology of American indie rock than that of Chan Marshall. Under the musical nom de plume of Cat Power, Marshall has released music for nearly twenty-five years now and her prowess as a songwriter, a producer, and most notably – as a voice – has only grown more influential with time. Wanderer, Cat Power’s stunning tenth studio album, marks a pivotal moment in both Marshall’s life and her career. In the six years since the release of 2012’s Sun, she has traveled the world, given birth to a child, and parted ways with her previous record label. Even though it was, in many ways, a period of profound upheaval and radical change, those experiences resulted in a record that is arguably the most assured artistic statement of her career. Produced by Marshall and mixed by Rob Schnapf (Elliott Smith, Beck), the album includes appearances by longtime friends and compatriots, as well as guest vocals courtesy of recent tourmate Lana Del Rey. Wanderer is, in many ways, a quintessential Cat Power record, with Marshall’s clarion voice front and center in a set of songs that remarkably stark and straightforward. But, if old Cat Power records might easily have been viewed as repositories for pain, Wanderer is, at its heart, a testament to the transformative nature of songs, an album-length imagining of alternate paths, redemptions, connections, and open-ended possibility. Wanderer’s 11 tracks encompass “my journey so far,” says Marshall. “The course my life has taken in this journey – going from town to town, with my guitar, telling my tale; with reverence to the people who did this generations before me. Folk singers, blues singers, and everything in between.They were all wanderers, and I am lucky to be among them.”

File Under: Folk, Indie Rock
Listen Here

deathgrips

Death Grips: Year of the Snitch (Harvest) LP
Experimental Sacramento, CA hip-hop trio and force to be reckoned with, Death Grips – MC Ride, drummer/producer Zach Hill and recording engineer Andy Morin – follow-up 2016’s Bottomless Pit with their sixth studio effort Year of the Snitch. The tight-lipped release includes the previously revealed singles “Streaky,” “Flies,” “Black Paint,” “Hahaha,” “Dilemma” and “Shitshow” plus collaborations with Academy Award-winning film director/producer Andrew Adamson (Shrek, Shrek II) and Tool bassist Justin Chancellor.

File Under: Hip Hop
Listen Here

jlin

Jlin: Autobiography (Planet Mu) LP
In tomorrow…. Autobiography is Jlin’s score for her collaboration with renowned British choreographer Wayne McGregor (a collaboration arranged by Krakow’s Unsound). Autobiography is a highlight in an evolving and growing career. This isn’t technically her third album (that’s due to arrive in 2019 or 2020), but the soundtrack stands up on its own with all the emotional peaks and troughs of a well-sequenced LP. For Jlin, making music for dance is the fulfillment of one of her lifelong dreams – and remarkably, Company Wayne McGregor’s performance was the first show she’d ever seen. She describes the process of working with Wayne: “We first met face to face in October 2016 in a downtown Chicago hotel, talking for about a solid two hours. Immediately, I saw Wayne was very friendly and energetic. He’s brilliant, witty, and knows exactly what he wants; an absolute gem to work with. Before I even started composing for Autobiography, Wayne told me so gently that he trusts me completely with my direction of creating the score. That was the best feeling in the world. I would wake up at two in the morning and work until six in the evening until I completed all the pieces. We were both very happy with the outcome. Creating the score for an impeccable piece of work such as Autobiography changed my life as an artist.”

File Under: Electronic
Listen Here

moyo

Kikagaku Moyo: Masana Temples (Guruguru Brain) LP
Kikagaku Moyo started in the summer of 2012 busking on the streets of Tokyo. Though the band started as a free music collective, it quickly evolved into a tight group of multi-instrumentalists. Kikagaku Moyo call their sound psychedelic because it encompasses a broad spectrum of influence. Their music incorporates elements of classical Indian music, Krautrock, Traditional Folk, and 70s Rock. Most importantly their music is about freedom of the mind and body and building a bridge between the supernatural and the present. Improvisation is a key element to their sound. The shifting dimensions of Masana Temples, fourth album from psychedelic explorers Kikagaku Moyo,are informed by various experiences the band had with traveling through life together, ranging from the months spent on tour to making a pilgrimage to Lisbon to record the album with jazz musician Bruno Pernadas. The band sought out Pernadas both out of admiration for his music and in an intentional move to work with a producer who came from a wildly different background. With Masana Temples, the band wanted to challenge their own concepts of what psychedelic music could be. Elements of both the attentive folk and wild-eyed rocking sides of the band are still intact throughout, but they’re sharper and more defined. More than the literal interpretation of being on a journey, the album’s always changing sonic panorama reflects the spiritual connection of the band moving through this all together. Life for a traveling band is a series of constant metamorphoses, with languages, cultures, climates and vibes changing with each new town. The only constant for Kikagaku Moyo throughout their travels were the five band members always together moving through it all, but each of them taking everything in from very different perspectives. Inspecting the harmonies and disparities between these perspectives, the group reflects the emotional impact of their nomadic paths. The music is the product of time spent in motion and all of the bending mindsets that come with it.

File Under: Psych, Japanese, Indie Rock
Listen Here
Buy Here

lalalala-thelamb

Lala Lala: The Lamb (Hardly Art) LP
Lillie West initially started Lala Lala as a way to communicate things that she felt she could never say out loud. But on The Lamb, her sophomore LP and debut for Hardly Art, she has found strength in vulnerability. Through bracing hooks and sharp lyrics, the 24-year-old songwriter and guitarist illustrates a nuanced look on her own adulthood – her fraught insecurity, struggles with addiction, and the loss of several people close to her.

File Under: Indie Rock
Listen Here

a2067611739_16

Mount Eerie: After (P.W. Elverum) LP
While making the songs that would be released as “A Crow Looked At Me”, I wasn’t thinking at all about sharing them with other people, family or strangers. Nobody. I was only thinking of squeezing the constant flow of words that was crashing around in my head into a familiar form, a song, since that was my habitual method of processing that had accidentally developed since adolescence. I made my inner monologue into songs for no other reason than to release it from my skull. At some point during the writing I recognized a feeling in the vicinity of “pride” about the work. It was a strange realization. These songs, and my the facts of my life that the songs were made from, seemed like nothing to be proud of. They seemed like something purely brutal and new and apart from my usual conception of creative work, and the notion of having excitement stemming from these new songs was accompanied by so many apprehensions and uncertainties. What does it mean to write things like this down? What would it mean to record it? What would it mean to share it with strangers? Where is the line of propriety? What is anyone supposed to do?  At every step I was uncertain if it was OK to be doing what I was doing. My hunch was almost always that it was wrong. Don’t write it, don’t record it, don’t sing it in front of people, don’t repeat it. But also I was surprised to discover that my internal response to this hesitation was almost always to double down and go deeper in; to write more nakedly, to go on another tour, etc. In the year that came after releasing “A Crow Looked At Me” I toured a lot. The United States, Canada, Europe, Australia, New Zealand, Japan. It wasn’t easy. The shows were emotionally difficult and the atmosphere was so delicate and strange, like reenacting a violent act on stage in front of a paying audience every night. On top of that, I had to tour with my daughter (and a nanny) so my mind was stretched between 2 big difficulties. But fortunately, with the help of so many understanding and helpful agents, bookers, organizers, I was lucky to get to perform these songs in very well suited and beautiful rooms, nice theaters and churches, to kind and supportive listeners. The concerts ended up being something beyond strange, macabre, gawk-shows. I don’t know what they were exactly. Just strangers gathered in beautiful rooms to pay close attention to one person’s difficult details, and to open up together, quietly. They have been the most powerful shows of my life, no question. Even so, every time it was clear that the audiences shared the same apprehensions that I had. After the first song, every time, there was a palpable hanging question in the air: “should we clap?”. It’s a good question. What is this? Is it entertainment? What is applause for? What kind of ritual is this? Many close friends have still not listened to the records or come to a concert. What, beyond pain, is embodied here? I don’t know exactly what my job is, traveling around and delivering these feelings. The concerts in 2017 and 2018 have been unusual, unexplainable, and great. The best one was at Le Guess Who? festival in Utrecht, Netherlands on November 10th, 2017. Nobody was supposed to be recording these shows but fortunately someone didn’t get that message and this beautiful recording of that show has surfaced. So now I’m plunged back into the apprehensions, now pushed into new territory. What would it mean to release a live album of these songs that maybe shouldn’t have been written in the first place, let alone recorded or performed? Is it OK? Does it bring anything new to the songs to hear them in this way? My hope is: yes. You can hear the breath in the room. You can feel the simultaneous intimacy and immensity. Foregrounded by the hyper-bare instrumentation (minimal acoustic guitar), the words burn brighter even than on the albums, more legible. This is a recording of these ultra-intimate songs living in the real world among people, and of peoples’ wide eyed accepting silence, and clapping.

File Under: Indie Rock
Listen Here

mudhoney

Mudhoney: Digital Garbage (Sub Pop) LP
Since the late ’80s, Mudhoney – the Seattle-based foursome whose muck-crusted version of rock, shot through with caustic wit and battened down by a ferocious low end – has been a high-pH tonic against the ludicrous and the insipid. Thirty years later, the world is experiencing a particularly high-water moment for both those ideals. But just in time, vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters are back with Digital Garbage, a barbed-wire-trimmed collection of sonic brickbats. Arm’s raw yawp and his bandmates’ long-honed chemistry make Digital Garbage an ideal release valve for the 2018 pressure cooker. “My sense of humor is dark, and these are dark times,” says Arm. “I suppose it’s only getting darker.” Digital Garbage opens with the swaggering “Nerve Attack,” which can be heard as a nod both to modern-life anxiety and the ever-increasing threat of warfare. The album’s title comes from the outro of “Kill Yourself Live,” which segues from a revved-up Arm organ solo into a bleak look at the way notoriety goes viral. Appropriately enough, bits of recent news events float through the record: “Please Mr. Gunman,” on which Arm bellows “We’d rather die in church!” over his bandmates’ careening charge, was inspired by a TV-news bubblehead’s response to a 2017 church shooting, while the ominous refrain that opens the submerged-blues of “Next Mass Extinction” calls back to the clashes in Charlottesville.  Mudhoney’s core sound – steadily pounding drums, swamp-thing bass, squalling guitar wobble, Arm’s hazardous-chemical voice – remains on Digital Garbage, which the band recorded with longtime collaborator (and contributing pianist) Johnny Sangster at the Seattle studio Litho. The anti-religiosity shimmy “21st Century Pharisees” builds its case with Maddison’s woozy synths, which Arm says “add a really nice touch to the proceedings.” Digital Garbage closes with “Oh Yeah,” a brief celebration of skateboarding, surfing, biking, and the joy provided by these escape valves. In the end, the riffs and fury of Digital Garbage will stand the test of time, even if some of the particulars [hopefully] fade away.

