Category Archives: Uncategorized

…..news letter #1050 – roger roger…..

Another Thursday, another stack of new releases! So many big titles lately, it’s like everyone spent the last 2 years writing and recording new albums! Anyway, as always, I’m behind so, read on!

Current operations…..

– in-store shopping/pick ups – 11 – 6 pm Monday – Friday, 11 am – 5 pm Saturday
(if you don’t want to come into the store for a pick up, call and/or use the back door)
– We will be wearing masks, if you want to, great! If not, that’s also fine, but please be respectful of other people’s space and decisions.
– Sanitize your hands (we’ll have some)

…..picks of the week…..

Romeo Poirer: Hotel Nota (sferic) LP
If you plot a line between Jon Hassell’s ‘Dream Theory In Malaya’ and Jan Jelinek’s ‘Loop Finding Jazz Records’, you’ll find this pearl lodged somewhere in between. Add in cover art that reminds us of the sun-bleached breeze of Antena’s eternally nostalgic ‘Camino Del Sol’ and you have three of our favourite albums referenced in one paragraph. In other words; essential listening if yr into the aforementioned, or if you’re in desperate need of some time alone, washed up on a beach, contemplating all that can be good in this life. Following albums from Space Afrika, Perila, Jake Muir and Echium, composer/collagist Roméo Poirier debuts on Manchester’s sferic label with an evocative and beautiful round-trip to Venusian beaches and back. Working in the crème-concrète and exotica style that made his ‘Plage Arrière’ a cult hit in 2016, Poirier conjures gauzily impressionistic beach scenes and heady sunny day feels from a fine mix of granular processing and bleached-out Balearic tropes in the dilapidated but deeply charming environs of ‘Hotel Nota’. Armed with a suitcase of floral shirts, trunks, paperbacks and a laptop, he checks into a lounging, relaxed and lush sound that appears to shift and shimmer with the iridescent aftereffects of a daiquiri or the warm, turquoise waters by his feet. Taking up residency in an imagined lounge space where Hassell and Andrew Pekler could have once seduced each evening’s guests, Poirier applies his filigree sampling and rearrangement techniques with rarified, ephemeral effect to float from smeared Hassellian brass in ‘Thalassocratie’ to smoky, ember crackle jazz in ‘Le bematiste’, and frayed loops in ‘Du Rocher’ redolent of Biosphere’s ‘Dropsonde’, with half-recognisable motifs that thread through and tie the record together like tropical spider webs. Poirier uses tactfully textured electronics and timeless dubbing to realise an electronic simulacra of a world which becomes real through its eccentricities and cohesive integration of sounds. Trust there’s no mosquito bites or sunburn here, but you may not be able to escape the feeling you’ve been on holiday after immersing in Poirier’s careful world building.

File Under: Ambient, Electronic, Fourth World, Kris’s Picks
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Amancio D’Silva: Sapana (Roundtable) LP
It is widely accepted that the recorded musical output of Indian-born British guitarist Amancio D’Silva came to a premature closure with the landmark 1972 albums, Cosmic Eye and the unreleased masterpiece Konkan Dance. The Roundtable are here to prove otherwise, announcing the discovery of an extraordinary lost recording. Forty years after it was recorded we proudly present Sapana, the forgotten piece of a remarkable musical legacy, the final recording from one the most singular artists to emerge from the British Jazz scene of the 1960s/70s. Recorded in 1983 and released here for the first time, Sapana is thematically akin to Cosmic Eye, a further musical impression of the subconscious (Dream Sequences), vividly imagined with traditional Hindustani and western improvisation. A spellbinding fusion of Indian raga and New-Age jazz. Celebrated as a pioneer of the ‘Indo-Jazz’ movement of the 1960s, D’Silva’s adventurous synthesis of modal jazz and Indian classical music defined the seminal 1969 Lansdowne jazz recordings Hum Dono and Integration. Here we find D’Silva fifteen years later, removed from the jazz scene and musically in place of deep introspection and meditative tranquility. The recording features Sitarist Clem Alford, a collaborator from the Konkan Dance sessions plus renowned Tabla player, Millar and Saxophonist/Flautist Lyn Dobson, a musician who had previously worked with Soft Machine, Third Ear Band, and Henry Lowther. Together the quartet construct a deeply evocative set transcending the realm of both jazz and Indian music. Pressed on 180g vinyl and packaged in a custom flip-back sleeve.