File Under: Indie Rock
Listen Here

annihilation

OST: Annihilation (Lakeshore) LP
In tomorrow… From visionary writer/director Alex Garland and based on the acclaimed best-selling Southern Reach Trilogy by Jeff VanderMeer, Annihilation stars Natalie Portman as a biologist and former soldier, that joins a mission to uncover what happened to her husband inside Area X – a sinister and mysterious phenomenon that is expanding across the American coastline. Once inside, the expedition discovers a world of mutated landscape and creatures, as dangerous as it is beautiful, that threatens both their lives and their sanity. The film features a score by Ben Salisbury and Geoff Barrow. Garland remarks that Salisbury and Barrow’s partnership, “Sets an incredibly high bar of creative skill and integrity, with music that is brilliant, unique and truly cinematic.” Salisbury and Barrow note: “After our experience on Ex Machina, we obviously jumped at the chance to work on a new Alex Garland film, and it was very exciting, as right from the outset we could see that we were going to have to use a wider musical pallet than we did on Ex Machina, and operate on a bigger and broader scale.”

File Under: OST
Listen Here

phosphorescent

Phosphorescent: C’est La Vie (Dead Oceans) LP
Matthew Houck’s first new Phosphorescent release in five years chronicles a life-altering period which saw him fall in love, start a family, leave New York for Nashville, and build a studio from the ground up. With a focus on translating these profound experiences to music as intuitively as he could, Houck pushes the boundaries of what a Phosphorescent record can sound like, balancing the earthy and the incandescent, the troubled and the serene, creating his own musical cosmos in the process. Nowhere is this more evident than on “New Birth In New England,” a deceptively breezy snapshot survey of some of those life-altering events, condensed to five genre-defying minutes. C’est La Vie was produced by Houck and recorded at his Spirit Sounds Studio in Nashville, newly built specifically with these sessions in mind. The album was mixed by Matthew and Vance Powell (Jack White, Chris Stapleton, Arctic Monkeys). C’est La Vie follows the 2013 Phosphorescent album Muchacho, Houck’s best-reviewed and best-selling album to date featuring the undeniable standout track “Song For Zula.” Hailed by Pitchfork for its “beauty and profundity” and Consequence of Sound for “striking gold at every turn,” Muchacho saw Houck top multiple year-end lists. C’est La Vie reveals a crystallization of what made Muchacho such a breakout – a little sweetness and a little menace, sometimes boot-stomping and sometimes meditative. The magic of Houck’s music has always been the way he weaves shimmering, almost golden-sounding threads through elemental, salt-of-the-earth sounds. It’s not experimental, exactly, but it’s singular and it’s definitely not traditional. That knack, the through-line across the Phosphorescent catalog, is front and center here.

File Under: Indie Rock
Listen Here

sumac

Sumac: Love in Shadow (Thrill Jockey) LP
Listeners who followed the Northwest trio SUMAC down the tangled briar of mathematical riffs and hypnotic battery on The Deal or through the unfettered eruptions and methodical dissonance of What One Becomes are aware that SUMAC eschews the conventional balladry typically associated with odes to our spiritual connectedness. Saccharine sweetness or fatalistic tales of unrequited affection are nowhere to be found on third full-length album, Love In Shadow. Over the album’s hour-plus length, the band employs minimal tools to achieve a maximum overview of visceral passions. Yet while popular music puts an emphasis on conveying moods through well-tread tropes, cultural signifiers, and deeply ingrained associations between tempo, texture, melody and their respective emotional resonance, SUMAC approach their music with the tactile immediacy of abstract expressionists. The beauty is not in the content, but in the form. Across 4 protracted songs, guitarist and vocalist Aaron Turner (Old Man Gloom, Mamiffer, ISIS) and his cohorts – Nick Yacyshyn (Baptists, Erosion) on drums and Brian Cook (Russian Circles) on bass – interlace and mangle sounds from their instruments in a sonic homage to both the innate warmth of human magnetism and the cold realities of corrupted love – jealousy, obsession, perversion, addiction. Kurt Ballou recorded the album live with the goal of minimal overdubs or fixes over 5 days at Robert Lang Studios in Shoreline, WA. The result is an album that sounds more alive and human than the common computer grid-built mechanically perfect metal record.

File Under: Metal
Listen Here

LDT69717_

Throbbing Gristle: Heathen Earth (Mute) LP
Heathen Earth is a crucial 1980 live document of industrial pioneers Throbbing Gristle. In member Chris Carter’sown words: “You had to have been there. Which is what we always say about TG. TG on record and TG live are two completely different things.” This album is probably the closest approximation of the two you’ll ever get: made in front of a small audience, the event was filmed by Monte Cazzaza with the intention of releasing it on video. The majority of the set is instrumental, fluctuating between the raw electronics of Throbbing Gristle’s early work and the band’s more melodic material. It’s the best of both harrowing worlds, and the most coherent album Throbbing Gristle ever made. Gatefold colored vinyl with 8-page 12″ booklet, unseen photographic print from the performance and digital copy of 11 bonus tracks, including live recordings from 1980 and 7″ versions of “Subhuman” and “Adrenalin.”

File Under: Industrial
Listen Here
Buy Here

LDT72014_

Throbbing Gristle: Journey Through a Body (Mute) LP
Widely referred to as Throbbing Gristle’s most haunting work, Journey Through a Body (1982) was recorded as a piece of radio art for Italian National Radio RAI, Rome in March 1981. Following Robert Wyatt’s recommendation, RAI originally commissioned Cosey Fanni Tutti to create a sound work based on the theme of A Journey Through the Body. This went on to become a Throbbing Gristle project – first broadcast by the RAI, Journey Through a Body was the band’s final studio recording prior to 2004’s reactivation of the band. Recorded in five days, a day per body section, the tracks were not pre-planned and nothing was re-recorded or added to after the track’s initial recording, instead each track was mixed immediately. “What’s most noticeable about the album, as a sonic experience is the openness to acoustic instrumentation on display” (The Vinyl Factory) and Journey Through a Body stands as a perfect testament to Throbbing Gristle’s artistic ethos. Unavailable on vinyl since 1983, this colored vinyl pressing includes a foil-blocked cover featuring photos from the session.

File Under: Industrial
Listen Here
Buy Here

LDT71918_Throbbing Gristle: Mission of Dead Souls (Mute) LP
Mission Of Dead Souls documents Throbbing Gristle’s last live performance in San Francisco in 1981. It’s a given that the band’s studio work was noisy and abstract, but more was left to chance during gigs like this, with primitive synthesizers and other electronics pitted against a group trying to keep some semblance of control. By this period, their early group solidity had crumbled into the two elements they were soon to finally divide into: Chris Carter and Cosey Fanni Tutti (soon to be known as Chris & Cosey), with their emphasis on synth manipulation and electro-rhythms, and early Psychic TV, with their focus on Genesis P-Orridge and Peter “Sleazy” Christopherson’s occult interests and ghostly atmospherics. On stage in San Fransisco, Genesis’ presence leans the set’s seance-like atmosphere in the latter direction, but recurring jackhammer blasts of rhythm and spindly noise make sure that Chris’s presence and importance to Throbbing Gristle doesn’t go unnoticed. Taped voices introduce “Spirits Flying,” before a shrieking swoop of the synthesizer swirls above a Can-like groove that proves that Throbbing Gristle’s assault never lacked talent or skill. “Vision and Voice,” like many of the tracks, builds and builds the noise, striking one blow after another against rhythm and melody. “Persuasion U.S.A.” presents the song with more of a creeping beat than usual, and “Discipline (Reprise)” gives listeners a rapid version of the song before the band leaves the stage to a Martin Denny tape. Unavailable on vinyl since the early 1990s, this colored pressing recreates the original packaging with the addition of silver ink and a new inner sleeve featuring photographs and a passage by Jon Savage.

File Under: Industrial
Listen Here
Buy Here

twada

Tashi & Yoshi Wada and Friends: FRKWYS 14: Nue (RVNG Intl.) LP
Composer Tashi Wada has performed for years with his father Yoshi Wada – artist, composer, and early member of the Fluxus movement. However, they have rarely appeared together in studio settings. Nue, the fourteenth entry in RVNG Intl.’s intergenerational FRKWYS series, finally brings Tashi and Yoshi, along with an eclectic group of close friends and extended family, together on tape. Nue draws on aspects of Tashi’s background for his widest vision to date – among them the minimalist bagpipe music of Yoshi, who co-composed three of the tracks, the psychoacoustic and perceptual explorations of his mentor, composer James Tenney, and reimagined forms of ancient and devotional music. The album, however, is not a tribute to the past or a recapitulation of familiar sounds. Instead, Nue is an intertwining of people and ideas as a means of growing, of looking inward to move outward, and of looking back to move forward. To achieve this growth, Tashi assembled a core group of fellow travelers, including Yoshi, composer Julia Holter, producer Cole MGN, and percussionist Corey Fogel to give life to this multifaceted suite. As an experience, Nue subtly navigates the interactions, intimacy and spaciousness of this group. From the doubling of tones – and the world of harmonic nuances such an action produces – to the rich interplay between individual musicians, all baring their own personalities and experiences through shared performance, Tashi’s compositions allow space for these elements to join and grow. The multipartite creature that is an ensemble melds in the simplicity and purity of the music itself. As Tashi states in his liner notes: “My desire was to create something both old and new sounding – ancient and futuristic – and ultimately something of its own world and other. Nue is a vision, an endless night of dreams, and a personal history of sorts, full of joys and demons.”

File Under: Drone, Experimental
Listen Here

basement-beehive-the-girl-group-underground-1Various: Basement Beehive: The Girl Group Underground (Numero) LP
Who do we become when we live our dreams? It’s all here—the high hairdos, the dreams and schemes, the tender camp, the wedding bell fantasias and chaste tragedies. Sister acts, studio receptionists, classmates, angelic voices of the 1960s; some legendary, many hidden in the basement of expired rainbows. Gathered on this deluxe double LP are 28 foiled escape attempts, now free to soar in girl group heaven.

File Under: Ye Ye, Garage, Rock, Pop
Listen Here
Buy Here

studio

Various: Studio One Freedom Sounds (Soul Jazz) LP
Studio One Freedom Sounds is the new collection from Soul Jazz/Studio One focusing on the intense period in the second half of the 1960s when Studio One’s vast and unbeatable output of ska, soul, rock steady and reggae made it literally one of the hottest musical empires in the world. During this highly successful period, Clement ‘Sir Coxsone’ Dodd released hundreds and hundreds of superlative singles seemingly on an almost daily basis, in the process making huge stars out of Jamaican singers such as Alton Ellis, Delroy Wilson, the Wailers, Slim Smith, Jackie Opel and many more. Powered by the finest in-house musicians working in Jamaica, whether it was the Skatalites, Jackie Mittoo’s soul brothers, the Sounds Dimension or the Soul Vendors, Studio One functioned as hit factory on the scale of Motown in the U.S., shaping and defining reggae music for decades to come. Single handedly Studio One’s founder Clement Dodd was able to create the most successful vertically-integrated record company that Jamaica had ever known with pressing plant, printers, studio, shops, and sound systems all running at once, with over 50 employees and hundreds of artists working with studio one during this time. Studio One Freedom Sounds tells the story of Studio One in the 1960s with a stunning set of ska, soul, rock steady and reggae killer tunes as well as informative sleeve notes and track-by-track info by Noel Hawks.

File Under: Reggae

switched-on-eugene-1

Various: Switched On: Eugene (Numero) LP
Switched-On Eugene documents the Eugene Electronic Music Collective and some of the many synthed-out figures in and around Oregon’s iconic hippie stronghold during the 1980s. Whether connected by membership, geography, or the tape trading scene, the artists in and around the EEMC shared compelling visions of the future we now inhabit, vividly captured on home-recorded tapes and distributed via zines, classifieds, and local radio. Switched-On Eugene is a deep dive into a heretofore forgotten sonic microcosm unlike any other.

File Under: Electronic, New Age, DIY
Listen Here
Buy Here

two niles

Various: Two Niles to Sing a Melody (Ostinato) 3LP
In Sudan, the political and cultural are inseparable. In 1989, a coup brought a hardline religious government to power. Music was violently condemned. Many musicians and artists were persecuted, tortured, forced to flee into exile – and even murdered, ending one of the most beloved music eras in all of Africa and largely denying Sudan’s gifted instrumentalists, singers, and poets, from strutting their creative heritage on the global stage. What came before in a special era that protected and promoted the arts was one of the richest music scenes anywhere in the world. Although Sudanese styles are endlessly diverse, this compilation celebrates the golden sound of the capital, Khartoum. Each chapter of the cosmopolitan city’s tumultuous musical story is covered through 16 tracks: from the hypnotic violin and accordion-driven orchestral music of the ’70s that captured the ears and hearts of Africa and the Arabic-speaking world, to the synthesizer and drum machine music of the ’80s, and the music produced in exile in the ’90s. The deep kicks of tum tum and Nubian rhythms keep the sound infectious. Sudan of old had music everywhere: roving sound systems and ubiquitous bands and orchestras kept Khartoum’s sharply dressed youth on their feet. Live music was integral to cultural life, producing a catalog of concert recordings. In small arenas and large outdoor venues, musical royalty of the day built Khartoum’s reputation as ground zero for innovation and technique that inspired a continent. Musicians in Ethiopia and Somalia frequently point to Sudan’s biggest golden era stars as idols. Mention Mohammed Wardi – a legendary Sudanese singer and activist akin to Fela Kuti in stature and impact in his music and politics – and they often look to the heavens. Such is the reputation of Sudanese music, particularly in the “Sudanic Belt,” a cultural zone that stretches from Djibouti all the way west to Mauritania, covering much of the Sahara and the Sahel, lands where Sudanese artists are household names and Sudanese poems are regularly used as lyrics until today to produce the latest hits. Sudanese cassettes often sold more in Cameroon and Nigeria than at home. But years of anti-music sentiment have made recordings in Sudan difficult to source. Ostinato’s team traveled to Ethiopia, Somalia, Djibouti, and Egypt in search of the timeless cultural artifacts that hold the story of Africa’s most mesmerizing cultures. That these cassette tape and vinyl recordings were mainly found in Sudan’s neighbors is a testament to Sudanese music’s widespread appeal. With their Sudanese partner and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in ’70s Khartoum, Ostinato’s fifth album, following the Grammy-nominated Sweet As Broken Dates, revives the enchanting harmonies, haunting melodies, and relentless rhythms of Sudan’s brightest years, fully restored, remastered and packaged luxuriously in a triple LP gatefold to match the regal repute of Sudanese music. A 20,000-word liner note booklet gives voice to the singers silenced by an oppressive regime. Take a sail down the Blue and White Nile as they pass through Khartoum, carrying with them an ancient history and a never-ending stream of poems and songs. It takes two Niles to sing a melody.

File Under: World, Africa
Listen Here
Buy Here

…..Restocks…..

Mulatu Astatke: Afro Latin Soul 1 (Strut) LP
Mulatu Astatke: Afro Latin Soul 2 (Strut) LP

Courtney Barnett: Tell Me How You Really Feel (Mom + Pop) LP
Kenny Burrell: Midnight Blue (Blue Note) LP
Nick Cave: Skeleton Tree (Bad Seeds) LP
Childish Gambino: Camp (Glassnote) LP
Mac Demarco: Salad Days (Captured Tracks) LP
Ned Doheny: Separate Oceans (Numero) LP
Earthless: Sonic Prayer (Gravity) LP
Iron & Wine: Weed Garden (Sub Pop) LP
Kendrick Lamar: Damn (Aftermath) LP
Kendrick Lamar: Damn: Collector’s Edition (Aftermath) LP
Kendrick Lamar: Good Kid M.A.A.D. City (Aftermath) LP
Kendrick Lamar: To Pimp A Butterfly (Aftermath) LP
Liturgy: Aesthethica (Thrill Jockey) LP
Low: Double Negative (Sub Pop) LP
Slowdive: s/t (Dead Oceans) LP
Social Distortion: Independent Years (Bicycle) Box
Sufjan Stevens: Illinois (Asthmatic Kitty) LP
Carl Stone: Electronic Music From the 80s (Unseen Worlds) LP
Tom Waits: Closing Time (Anti) LP
Various: Warfaring Strangers: Acid Nightmares (Numero) LP

Tagged , , , , ,

…..news letter #866 – lates…..

Lots of late titles as of… late. I’m told the Beak LP is en route, as is Sumac. Maybe the new Mudhoney is in there too, oh and the Rick and Morty soundtrack. Maybe they’ll show up tomorrow. The new Tim Hecker has a later vinyl date for Canada for NO REASON AT ALL, but should be here mid-next week. But that’s ok because there’s loads of other stuff here that is awesome too.

Also…. in case you missed it… 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! But sooner is better!

CHECK OUT OUR WEBSTORE!!! 

….pick of the week…..

FKR096LP-12-INCH-SLEEVE-3MM-SPINE-orange-back-v2-400x400 - Copy

Popera Cosmic: Les Esclaves (Finders Keepers) LP
Finders Keepers present a reissue of Popera Cosmic’s Les Esclaves, originally released in 1969. For the few people lucky enough to have heard the entire album in the five decades since its release, the mythical Popera Cosmic album is now considered to be France’s first dedicated psychedelic album and the shrouded blueprint for the hugely influential Gallic concept album phenomenon that followed — including Serge Gainsbourg’s Histoire De Melody Nelson (1971) and Gérard Manset’s La Mort D’Orion (1970). Spearheaded by François Wertheimer (songwriter for Vangelis, Barbara, and BYG Records), composed with future Jodorowsky soundtracker and genius all-rounder, Guy Skornik, and based on an embryonic concept co-conspired by a teenage Jean-Michel Jarre, this instantly deleted 1969 recording is a true essential for any outer-national-radicalized record collection. With credentials that mark the birth of the cosmic funk (later disco) that helped shape the influential sound of France today, this LP also includes the first pressed instrumentals by members of Space Art, some of the best orchestra rock arrangements by William Sheller — Lux Aeterna (1972), Erotissimo (1969) — and orchestrator Paul Piot (Jean Rollin), as well as sitar psych benchmarks courtesy of uber legend Serge Franklin — all pinned down by the rhythm section that would later be known to prog aficionados as Alice. Subtitled Les Esclaves (“The Slaves”), this street theater/rock opera (influenced by the work of Julien Beck’s Living Theatre) now celebrates its 50th birthday standing firmly as a sonic tome to the birth of the no-no era (that rebuked France’s yé-yé hamster wheel) leading directly to the thematic progressive network of Wakhévitch, Manset, and Magma while comprising an inter-Gallic intergalactic super group from the early annals of France’s pop psych revolution. Imagine a rock opera where the cast of Mister Freedom perform Clash Of The Titans at the foot of The Holy Mountain — then pinch yourself…

File Under: Ambient, Drone, Classical, Minimalism
Listen Here
Buy Here

…..new arrivals…..

MFM035LP_CU - Copy

G.B. Beckers: Walkman (Music From Memory) LP
Music From Memory’s latest release sees the reissue of Gunther Beckers’s Walkman album from 1982. A painter and musician from Aachen, Germany, Beckers created his third album Walkman to coincide with an exhibition of his latest body of artwork in 1982. Released on his very own Milky Music label with a run of just 500 copies and original pieces of artwork included with some copies, most copies of the album nonetheless remained amongst art collectors and with the painter himself. Rediscovered a few years ago through a friend of Music From Memory in the archives of a local radio station where all but one of the stations copies had been destroyed, it has been an album the label have been in love with since the first listen. Touring as a guitarist with ECM-affiliated jazz musicians such as Alex De Grassi, William Ackerman, Ralph Towner, and Larry Coryell to name but a few, Beckers also would record on a number of releases of Klaus Schulze’s cult electronic music label Innovative Communication. Always exploring new ideas and the possibilities of technology within his music, Beckers would record Walkman utilizing the Kunstkopf technique of sound recording. Kunstkopf, or ‘dummy head’ recording is a 3-D audio recording technology that enables listeners to define each source of sound as if they were in the original recording situation itself. Using two microphones which are usually mounted in the ears of a mannequin, the technique exploits certain basic principles of human spatial hearing. Listeners to Kunstkopf recordings are in fact encouraged to listen to such recordings on headphones, as the 3-D perception is often greatly diminished on speakers. With the title Walkman, Beckers was very much hoping the album would be enjoyed on headphones, even portably through a Walkman. Minimalist variations around an acoustic guitar, guitar synth, rhythm box and with wordless female vocals, Walkman drifts in and out of moods; it is a unique and at times hauntingly beautiful album, which the Kunstkopf recording technique further adds to the album’s often-otherworldly feeling.

File Under: Ambient, New Age
Listen Here
Buy Here

cave - Copy

Nick Cave & The Bad Seeds: Distant Sky (Bad Seed) LP
For one night only in April of 2018, Nick Cave & The Bad Seeds shared a show from their celebrated 2017 world tour on cinema screens worldwide. Now, they present Distant Sky: Live In Copenhagen, a special 12″ EP of audio from that extraordinary show. Filmed at Copenhagen’s Royal Arena in October 2017, Distant Sky captured an extraordinary and triumphant live concert from Nick Cave & The Bad Seeds where the band performed new album Skeleton Tree’s beautiful compositions alongside songs from their essential catalogue.