File Under: Jazz, Psych, Indo-Jazz, Kris’s Picks
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Keith Fullerton Whitman: GRM (Generators) (Nakid) LP
Genius-level, fractal re-arrangement from Keith Fullerton Whitman on his first vinyl release in what feels like years, here blessing Japan’s NAKID label with a new instalment in his forever-evolving ‘Generators’ project, arcing from bleeping post-Kosmische sounds into completely unexpected drum mutations in footwork and grime modes. It’s properly head melting gear that links the algorithmic mindgames of Laurie Spiegel with the floor-bending rhythmic experimentation of Mark Fell, Rian Treanor or Jana Rush, and the first in a three part series that offers some of the strongest gear we’ve heard from one of the very best in the game. Modular synth scientist, critic and historian Keith Fullerton Whitman first debuted his ‘Generators’ set in 2009, using a modular setup to create non-repeating melodic patterns that basically came close to generating themselves. Over the course of hundreds of live shows (and a handful of releases on Root Strata, Editions Mego and other labels), Whitman glacially honed his process and allowed the concept to slither down different avenues, mutating as it picked energy from the various venues it was situated in. His rigorous method meant ‘Generators’ was never played out the same way twice, veering from psychedelic Kosmische experimentation to obliterated, off-grid Techno. In 2019, on the tenth anniversary of the project, Whitman was invited by the GRM in Paris to set up in Studio C, where he avoided the arsenal of pristine, museum-worthy modular synthesizers and instead reprogrammed his classic ‘Generators’ patch. Recorded in a single take using luxe analog-to-digital convertors, the result is a 45-minute durational piece, split into two distinct sides for this release. “Very little manual interaction happened,” Whitman explains. The music is, as its title suggests, generative, and at this point basically sounds as if it reached its most advanced, final form. The first few minutes of the opening side mine the original theme, with clocked LFO shapes triggering oscillator blips in mind-expanding non-looping patterns. Soon, percussion enters the matrix, at first wrong-footing us with a 4/4 fake-out – possibly nodding to the piece’s 2010 Root Strata iteration – before splitting into staccato polyrhythmic abstractions of the most loose-limbed and deadly variety. General MIDI drums can sound almost hilariously boxed-in, but handled by Whitman they show off a plastic cultural sheen to piercing effect, deployed in a way that re-draws the rhythmic bass music of someone like Jlin while nodding to Mark Fell and Rian Treanor’s quasi-generative dance explorations. These comparisons take on even more weight on the second side, where Whitman opens up his filters to allow the synth bleeps to sing even more loudly, introducing that all-important clap/hat interplay that dialogues with Atlanta and Chicago simultaneously. KFW is without question one of the greatest contemporary artists to prize electronic music for electronic music’s sake, addressing its fundamentals and relishing its capacity to generate peculiar forms and trigger hard-to-place feelings. ‘Generators (GRM)’ is an ideal case in point, providing essential brainfloss for anyone who appreciates the concept, but ultimately connects to the visceral, fluid energy of anything from Parmegiani to Autechre to DJ Nate. Unreal.