File Under: Rock
Listen Here

solal - Copy

Jean Cohen-Solal: Flutes Libres (Souffle Continu) LP
Souffle Continu Records present the first ever reissue of Jean Cohen-Solal’s Flûtes Libres, originally released in 1972. In a dreamlike fictive and windswept Brittany, hippy pirates and wild women more or less inspired by Gérard de Nerval fight it out in a theater, the magic of which brings to mind Cocteau, and where musical improvisation has an important role: this is Noroît, a cursed film which was never released in cinemas at the time (1976), directed by the great Jacques Rivette, where Jean-Cohen-Solal, his brother Robert and Daniel Ponsard can be seen and heard playing. The scene is every bit as inventive as that featuring the Art Ensemble Of Chicago in Les Stances à Sophie (1971). The same magic and invention can be found on this first album by Jean Cohen-Solal: Flûtes Libres. A magic which can be keenly felt on “Quelqu’un”, a long contemplative mantra which takes up the whole of the B side and which anticipates the future collaboration in the mysterious universe of Jacques Rivette. Jean Cohen-Solal studied flute from all angles, and became one of the great French virtuosi, along with Michel Edelin who at the time was with Triode. This was a period (1972) when flutists were very popular with the public, most of whom had been influenced by Roland Kirk, including Ian Anderson of Jethro Tull. Whereas Jean Cohen-Solal tells a different story, richer and centered on the instrument itself, using the magic (yes, that again) of overdubs. Perhaps Paul Horn rather than Roland Kirk could be an influence but stripped of a classical background which was too audible and a tendency for easy listening. In fact, in terms of comparison, “open music” by Bob Downes would be the closest to the electroacoustic experiments of Jean Cohen-Solal, who, by the way, was also close to the GRM and Bernard Parmegiani for whom he occasionally provided sound sources. These are the qualities which probably explain why Flûtes Libres figures (and justifiably) on the famous Nurse With Wound list. Licensed from Jean Cohen-Solal. Includes eight-page booklet. Highlighter yellow vinyl; Obi strip; Edition of 700.

File Under: Jazz, Experimental
Listen Here
Buy Here

coil - Copy

Coil + Zos Kia + Marc Almond: How to Destroy Angels (Cold Spring) LP
Cold Spring Records present the complete recording of A Slow Fade To Total Transparency. Recorded on August 24th, 1983 at the Air Gallery in London, UK. Personnel for the performance: John Balance (Coil), John Gosling (Zos Kia), Marc Almond (Soft Cell), and live mix by Peter Christopherson (Coil, Throbbing Gristle). Features: “How To Destroy Angels”, the complete 23-minute piece; “How To Destroy Angels (Zos Kia Remix)”, a nine-minute, unheard remix by John Gosling; and “Baptism Of Fire”, an unreleased recording of Zos Kia/Coil at Recession Studios, London, England on October 12, 1983. Liner notes by Michel Faber (Under The Skin (2000), The Crimson Petal And The White). All audio, previously unreleased, has been remastered from the original tapes and is exclusive to this release. Michel Faber: “Imagine how out-of-step with the dominant culture Coil were when they unveiled themselves in the Air Gallery to perform A Slow Fade To Total Transparency. Subtitled: How To Destroy Angels, the music — a backing track prepared by John Balance, John Gosling and Peter Christopherson — bears only scant resemblance to the How To Destroy Angels 12″ that Coil would release as their debut vinyl the following year. Instead of the meditative ritual gongs of the 12″, what we hear here is a restless, queasy melange of industrial noise, its eerie whistles the perfect backdrop for Marc Almond as he recites a bitter tirade against an ex-lover.”

File Under: Industrial, Experiemental
Listen Here
Buy Here

colored music - Copy

Colored Music: s/t (WRWTFWW) LP
WRWTFWW Records announce the reissue of the 1981 self-titled album from cult Japanese duo Colored Music. Includes liner notes in English and Japanese by digger, curator, connoisseur, writer, and legend Chee Shimizu. An incredible mix of cosmic new wave, unconventional disco, avant-garde synth pop, and hybrid electronic funk, Colored Music is enchantingly unique, a sort of experimental and magnetizing take on David Bowie’s Berlin Trilogy with a psychedelic Haruomi Hosono touch. From the groovy post-punk glam title track to the proto-house dance floor killer “Heartbeat”, Ichiko Hashimoto and Atsuo Fujimoto hit all the right (and sometimes not-exactly-right-but-truly-genius) notes to create the odd and beautiful, an unparalleled audio escape to the best elsewhere you can think of. Also playing on the album are celebrated musicians Mansaku Kimura, Shuichi “Ponta” Murakami — 1978’s Pacific (V 25AH426), 1981’s KI-Motion by MKWAJU ensemble (WRWTFWW 026CD/LP), collaborations with Jun Fukamachi, Yasuaki Shimizu, Haruomi Hosono… — Kiyohiko Semba, Tamio “Doyo” Kawabata, and Tatsuhiko Hizawa.

File Under: Japanese, New Wave, Avant Garde
Listen Here
Buy Here

doum - Copy

Al Doum & The Faryds: Spirit Rejoin (Black Sweat) LP
Listening to the music of Al Doum & The Faryds is always like staying in the pristine nature of an exotic island, in the sacred harmony of a new organic society; imaging all brothers and sisters singing and dancing in the unity of the brotherhood. This is the message of love and joy that pervade this fourth album, Spirit Rejoin. Moving towards accents of jazz ancestry, the Faryds absorb and re-elaborate — with remarkable insights — disparate elements and influences of electric jazz of the ’70s (Miles Davis, Dr. John) and spiritual jazz (Sun Ra, Pharoah Sanders, Don Cherry), marrying them with the forceful instances of Afro-free (Pyramids, Alkebu-Lan). The music celebrates a new collective soul, a dancing cathartic ritual with birds, plants, and all the animals, together in the circle of devotion. A journey in the total pranic breath.

File Under: Jazz, Psych, Spiritual
Listen Here
Buy Here

22CACKLP-600x600-400x400 - Copy

Jean Dubuffet: Experiences Musicales de Dubuffet (Cacophonic) LP
If ever a phonographic accomplishment could encapsulate the precise modus operandi of the Cacophonic label, then the Expériences Musicales sessions made by French born painter, sculptor, music maker, wine merchant and founder of the Art Brut movement, Jean Dubuffet would be a prime candidate. Originally released as an impossibly rare six record box set containing Dubuffet’s first long anticipated forays into sound sculpture and spontaneous artistic noise, these intimate early 1960’s recordings show a lesser-known side of this important artist’s personality and stand up as a vital document in both fields of contemporary art and experimental music. Finally released to a wider audience and presented complete with Dubuffet’s signature style artwork this abridged vinyl edition includes specific selections curated by the artist himself, in conjunction with experimental music pioneer Ilhan Mimaroglu, and showcase what the two leading lights of modern art consider to be the best moments of this historic session. On this limited vinyl pressing Dubuffet succeeds in translating his unique spontaneous creativity and active support of Low Art into musical forms, a process with which he would also collaborate in his dual compositions with Danish avant-gardener Asger Jorn (for a separate series called Musique Phénoménale). Utilising a wide range of orthodox acoustic instruments ranging from violin and open piano to duck whistles and not musical apparatus this set of eight pieces (culled from a potential twenty tracks made under the Expériences Musicales banner) sees the work of the artist approaching music from the perspective of “a man of 50000 years ago”. Recorded at Galleria del Cavallino in Venice Italy during the first months of 1961, these primary experiments with music followed over twenty years of Dubuffet developing his own unconventional artistic persona as an instantly recognisable pioneer of post-war artistic abstraction. His visual art alone, which would go on to inspire and genuinely motivate artists to feed on there rawest spontaneous instincts (hence the translation of Art Brut, meaning Raw Art), would also have huge influences on writers, performers and musicians (from punk to jazz) to this very day. It is surprising, however, how the fruits of Dubuffet’s short-lived anti-career as a non-musician have never fully filtered down to some of his greatest champions. From an original gallery promoted artifact (which can now command fees of up to 5000 euros complete with its original art-prints intact) this highlighted version of Expériences Musicales is now available again on authentic vinyl to the wider public. The recordings you will find within the grooves of this LP were created without any reference and in the artist own words “without any discipline, without anything that would present the artist from expressing himself freely and for his own good pleasure.” Almost sixty years have passed since this sonic objet d’art was first realised, and with all the technology and the advanced science-of-sound, decades of so-called experimental musicians are still struggling to find that Brut energy within their creative endeavours making this early example one of vital existence.

File Under: Avant Garde
Listen Here
Buy Here

earthless - Copy

Earthless: From the West (Silver Current) LP
On the eve of the release of Black Heaven, their debut for Nuclear Blast Records, Earthless turned in this incredible live performance in San Francisco on March 1st, 2018, captured and released on vinyl by Silver Current Records. Since their inception seventeen years ago, this band has become an icon of 21st century heavy music and a cult unto themselves. On From The West the band’s signature high-volume drive and unbridled horsepower create an almost mantra-like repetition as a framework for infinite improvisation. That, and beer-can crushing, fist-pumping riffs and solos delivered by an unstoppable rhythm section. This album is a complete, hypnotic, psychedelic experience in a way that remains totally unique to the band’s virtuosic expression. A live album that captures the band at peak powers and a quintessential fan piece from one of the best live rock bands in the world. Album tracks includes looser, rawer versions of Black Heaven favorites, a nearly twenty minute version of their instrumental titan “Uluru Rock,” and a blazing cover of Led Zeppelin’s “Communication Breakdown.” The album jacket is also a meticulous reproduction of the band’s favorite TMOQ (Trademark Of Quality) Zeppelin bootleg.

File Under: Psych, Metal
Listen Here
Buy Here

fild - Copy

The Field: Infinite Moment (Kompakt) LP
Two years on from his last outing, The Follower, Axel Willner puts on his Field suit again to present his sixth full-length effort for Kompakt, Infinite Moment. Infinite Moment sees him striding further across the deeper, richer rims of the hue cycle. In Willner’s own words, “the threshold of creating something new had to be broken”, as had been done with his past albums, including his acclaimed debut From Here We Go Sublime. For Willner, “stepping outside of the studio opened up fresh perspectives on the creation of new music”; it was the opening cut, “Made Of Steel, Made Of Stone”, that got him into the flux of things, “making of the rest of the album easier as I went”. Substituting the up-tempo vim of his previous pieces for a sense of mind-expanding horizontality, Infinite Moment is an album filled with hope and draped in a diffuse, appeasing light, easing the pain and troubles of the human soul through a lushly forested recital of shoegazing modular, complex textural interplays and solar, atmospheric fractals. “Made Of Steel, Made Of Stone” gets the ball rolling on a thumping down-tempo note, which as Willner explains, “gives me a lot of hope”. “Hope is something I’ve been missing in the nowadays climate and this album is a relief to me, a type of comfort, like a moment that feels good and you don’t want to end.” “Divide Now” is a sonic mitosis, engaging the metamorphosis to come; like a larvae pupating and reemerging weeks later from under rough bark in the form of a butterfly – fluttering breaks shed their skin to make way for a more intimate and hypnotic second chapter. “Hear Your Voice” propels the lavish, pad-upholstered glamour of its melodic lines in a bolder syncopated re-visitation of 1980s-indebted pop harmonics, while “Something Left, Something Right, Something Wrong” returns to a flaring post-euphoric daze. A more arrhythmic affair, “Who Goes There” spins out into orbit wildly, fusing acid bass moves with a haunting motorik, playing with the listener’s mind intensely before the ten-minute-long epic “Infinite Moment” ushers its listener into a highly immersive final ballet of buzzing chords, trampling drums and all-consuming drones. This album is a direct soul-to-soul transmission, aiming no further than at finding the right balance between contained emotion and an expressive eloquence.

File Under: Electronic
Listen Here
Buy Here

grohl - Copy

Dave Grohl: Play (RCA) LP
Dave Grohl’s Play is a new two-part mini-documentary and corresponding recording featuring a 23-minute original composition written and filmed by the Foo Fighters frontman in which he plays no fewer than seven instruments. Directed by Grohl with assistance from Sound City and Sonic Highways collaborator Mark Monroe, Play is a celebration “of the rewards and challenges of a life dedicated to playing and mastering a musical instrument.” The entire song was played by Grohl, each time on a different instrument, live for 23 minutes. Beginning with the recording of the entire drum track purely from memory, with no sheet music or guide tracks, followed by guitar, then bass, then keyboards, and so on…Grohl tasked himself with a one-man-band recording session that was forced to start from the very beginning of the 23-minute song any time the slightest mistake was made or if Grohl felt he could do a better take.

File Under: Rock
Listen Here

OME1009LP_CU - Copy

G.I. Gurdjieff: Improvisations (Fantome Phonographique) LP
Fantôme Phonographique present a reissue of G.I. Gurdjieff’s Improvisations. G.I. Gurdjieff was an Armenian and Greek philosopher, spiritual teacher, and musician, whose teachings of The Fourth Way influenced thousands worldwide and created communities that still exist to this day. His goal was to teach humans to reach a higher consciousness out of the “waking sleep” he considered most to be living in. Music was an important part of his teachings and these brilliant harmonium improvisations were recorded in 1949 in Paris, just a short time before his death. Droning and ethereal, these beautiful pieces mark a pinnacle in the work of a legend of human spirituality. Comes in a heavy sleeve with a hand-numbered sticker.

File Under: Ambient, Minimalism
Listen Here
Buy Here

halo - Copy

Laurel Halo: Raw Silk Uncut Wood (Latency) LP
“What works reliably is to know the raw silk, hold the uncut wood. Need little. Want less. Forget the rules. Be untroubled. Laurel Halo presents six instrumental pieces that form a meditative, cinematic listening experience. Inspired by recent film score work for Metahaven and Ursula Le Guin’s translation of the Tao Te Ching. Featuring cello work by Oliver Coates and percussion by Eli Keszler. Working in abstraction leads to a deeper longing for touch and closeness. The tactile sensation of struck organ keys and bowed strings, wood and felt on drum heads. Smoke and dirt and stone. Febrile and tactile, hairy and hissy. A clover of highway onramps, a continuous flow, like old leaves melting on their way down a stream at the back of a house. Constant contradiction, the truth’s nowhere.”

File Under: Ambient, Classic, Electronic
Listen Here
Buy Here

hennies - Copy

Sarah Hennies: Embedded Environments (Blume) LP
Through a remarkable and singular body of work, over the course of the last decade, the composer and percussionist Sarah Hennies has slowly emerged as one of the definitive voices of her generation. Initially coming to focus as a member of Austin’s experimental music scene during the early 2000s, before relocating to upstate New York, with a delicate, clattering grace, she has continuously offered vision, conceptual armature, crucial understanding for the contemporary proximity of avant-garde, and experimental practice. Entirely of her moment, she defies what we know and expect, owing allegiance to none. Hennies has been darting around the edges of modern composition for years, but that world has never been an entirely comfortable fit, nor is it the best framework and context within which to approach her work. She is better understood in the proximity of figures like Jim O’Rourke, a creator of a countercultural music, which incorporates everything, while owing loyalty to none. Hennies could equally be framed with composers like Steve Reich, Arthur Russell, Julius Eastman, and Mary Jane Leach, all of whom struggled to create more inclusive musical hybrids, attacking the institutions as they stood. As these figures once were, Hennies’s position within the contemporary landscape is challenging and requires work to understand. Her music isn’t always what it seems. What is unquestionable is that it is entirely of this moment and not a product of appropriation or pastiche. Comprised of two site-specific compositions — “Foragers” and “Embedded Environments” — recorded in a silo in Buffalo, New York, these recordings are a crowning moment within the long arc of Hennies’s practice. Each work is composed for a quartet of percussionists — Jason Bauers, Tim Feeney, and Bob Fullex, with Hennies contributing on vibraphone and percussion. While “Foragers” and “Embedded Environments” are products of Hennies’s quest for elemental meaning and relationships within sound — those which lay beyond traditional understandings of structure, beat, and tone, here there is a third and unfamiliar actor in play: the space itself. Activated by the silo for which they were composed, Hennies’s broken, staggering rhythms and resonances are offered new freedom through a seductive Trojan horse, pushing them toward even more complex and jarring depths. “Foragers” and “Embedded Environments” delves into a realm of ideas, proximity, and place, offering a new vision for our sonic present, and what may be to come. Edition of 300.

File Under: Experimental, Drone
Listen Here
Buy Here

RLP3201LP_CU - CopyArve Henriksen: The Height of the Reeds (Rune Grammofon) LP
The Height Of The Reeds started as a commissioned work to the city of Hull, Great Britain´s cultural capital 2017. Composed by Arve Henriksen, Eivind Aarset and Jan Bang, the work celebrates the longstanding seafaring relationship between Hull and Scandinavia. It was originally the musical companion to a sound walk that took place in April, May and June 2017. Those who took part could listen to the music on headphones while crossing the Humber Bridge. Initially intended for April only, the arrangement proved so popular it ended up selling out three months. Only minor adjustments have been done to justify the transition from sound walk to album. Other than Henriksen, Aarset and Bang, the work includes important contributions from Hull sound artist Jez Riley French, providing field recordings from the bridge itself: the river below, the noise of engines, the creaking of steel wires, wheels against asphalt and the song of the reeds in the wind. Opera North´s choir and orchestra provides the necessary musical space for the soloists, and two actors and a child read from translated poems by Norwegian poet Nils Christian Moe-Repstad.

File Under: Jazz, Electronic
Listen Here
Buy Here

RALP321LP_CU - CopyArve Henriksen: Composograph (Rune Grammophon) LP
Recorded at the same Rainbow Studio sessions, and with the same top musicians and legendary engineer Jan Erik Kongshaug, this can only be seen as the rightful twin companion to The Nature Of Connections from 2014. One can easily understand how Arve Henriksen must have found it difficult to select tracks for The Nature Of Connections, leaving these on the shelf. Composograph is standing rock solid as a top notch Henriksen album. There are the typical folk music ties, courtesy of fiddlers Nils Økland and Gjermund Larsen, contemporary chamber jazz, nods to avant free music and atmospheric tone poems. All in all, twelve exquisite originals from one of the world´s leading trumpet players.

File Under: Jazz, Electronic
Listen Here
Buy Here

OME1008LP_CU - CopyPierre Henry: Orphee Ballet (Fantome Phonographique) LP
Fantôme Phonographique present a reissue of Pierre Henry’s Orphée Ballet, originally released in 1964. Scored for Maurice Béjart’s choreography to the Orphée Ballet, based on the Greek god, Orpheus, this is one of Pierre Henry’s finest works of musique concrète, the genre in which Henry was an early innovator and to which he devoted his career. After years working for the French national radio (RTF) and honing his studio chops on radio spots and editing/composition, Henry formed his own studio in 1958 and began working on modern dance and ballet and soundtrack work. Incorporating percussion, industrial soundscapes, nature sounds, spoken French narrative, and synthesized tones, Orphée Ballet is a beautiful piece that while less known than what is perhaps his most famous work, also for Béjart’s ballet production, 1967’s Les Jerks Électroniques De La Messe Pour Le Temps Présent Et Musiques Concrètes Pour Maurice Béjart, is equally compelling and groundbreaking. Following his passing in 2017 at age 89, Henry’s work has found renewed interest, and this is a welcome reissue of one of his rarest and finest works. Truly brilliant. Comes in a heavy sleeve with a hand-numbered sticker.

File Under: Avant Garde, Musique Concrete
Listen Here
Buy Here

jayglass - CopyJay Glass Dubs: Plegnic (Ecstatic) LP
Jay Glass Dubs sublimates Athenian distress and ennui into plasmic dub ether on Plegnic, his lushly evolved first collection of new material for Ecstatic, following from on from Dubs. Where Dubs was a set of his earliest, hard-to-find tape releases, deconstructing and rebuilding Jamaican dub with Musique Concrete production methods and a lingering air of inspiration from classic 4AD, new age and laïko, or Greek popular music, on Plegnic Jay Glass Dubs fascinatingly evolves his sound with richer melodic and harmonic arrangements in a concerted effort to expand the nostalgic, esoteric and dance floor dimensions of his unique sound world. Plegnic is an extinct word meaning “to strike like a hammer”, and offers a palpable sense of nostalgia. In this archaic context, JGD uses vintage machines and obsolete samples in conjunction with vocals from Yorgia Karydi — former beau of his childhood neighbor, and Andreas Kassapis, one of his oldest friends, who provides the cover art — to conjure a mutated take on classic and well-trodden styles, metaphorically and anachronistically renewing their purpose while connoting his newfound dance floor drive in the process. Recording took place at his mother’s house in the Athens suburbs, with Fugazi’s Steady Diet Of Nothing on repeat. It was here that he dug out an old Juno, a Yamaha RX5 drum computer, and some “crappier equipment” that provides the structural scaffold to his array of nostalgic, melancholic Laïka samples, which could be considered the diffused soul of this superb five part-crop. On the A-side he sets out to spook with the desiccated, stepper’s motion of “Temple Dub” featuring heavily processed vocals by Karidi, but heady nostalgia takes over with a sublime tactility in the vaulted chorales and reverb tails of “Umbro Dub”, and again in the aching sehnsucht of “Mouthless Dub”, where traces of Laïka’s bouzouki melodies glimmer. However, the B-side is far more upfront and up-for-it, putting weight behind the cranky skank of “Dry Dub” with its hexagonal drums and acidic bass squirm, then in the super-squashed swagger of “Fearless Dub”, the near-ten-minute pinnacle of his dance floor output to date. Ultimately, Jay Glass Dubs’s music is riddled with the kind of nostalgia that can make an unfamiliar piece of music feel like an intense déjà entendu, like you’ve heard it before in a dream or some altered state; that’s a rare and precious thing. Limited to 500.

File Under: Electronic, Dub
Listen Here
Buy Here

AKU1009LP_CU - Copy

Laurent Jeanneau: Music of Southern Laos (Akuphone) LP
Music of Southern Laos, subtitled Provinces of Champasak, Attapeu, Sekong and Saravan. One part of Akuphone’s collection of Laotian music. Includes liner notes in English, French, and Japanese and a download code. Akuphone presents a collection of recordings of various musical practices from the Laotian provinces of Champasak, Attapeu, Sekong, Saravan, Luang Namtha and Phongsaly. These documents are a perfect introduction to the traditional music of South Laos minority groups. Popular modern music is widely spread but visitors are barely ever exposed to ancient acoustic practices from villages. As a matter of fact, mouth organs of various sizes exist among the Hmong and Bit as well as amazing vocal techniques among the Lantene, Ahka, or Khmu who combine simultaneous singing and flute notes. This collection also compels one to discover the Brao gongs, the Triang bamboo flutes, the Lao, Ta Oy, Alak, OI, Pacoh, or Nyaheun mouth organs as well as the powerful singing accompanying these instruments. Caught on the spot, these outstanding testimonies were collected between 2006 and 2013 by Laurent Jeanneau, aka Kink Gong. Through his researches, this self-taught ethnologist has gradually become one of the specialists of the field, building up a collection of complete and fascinating sound archives which contribute documenting parts of this immaterial heritage. Music of Southern and Northern Laos brings some light on a region of South East Asia still largely unknown from the general audience as well as the recently reborn ethnographic musical industry. This compilation will delight both molam/khene lovers and beginners unused to South East Asian sounds.