File Under: Electronic, Ambient, Kris’s Picks
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Various: XKatedral Anthology Series I (XKatedral) LP
XKatedral Anthology I is the first in a series of archival releases dedicated to presenting music by XKatedral affiliated composers working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2010 – 2020. Four of the works included here were originally released on cassette tape early on in the label’s history, while the two remaining pieces are presented by the label for the first time. “The works Ir Himinn, Grooenn by Kristoffer Svensson, Disquiet (Heart) by Marta Forsberg and Lamé by Isak Edberg were first released on the compilation XKatedral Volume II in 2016. Svenssons piece from 2014 combines justly tuned gamelan percussion and prepared piano intricately interwoven in a way that obscures the boundaries between the two instrument groups. Forsberg and Edbergs pieces both use a monolithic form to explore the timbral and harmonic spaces provided by the Düben Baroque organ situated in Tyska Kyrkan in the oldest part of Stockholm. While similar in terms of instrumentation the two works differ formally – Edbergs Lamé composed in 2010 uses the registers of the organ to articulate a seamless spectral transformation while Forsbergs Disquiet (Heart) from 2014 deals in blocks of sound with a varying degree of opacity, saturation and intensity. Glory for two electric guitars by Caterina Barbieri and Kali Malone was composed and recorded in Tempo Reale in Florence, Italy, and was originally released on the cassette compilation XKatedral Volume III in 2016. This music takes the form of an ever-evolving hypnotic pattern shared by the two instruments articulated through an additive and subtractive canon. Dissolving Ceremony, composed in 2012 by Edberg/Erlandsson/Lisinski, was first presented publicly on the self-released record Stratum. The music contained in that release was formed from a collection of gamelan percussion instruments augmented by two sets of live-electronic instruments tuned to the harmonic framework formed by the partials of the metal percussion. Originally positioned in the center of the record running order between two long monolithic process-based pieces, Dissolving Ceremony now stands on its own as a memory of a time and methodology from the not so distant past. The newest piece in this set is Shipwrecks by Daniel M Karlsson. While this work is a recent one Karlsson should be considered one of the forerunners of the musical expression contained within this record set. Active within new music for two decades his strongly articulated musical ideas and constantly evolving craftsmanship has resulted in an enormous body of work, and has served as an inspiration for many of his fellow composers. This piece is a celebration of transposition and its immense capacity for timbral transformation using a vast array of instruments performed, recorded and electronically treated by the composer to form a liquid uncanny topography where a deeply personal harmonic language constantly shifts, slides and shivers.”

File Under: Avant Garde, Drone, Experimental
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Kris & Tavi: Chiral (Post Present Medium) CS
Kris & Tavi are a two piece band comprised of foothill dwelling multi-instrumentalists Peter Kris and Tara Tavi. On their latest release under this name, the anti-fracking, pro-cannabis activists (“Kris and Tavi” is an anagram of “drink sativa”) simulate reverb guitar and echoed vocals by manipulating field recordings of environmental destruction, a painstaking process of digital layering, processing and editing. The last track on the album is constructed entirely from sounds recorded at a drilling site in northern British Columbia on the autumnal equinox of 2020. It is rumored that Peter Kris and Tara Tavi are / were in bands such as Amps For Christ, Auto Da Fe, German Army, Final Cop, Q///Q, Germ Class, Soddamn Inssein, Aye Aye Captain, ThunderSnail, Bavaria, Savage Republic, Blue Silk Sutures, Concrete Colored Paint, Body Image Calendar, Body Habitat, MERX, Submissions and 0824.

File Under: Lo-Fi, Experimental, German Army, Ian’s Picks, Kris’s Picks
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…..new arrivals…..