File Under: World, Asia, Field Recordings
Listen Here

AKU1010LP_CU - Copy

Laurent Jeanneau: Music of Northern Laos (Akuphone) LP
Music of Northern Laos, subtitled Provinces of Luang Namtha et Phongsaly. One part of Akuphone’s collection of Laotian music. Includes liner notes in English, French, and Japanese and a download code. Akuphone presents a collection of recordings of various musical practices from the Laotian provinces of Champasak, Attapeu, Sekong, Saravan, Luang Namtha and Phongsaly. These documents are a perfect introduction to the traditional music of South Laos minority groups. Popular modern music is widely spread but visitors are barely ever exposed to ancient acoustic practices from villages. As a matter of fact, mouth organs of various sizes exist among the Hmong and Bit as well as amazing vocal techniques among the Lantene, Ahka, or Khmu who combine simultaneous singing and flute notes. This collection also compels one to discover the Brao gongs, the Triang bamboo flutes, the Lao, Ta Oy, Alak, OI, Pacoh, or Nyaheun mouth organs as well as the powerful singing accompanying these instruments. Caught on the spot, these outstanding testimonies were collected between 2006 and 2013 by Laurent Jeanneau, aka Kink Gong. Through his researches, this self-taught ethnologist has gradually become one of the specialists of the field, building up a collection of complete and fascinating sound archives which contribute documenting parts of this immaterial heritage. Music of Southern and Northern Laos brings some light on a region of South East Asia still largely unknown from the general audience as well as the recently reborn ethnographic musical industry. This compilation will delight both molam/khene lovers and beginners unused to South East Asian sounds.

File Under: World, Asia, Field Recordings
Listen Here

k2 - CopyK2: The Rust (Hospital Productions) LP
Hospital Productions presents a reissue of K2’s The Rust, originally released in 1996. From its imposing cover featuring massive Japanese characters fading from red to orange to yellow in a descending gradient to the title itself, rust would not have been enough for this edifice of decay. It is the rust, the final rust, the purest rust. The presentation only reiterates that this work is process driven, that it does not stop moving, clinging, falling, eroding, and covering its subject. As moisture turns metal to dust, this is Kimihide Kusafuka’s grand mastering of decay. The Rust is a four-part cut-up metal junk noise classic. Not to be confused with the typical high octane ’70s psych rock-obsessed outpourings by many of Japan’s more well-known noise elite, K2 has settled on a physical process of his own that gets at the inner workman surrounded by the urban accumulation of not-so-precious metals. Like the towering waterfront refinery, or the wrought iron fence outside one’s door that they may pass on their way to a busy morning routine, The Rust grinds away and piles on multi-track recordings that are violent and caustic and physical yet totally arcane in their construction. How was this made? Was K2 the executor of a junkyard? Has he lived among the ruins of automobiles, or perhaps locomotives based on the sheer dynamic range and scale of the rust? But that would be too misleading as when the gates open, naked moments are heard of isolated scraping and the unmistakable clutter of metal on metal sounds, pounded by human fists. The beating of metal is coated in feedback solvents and slashed with flange by Kusafuka’s self-described “Friktor” device that apparently exhumes the soul of any aluminum, steel, and cast-iron sheets. These liberated industrial ‘neighbors’ that we live among and construct our dwelling places with ascend to spheres and cities of their own. The rust will crush you with its weight, it will question the scale of your body, and it will cut away at your patience of watching water erode metal to dust. Recorded 1996 in Chiba, Japan for Kinky Music Institute, The Rust appears here on vinyl for the first time, faithfully remastered by Kris Lapke (Alberich). Gatefold sleeve with the original artwork; Rust-colored vinyl; Edition of 250.

File Under: Japan, Noise, Experimental
Listen Here
Buy Here

DS036LP_CU - Copy

Roland Kayn: Simultan (Die Schachtel) 3LP Box
First in the series of LP boxsets documenting the birth of Roland Kayn’s cybernetic music. One of the great pioneers of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained almost entirely unknown, a founding member of the legendary ensemble, Gruppo di Improvvisazione Nuova Consonanza, heralded as a singular genius by a small number of figures like Jim O’Rourke. Though the composer was included within Deutsche Grammophon’s seminal Avant-Garde series during the early 1970s, it wasn’t until 2017, six years after his death, that the ranks of his fans began to noticeably swell, following the release of his monumental work, A Little Electronic Milky Way Of Sound by Frozen Reeds. Die Schachtel present a reissue here of Simultan, an overwhelmingly important work in his canon, from 1977, stretching across three LPs. While Roland Kayn might be easily described as a composer of electronic, electro-acoustic, or computer music, the majority of his career was in fact largely dedicated to the revolutionary sculpting of an entirely new territory of sound: cybernetic music, a generative process of composition through programming. Simultan was among the first of the composer’s works to emerge from this process. Cybernetic music grew from Kayn’s longstanding engagement and fascination with data processing theory. This territory of creativity was the composer’s attempt to allow sound to be self-sufficient, stripping away notions of harmony, melody, and rhythm, deploying complex networks of electronic devices. Created during the period in which Kayn was living in the Netherlands and recorded with the assistance of electronic music legends Jaap Vink and Leo Küpper, Simultan is filled with a remarkable sense of humanity and touch. The sounds on Simultan range from seductive ambiences, grinding swells of atonally and pure texture, to buried tone clusters. “The mystery, the grace, the boundless invention — Kayn’s machine music is a vast catalogue of very human wonder.” –The Guardian Remastered from the original analog master tapes. Includes booklet with new liner notes. Includes printed inner sleeves. Standard edition comes in an edition of 400.

File Under: Electronic, Avant Garde
Listen Here
Buy Here

KR052LP_CU - CopyKonstrukt & Keiji Haino: A Philosophy Warping, Little by Little That Way Lies a Quagmire (Karlrecords) LP
Second album by Turkish free jazzers Konstrukt and the Japanese avant-garde/noise icon Keiji Haino, this time recorded live in concert. Celebrating their tenth anniversary these days, Konstrukt have since been creating an impressive catalog including collaborations/performances with significant musicians like Peter Brötzmann, Joe McPhee, William Parker, Akira Sakata, Marshall Allen, Evan Parker, Thurston Moore, Michael Zerang, Alfred Harth, or Alexander Hawkins that gained them an ever growing audience and media attention (e.g. a recent feature in the Wire), and they keep exploring new grounds. Like in 2016 when Konstrukt invited Keiji Haino to their home town of Istanbul for a recording session that resulted in a quite unique album: A Philosophy Warping, Little By Little That Way Lies A Quagmire offered — besides all the elements you may well expect from such a musical meeting like Konstrukt’s “acerbic razor-edged sound” (Mark Corroto, AllAboutJazz) and Haino’s unmistakable voice/guitar explosions — some actual surprises like the really groovy opening track with a funky feel and a kind of ’70s fusion style album closer. Two days later the free jazz quartet and the Japanese avant-garde icon continued their adventure with a public performance at SalonIKSY, pushing things further and raising the level of energy and rawness. Carrying the same title, A Philosophy Warping, Little By Little That Way Lies A Quagmire proves a condign sister release to their previous studio effort (KR 043LP, 2017). Or, as the famous Asian phrase goes: “same same but different!”. Recorded and mixed by Deniz Sağdıç at SalonIKSY, Istanbul. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Cover painting “Solar” by Artur Trojanowski. Personnel: Korhan Futacı – alto and tenor saxophones, zurna, kaval, sipsi, instant loops, voice; Umut Çaglar – Moog (MicroMoog), Korg (X-911), gralla, bamboo flutes, xylophones, percussion, tape echo, Vermona (Retroverb); Berkan Tilavel – Nord (Drum2) electronic percussion, tef, cymbal; Erdem Göymen – drums, cymbals, percussion; Keiji Haino – electric guitar, percussion, voice, air synths. Includes download.

File Under: Jazz
Listen Here
Buy Here

lynn - CopyLoretta Lynn: Wouldn’t it be Great? (Legacy) LP
One of the most deeply personal albums of Loretta Lynn’s career, Wouldn’t It Be Great communicates in song the hard truths and spiritual insights the music icon has gathered throughout her life and reflects the resilience that sustains her still. Comprised entirely of songs written (or co-written) by Loretta, the album premieres new compositions alongside soulful reinterpretations of enduring classics from her catalog. Like its predecessor, the critically-acclaimed, Grammy-nominated Full Circle (2016), Wouldn’t It Be Great was mainly recorded at the Cash Cabin Studio in Hendersonville, TN, with producers Patsy Lynn Russell and John Carter Cash. “Wouldn’t It Be Great?” is the last song Loretta wrote for her late husband (Oliver “Doolittle” Lynn). “Well,” Loretta observes, “my husband liked to drink a lot and that’s where that song comes from…’Say you love me just one time, with a sober mind’… I always liked that song but I never liked to sing it around Doo.” “That song just always meant so much to me,” continues their daughter (and album co-producer) Patsy Lynn Russell, “because of the lyrics, you know, ‘when my fancy lace couldn’t turn your face,’ it was just so powerful and was a song that needed to be recorded for this album with Loretta. It shows just how masterful my mom is with writing down her feelings.” An exploration of Loretta’s songwriting, Wouldn’t It Be Great finds her communicating the universality of human experience – love in all its intoxication and heartbreak, the abiding things of soul and spirit, the transformative power of music and connecting to the world. Wouldn’t It Be Great debuts new songs – “Ruby’s Stool,” “Ain’t No Time To Go,” “I’m Dying For Someone To Live For” – alongside newly recorded renditions of recent compositions (“God Makes No Mistakes,” from Lynn’s 2004 Grammy-winning Jack White-produced Van Lear Rose) and immortal classics like “Coal Miner’s Daughter” (the song Loretta says she’s most proud to have written, also the title of her 1976 memoir and subsequent Oscar-winning 1982 film adaptation) and “Don’t Come Home A’ Drinkin’ (With Lovin’ On Your Mind),” her first of 16 career No. 1 country singles.

File Under: Country
Listen Here

LDP08410_jpg - CopyPixies: Come on Pilgrim… It’s Surfer Rosa (4AD) 3LP
30th anniversary edition of the Pixies’ very first release, the eight-track mini-album, Come On Pilgrim (1987) and the band’s first full album, Surfer Rosa (1988). The triple CD and LP editions feature new artwork re-imagined by original designer Vaughan Oliver and the bonus disc, Live From The Fallout Shelter – one of the earliest recordings of the band, a radio concert that first aired in late 1986 on WJUL-FM in Lowell, MA. It’s been three decades since the release of Surfer Rosa – a record made up of rage, religion, gore, incest and superheroes named Tony – a debut album so good that it’s since seen as a masterpiece. A year prior came Come On Pilgrim, a mini-album released in 1987 which contained cuts culled from their first ever studio session, where they famously recorded seventeen tracks in just three days (in full, this session makes up the band’s much bootlegged and now officially released The Purple Tape). These formative records showed the Pixies to be an alien breed; four oddball outsiders from Boston blending US underground thrash rock, indie surf pop and Spanish-language flamenco with the Biblical mythology of Black Francis’ childhood.

File Under: Indie Rock
Listen Here

price - CopyMichael Price: Tender Symmetry (Erased Tapes) LP
Emmy award-winning composer Michael Price returns with Tender Symmetry, his second album with Erased Tapes. The ambitious musical project takes in a series of iconic National Trust locations across the UK as its inspiration, turning them into unlikely recording spaces. Michael and a host of musicians and collaborators – including soprano Grace Davidson (featured on Max Richter’s Sleep) and Shards (the choir on Nils Frahm’s All Melody) – traveled across the country in pursuit of places far removed from the traditional recording studio to create seven unique and moving pieces, straddling the past and the future. The diversity of Price’s choices range from the ruins of Fountains Abbey in Yorkshire to the Fan Bay WWII shelter, cut deep into the chalk cliffs of Dover. All owned by the National Trust save one, each venue became both the inspiration and the recording studio for Michael Price and his accompaniment of renowned musical ensembles, choirs and soloists. Acoustics varied wildly as the artists moved from places designed with sound in mind to locations which demanded the use of miners’ helmets for light and battery-powered sound gear. Produced by Price and Erased Tapes founder Robert Raths, the final recordings carry the genuinely unique sonic blueprints and spirit of each place – from the birdsong in the courtyard at Speke Hall to the steam-driven cotton mill accompaniment at Quarry Bank. “When we recorded the piece at Fan Bay in the World War II shelter deep inside the chalk cliffs of Dover, Peter Gregson’s cello wasn’t at all happy with the clammy, dank conditions; but to be in the tunnels where young soldiers spent months on end, constantly on alert for incoming bombers, gave the recording an extraordinarily intimate, moving quality,” explains Price. “At each site, the human mixed with the historical, and the natural environment of each space comes through with each piece. I tried to leave an imprint of each location on the record.” While each piece of music is named after the location in which it was created, William Blake’s Songs of Innocence and Experience courses through them as well. Soprano Grace Davidson sings Blake’s poignant words about nature, religion and the industrial revolution on several of the pieces including the astoundingly beautiful album closer “Shade Of Dreams,” written after the birth of Michael’s daughter. “The final piece, Shade of Dreams, is part of a group of pieces I wrote for the birth of our daughter, Emilie. It, like all the works on the album, takes its text from William Blake’s Songs of Innocence and Experience, in this case, A Cradle Song. As much as Tender Symmetry is about the past, it is firmly about the future, and all our of shared futures,” adds Price. Alongside soprano Grace Davidson and Shards choir, other performers include virtuoso cellist Peter Gregson, new music experimentalists Immix Ensembleand Manchester Collective.

File Under: Modern Classical
Listen Here

probot - CopyProbot: s/t (Southern Lord) LP
Circa 2004 Southern Lord’s brother in metal Dave Grohl told the label about some metal songs he had written and recorded with the dream of getting some of his favorite metal vocalists from the’ 80s to put their pipes on. The instrumentals they heard were legit bangers and Southern Lord could not wait to hear the result of what this insanely sick project would manifest itself as. Probot was that result and the eponymous album under the moniker is absolutely one of the favorite releases the label ever had the honor of being involved with. Grohl wrote, recorded and played most instruments on all tracks while heavy metal’s most upper crust like Cronos, Max Cavalera, Lemmy, Mike Dean, Kurt Brecht, Lee Dorrian, Wino, Tom G. Warrior, Snake, Eric Wagner and King Diamond burned their vocals onto these raging tracks! Soundgarden’s Kim Thayil also appears on a few cuts.

File Under: Metal, Foo Fighters
Listen Here

ARCLP054LP_CU - CopyCatherine Ribeiro & Alpes: Ame Debout (Anthology) LP
“Anthology Recordings is pleased to announce the reissue of the long out of print — and never before officially issued in the US — trilogy of albums by Catherine Ribeiro + Alpes, 1970’s N°2, 1971’s Âme Debout, and 1972’s Paix. Anthology’s presentation of these foundational LPs, arguably the group’s finest hours on wax, fills in a crucial missing link in the canon of psychedelic and experimental music of the 60s and 70s. In a lineage with other uncompromising women singers such as Edith Piaf, Nico, and Diamanda Galas, Ribeiro’s is a sound of possession, of ritual. Her approach shares more with performance art than it does with pop music. It’s the sound of love and madness and political tumult, stripped bare and emerged from dark recesses. With her weighty voice, she emphasized expression and meaning over immaculate, adventurous musicality. Each LP includes its own insert featuring photos and original press material culled from Ribeiro’s personal archive. Limited first run of 750.”

File Under: Psych, Experimental, French
Listen Here
Buy Here

ARCLP053LP_CU - Copy

Catherine Ribeiro & Alpes: No2 (Anthology) LP
“Anthology Recordings is pleased to announce the reissue of the long out of print — and never before officially issued in the US — trilogy of albums by Catherine Ribeiro + Alpes, 1970’s N°2, 1971’s Âme Debout, and 1972’s Paix. Anthology’s presentation of these foundational LPs, arguably the group’s finest hours on wax, fills in a crucial missing link in the canon of psychedelic and experimental music of the 60s and 70s. In a lineage with other uncompromising women singers such as Edith Piaf, Nico, and Diamanda Galas, Ribeiro’s is a sound of possession, of ritual. Her approach shares more with performance art than it does with pop music. It’s the sound of love and madness and political tumult, stripped bare and emerged from dark recesses. With her weighty voice, she emphasized expression and meaning over immaculate, adventurous musicality. Each LP includes its own insert featuring photos and original press material culled from Ribeiro’s personal archive. Limited first run of 750.”

File Under: Psych, Experimental, French
Listen Here
Buy Here

ARCLP055LP_CU - CopyCatherine Ribeiro & Alpes: Paix (Anthology) LP
“Anthology Recordings is pleased to announce the reissue of the long out of print — and never before officially issued in the US — trilogy of albums by Catherine Ribeiro + Alpes, 1970’s N°2, 1971’s Âme Debout, and 1972’s Paix. Anthology’s presentation of these foundational LPs, arguably the group’s finest hours on wax, fills in a crucial missing link in the canon of psychedelic and experimental music of the 60s and 70s. In a lineage with other uncompromising women singers such as Edith Piaf, Nico, and Diamanda Galas, Ribeiro’s is a sound of possession, of ritual. Her approach shares more with performance art than it does with pop music. It’s the sound of love and madness and political tumult, stripped bare and emerged from dark recesses. With her weighty voice, she emphasized expression and meaning over immaculate, adventurous musicality. Each LP includes its own insert featuring photos and original press material culled from Ribeiro’s personal archive. Limited first run of 750.”

File Under: Psych, Experimental, French
Listen Here
Buy Here

sakata - Copy

Akira Sakata: Fisherman’s.com (Trost) LP
Trost have unearthed another gem from the Japanese jazz maestro Akira Sakata, together with Bill Laswell, Hamid Drake, and Pete Cosey. Fisherman’s.com was released originally on CD, Japan-only, by Starlets Records in 2001. This release marks its first time on vinyl and available worldwide. Fisherman’s.com is Sakata’s ode to folksongs of the sea — an intense personal statement on the fluidity of tradition. Personnel: Akira Sakata – alto saxophone, vocals, synth; Bill Laswell – bass, synth; Hamid Drake – drums; Pete Cosey – guitar.

File Under: Jazz
Listen Here
Buy Here

shalada - CopyThe Sha La Das: Love in the Wind (Daptone) LP
The musicians and production team behind the great Charles Bradley present Daptone/Dunham Records’ newest sensations! Direct from Staten Island, The Sha La Das (a play on their surname, Schalda) are a musical family in every sense of the phrase. We’re talking real-deal, shoot-from-the-hip group harmonies of the highest order. The band is comprised of Patriarch, Bill – who honed his skill and cultivated his ear for harmonies at an early age, singing on the streets of Brooklyn with other neighborhood kids – and his sons Will, Paul and Carmine, all musicians in their own right (The Extraordinaires, Swivs, Paul And The Tall Trees). The genesis of the Sha La Das came to fruition when an old friend, Tommy Brenneck (Dunham/Daptone producer and musician), called upon the Schalda boys to sing back-ups on Bradley’s now classic Victim of Love. The second Tommy heard the four Schaldas sing he knew he had to make a record with them. This idea soon developed into a passion whose fruits have been cut into the 12″ masterpiece presented here. From the opening atmospheric guitar strum of “Open My Eyes” via a walk along the Coney Island boardwalk catching the last glimpse of sunlight at dusk of “Carnival” to the sublime crescendo of harmonies of the winsome “Love in the Wind,” each song evokes a deeply personal yet universal yearning that none of us can escape. Quite simply every song yields magic. So sit back, close your eyes and take in The Sha La Das Love in the Wind. Let the full realization of their harmonies wash over the lush instrumentation of the Menahan Street Band, and float into the starlit summer’s night.

File Under: RnB, Soul
Listen Here

sheoo - CopyArchie Shepp Meets Kahil El’Zabar’s Ritual Trio: Conversations (Black Sweat) LP
If Conversations celebrates the memory, the artistic and spiritual heritage of bassist Fred Hopkins — a historical member of the revolutionary Association for the Advancement of Creative Musicians of Chicago — who died in January 1999, it also marks the amazing collaboration between the Ritual Trio of Kahil El’Zabar (with Ari Brown and Malachi Favors) and the intrepid veteran Archie Shepp, the great voice of the ’70s Afro-free-jazz. Being a tribute that invites to an intimate memory, almost an antidote to exorcise the loss of a brother, the music is a spiritual hymn to life. Between ballads, hard-bop, and free-improvised accents, blow winds of vibrant pianistic chiaroscuros, which are reminiscent of the best McCoy Tyner in the great blinding quartet of John Coltrane in the ’60s. Furthermore, when an angular rhythmic base decisively follows the typical hypnotic ostinato of the ancient tribal rituals, the voice is expressed in the purest black spirituals (Big Fred and Brother Malcolm), pervading some moments of that “Holiness” culture dear to the dawn of Afro-American identity. Here, Shepp brings back the flaming shivers of the golden age, when his message of freedom resonated the true spirits of primordial Africa.

File Under: Jazz
Listen Here
Buy Here

KENZ001LP_CU - CopyMidori Takada & Lafawndah: Le Renard Bleu (K7) LP
Le Renard Bleu, the new musical and cinematic collaboration between Lafawndah and composer Midori Takada, and filmmakers Partel Oliva, takes a cross-generational echo as ground zero for recovering a crucial myth for uncertain times: the blue fox. As transmitted by Takada, the fox appears in both ancient Senegalese and Japanese folktales as the trickster archetype. Above all else, the fox is famous for its cunning nature. Renard Bleu marks the first new music released by Takada in nearly twenty years. Her first solo record, 1983’s Through The Looking Glass, has been rediscovered and heralded as a lost classic; the influence of her percussion trio, the MKWAJU Ensemble, continues to permeate and inspire a new generation. Takada has performed in numerous film score orchestras, including the ensemble for Akira Kurasawa’s Dreams (1990), coincidentally a key influence on Renard Bleu. In the ensuing years, Takada has worked closely with theater group the Suzuki Company of Toga on productions of Electra and King Lear, an experience, she says, that allowed her to pursue “a unity of music, body and space.” Equally, it is Lafawndah’s freedom of tone, decentralized maps of ancient and modern music cultures, and alloying of devotional intensity with modern songcraft casts her as a distinct relative of Midori Takada’s. One can trace the influence of artists such as Meredith Monk, Carlos Sara, and Andy Kaufman as much as musical antecedents AR Rahmann, Missy Elliott, or Geinoh Yamashirogumi. It is in a mutual commitment to this unity that Lafawndah, Takada, and Partel Oliva find fertile aesthetic common ground. The music of Renard Bleu originated in Takada’s preoccupation with the legend of the fox; after constructing a vivid instrumental composition dramatizing the spirit animal’s journeys through waterphone, bells, marimba, and various forms of drums, Lafawndah responded — in her inimitable mix of fairytale and undertow — with melodies and lyrics capturing a dialogue between her and the fox himself. Eventually, the duo met in Tokyo for a week of communing with the material at Avaco Creative Studios, where new elements were composed on site. Created in partnership with KENZO and premiered today via their channels, it was Partel Oliva who imagined a contemporary cinematic frame for the myth of the fox to reappear, creating a hybrid of choreography and narrative around Takada and Lafawndah’s performance of their joint composition (also titled Le Renard Bleu). 20+ minute project/track.

File Under: Ambient, Experimental, Percussion
Listen Here
Buy Here

SUBL127LP_CU

Traden (Trad, Gras Och Stenar): s/t (Subliminal Sound) LP
A brand-new studio album from Träden (“The Trees”), formerly known as Träd, Gräs och Stenar (“Trees Grass and Stones”) in different incarnations, but often just called Träden for short. Through long, crescendoing improvisations, Träden has found their own unique path in the music world for decades, creating a music with room for everyone. Many younger musicians and friends of minimalist, experimental music have been inspired and followed, astonished that a bunch of Swedish hippies made the planet’s most hypnotic, moss-fragrant psychedelic trance rock. Today, Träden consists of Hanna Östergren (Hills), Sigge Krantz (Archimedes Badkar), Reine Fiske (Dungen, The Amazing), and originator Jakob Sjöholm. Nisse Törnquist (Amason) also plays on three of the songs. In this latest, celebrated edition, the band has played for sold-out houses all over Sweden and other parts of the globe. “When we decided to record and release a new album it’s the people who are now in the group that plays on it. We have become a band again in the way that we can once again get out and gig more regularly. The name change is a way of freeing ourselves from the old band and its idiom, thus opening our minds to let the music find new ways, simply giving us more artistic freedom,” explains Jakob Sjöholm. The new album was recorded at Träden’s countryside music workshop and in good old TGS tradition, much of the material emerged by jamming. Then there are some songs that demanded some toil and despair. It has been a process where everyone in the band has been deeply involved throughout the course of work, in all stages of the production; from the first musical notes to the last choice of colors and images for the album sleeve. The music on the new album makes one to let go and be swept along in a soaring, endearing ecstasy, and be thrown into a wild but safe forest. Even though the band constellation has changed successively, the majestic roar continues. Sometimes the loudness is lifted out to the big, eccentric carpentry and chopped down to a nice “tree porridge”. Or on contemplatively growing songs, where the guitars’ winding and whirling calls to the very highest air bearings. Many fans describe Träden’s rough-cut music in almost spiritual terms. Träden answers with some mighty songs where the band reaches the mind-expanding oscillation that seems to only occur in their music.

File Under: Psych, Prog
Listen Here
Buy Here

SR403LP_CU - CopyUnivers Zero: Ceux du Dehors (Sub Rosa) LP 
Ceux Du Dehors is the third album by Belgian band Univers Zero, originally released in 1981. The title alludes to the short story of the same name by H. P. Lovecraft; the players read the story in studio, then proceeded to record the piece. A key release for the band, Ceux Du Dehors sometimes suggests a darker and more complex version of the motorik minimalism of classical music contemporaries Philip Glass and Steve Reich. It finds the group continuing to evolve and return to the more general and varied chamber music sound of their first release, 1977’s 1313 (SR 399LP), except with more precision and skill. The tricky charts of percussionist Daniel Denis and new keyboardist Andy Kirk are executed with great panache. The labyrinthine compositions are typically filled with unexpected twists and turns, and angular repetitions of jagged riffs that accelerate, decelerate and mutate in passages of acute tension or quiet but ominous dread. Vinyl comes on clear/red vinyl.

File Under: Prog
Listen Here
Buy Here

rollin - CopyVarious: B-Music of Jean Rollin (Finders Keepers) LP
Rising out of the smokey Parisian Mai 68 shrapnel and claiming his stake as the first French vampire movie director, the inimitable father of European Horrortica, Jean Rollin (1938-2010) has smudged the painted face of surrealist cinema for over five decades. Dragging his roots from beneath the Letterist/Situationist movements, avant-garde theatre and Belgian fine art groups and entwining them around the minds of sexual revolutionaries, the European comic book cognoscenti and the Parisian free jazz and rock scenes, Rollin stopped at nothing to bring his macabre phantasies of zygotic vampyrism and backwoods blood cults to Gallic cinematheques and beyond. Celebrating the immortal legacy of the late director Finders Keepers Records compile a detailed and comprehensive music cabinet of some of the finest musical moments from his initial directorial decade between 1968-1979, which provided a m much needed platform for the freak rock and free jazz that mirrored the distorted erotic visions in his own mind’s eye. Imagine Gong-gone-wrong meeting the Art Ensembles Of Châteauroux… Fantasy pop groups mutate and thrive within…

File Under: OST, Psych, Jazz, Experimental
Listen Here
Buy Here

JBH072LP_CU - CopyVarious: Britxotica! Goes Wild!: Percussive Pop & Crazy Latin (Trunk) LP
Trunk presents Volume Five of the killer Britxotica! series, looking this time at 16 super-rare and brilliantly bonkers Latin and percussive pop cues from the wild British Isles! Britxotica! (pronounced “Britzotica”) neatly describes an odd and yet-undocumented pre-Beatles British musical scene where famed UK composers as well as unknown singers and bandleaders threw away convention on holiday and went wild, wild, wild! Put together by Jonny Trunk with DJ/tastemaker and Smashing nightclub legend Martin Green, these groundbreaking new compilations shine a light on lost and forgotten corners of British culture and sound. For Britxotica! Goes Wild!, part five of our planned Britxotica! series we head to lively Latin-tinged dance floors where Brits could cha-cha-cha to the Kirchin band, “Jump In The Line” with Frank Holder and mambo with Ido or Don. This killer collection of British dance obscurities brings us lively sounds from the rarest UK record bins, including this time an amazing cover version of the legendary lounge-core hit “House Of Bamboo” plus the stunning “Jonny One Note” by Ted Heath, the track that originally introduced John Craven’s Newsround. To sum up, this is another exciting, wild and occasionally bonkers compilation by Jonny Trunk and Martin Green, two of the UK’s most wild record collectors. Also, there are men in underpants on the sleeve, what’s not to like? All cues mastered and sequenced by Jon Brooks, aka The Advisory Circle. Also features: Marion Ryan, Chico Arnez, Eve Boswell, Neville Taylor, Tony Scott, Frank Chacksfield, Charles Blackwell, Edmundo Ros, and Victor Silvester.

File Under: Exotica
Listen Here
Buy Here

YNF015LP_CUVarious: Killed By Death #15 New Zealand Rare Punk 77-82 (Redrum) LP
Another installment in this legendary series, this time centered in the obscure and extremely interesting early New Zealand punk rock scene. 13 tracks of pure Killed By Death mayhem by the likes of kiwi luminaries such as Suburban Reptiles, Scavengers, Toy Love, The Spelling Mistakes, and many more. No hippie shit, no disco, just pure punk rock bliss. Enjoy, mate. Also features Proud Scum, The Terrorways, Superettes, Features, Marching Girls, The Androidss, Riot 111, Dum Dum Boys, and Desperate Measures.

File Under: Punk

RMLP005LP_CU - Copy

Various: Zamaan Ya Sukkar (Radio Martiko) LP
Zamaan Ya Sukkar is a rich musical portrait from the time when Cairo was the vibrant cultural heart of the Middle East and the grandeur of the leading orchestras was incomparable. Unearthed Latin and jazz-tinged tracks will let your mind drift off to the glamorous nightlife of ’60s Cairo. Meet some forgotten souls of the Egyptian music scene and cinema world. Sensual voices and Bollywood-like orchestra sounds inflame the senses of the body with an intangible exotic twist! All music is remastered from original 45s produced by Sono Cairo. Features Salim El Baroudi, Sayed Salamah, Abd Al Fattah Mansi, Soad Mohamed, Al Thourathy Al Mareh, Taha Al-Ugayl, Mohamed Fawzy, and Magda Ali. Includes download.

File Under: World, Jazz, Exotica
Listen Here
Buy Here

…..Restocks…..

Leon Bridges: Coming Home (Columbia) LP
Dylan Carlson: Conquistador (Sargent House) LP
Conan: Existential (Napalm) LP
Billie Holiday: Lady In Satin (Legacy) LP
Khotin: New Tab (Pacific R) LP
Low: Double Negative (Kranky) LP
Abul Mogard: Above All Dream (Ecstatic)LP
Kevin Morby: City Music (Dead Oceans) LP
Willie Nelson: Troublemaker (Columbia) LP
Paul Page: Pacific Paradise (Subliminal Sounds) LP
Sarah Shook: Sidelong (Bloodshot) LP
Sarah Shook: Years (Bloodshot) LP
Snail Mail: Lush (Matador) LP
St. Paul & The Broken Bones : Young Sick Camellia (Records) LP
Jean Claude Vannier: L’Enfant Assassin des Mouches (Finders Keepers) LP
Wire: Chairs Missing (Pink Flag) LP
Young Fathers: Cocoa Sugar (Ninja Tune) LP
Various: Warfaring Strangers: Darkscorch Canticles (Numero) LP
Various: Son Cubano NYC (Honest Jons) LP
Various: Spider-Jazz (Trunk) LP

Tagged , , , , , ,

…..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
Listen Here
Buy Here

…..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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

…..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

Tagged , , , , , ,

…..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
Listen Here
Buy Here

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
Listen Here
Buy Here

…..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
Listen Here
Buy Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here
Buy Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here
Buy Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

…..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

Tagged , , , , , ,
Advertisements