Black Keys: Dropout Boogie (Easy Eye Sound) LP
After 10 albums, the last five of which have gone top 10 or better, six Grammy awards, and sold-out tours around the world, The Black Keys are back: The duo, called “one of the best rock ‘n’ roll bands on the planet” by Uncut, delivers its eleventh studio album, Dropout Boogie. Ushered in by lead single, “Wild Child,” Dropout Boogie features collaborations with Billy F. Gibbons (ZZ Top), Greg Cartwright (Reigning Sound), and Angelo Petraglia (Kings of Leon). As they have done their entire career, the duo of Dan Auerbach and Patrick Carney wrote all of the material in the studio, and the new album captures a number of first takes that hark back to the stripped-down blues rock of their early days making music together in Akron, Ohio, basements. “That’s always been the beauty of the thing Pat and I do. It’s instant,” Auerbach says. “We’ve never really had to work at it. Whenever we’d get together, we’d just make music, you know? We didn’t know what we were going to do, but we’d just do it and it would sound cool. It’s the natural chemistry Pat and I have. Being in a band this long is a testament to that. It was a real gift that we were given. I mean, the odds of being plopped down a block-and-a-half from each other in Akron, Ohio – it just seems crazy.” After hashing out initial ideas as a duo at Auerbach’s Nashville-based Easy Eye Sound studio, Auerbach and Carney welcomed new collaborators Gibbons, Cartwright, and Petraglia to the Dropout Boogie sessions. Although The Black Keys previously co-wrote songs with frequent producer/collaborator Danger Mouse, this is the first time they have invited multiple new contributors to work simultaneously on one of their own albums. Both Cartwright and Petraglia can be heard on “Wild Child.” “Living in Nashville and making records here has opened both of our minds to that experience a little bit more,” said Auerbach. “I knew Pat would love working with both of these guys, so we decided we’d give it a shot. It was the first time we’d ever really done that. It was fun as hell. We just sat around a table with acoustic guitars and worked out a song ahead of time.” “The cool thing with Greg is that he wants to approach stuff with a story in mind – there’s a plot, almost,” added Carney. The Black Keys had previously jammed with ZZ Top guitar legend Billy F. Gibbons more than a decade ago in Los Angeles, while ZZ Top was working on an album with producer Rick Rubin. “We never even really wrote one song – we just had some ideas we put down,” Carney said. “We really just wanted to hang out with him. We stayed in touch, and Dan invited him to the studio once we started working on this album.”

File Under: Rock, Blues
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Ben Bondy: Sibling (Experiences LTD) LP
Ben Bondy blesses Special Guest DJ’s Experiences Ltd with a near-fathomless solo debut of sensual, low key electronics and intimate nocturnes following a pair of peaches from Ulla and Folder. This one’s all fizzing warm, heady and loved up, highly recommended listening if you’re into anything from Newworldaquarium/154 to Harold Budd. Like his recent split with Exael for Huerco S.’ West Mineral, ’Sibling’ sees Bondy return to a seductively gauzy mid-ground sound that over the course of 15 tracks lulls and lists with a minimalist patience, allowing forms to emerge and evaporate in constantly shifty transitions and weathered plays of light according to an immersive eco-logic. Those liminal traces of sound and influence are almost imperceptible, pulling you into a protective amniotic sound-world that’s evocative and comforting. The album actually started out as a single LP but the mood spilled over into something twice as long and deep with it, creating what he describes as “kinda two parts to one being. kinda like the way the bonds of friendship/siblinghood work”. This fraternal pathos percolates throughout the album, knitting together gently windswept permutations of thizzing pads and frayed rhythms under a smudged and slowly turning kaleidoscopic lens. It’s pretty much the definition of hypnagogic, likely to draw your eyelids to half-mast and your mind to blissed-out dream states.

File Under: Electronic
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Calexico: El Mirador (Anti) LP
Calexico’s Joey Burns and John Convertino return in 2022 with their luminous tenth studio album, El Mirador; a hopeful, kaleidoscopic beacon of rock, bluesy ruminations and Latin American sounds. Oscillating between haunting desert noirs and buoyant jolts of cumbia and Cuban son, the album is permeated by longing. The title track “El Mirador” conjures images of a lighthouse, beckoning to lost souls in the night with hypnotic bass lines and cascading percussion. Convening at longtime bandmate Sergio Mendoza’s home studio in Tucson, Arizona, El Mirador was recorded throughout the summer of 2021, crafting one of their most riveting and whimsical productions to date. Convertino, who now resides in El Paso, and Burns, who relocated to Boise in 2020, channeled cherished memories of Southwestern landscapes and joyful barrio melting pots into an evocative love letter to the desert borderlands that nourished them for over 20 years. Burns and Convertino have been performing together for over 30 years, sharing a deep love of jazz and usually building songs on a foundation of bass and drums. But all these years later, Calexico is still breaking new ground. El Mirador showcases a sunnier side of the band, cutting through two years of pandemic fog with a blast of danceable optimism. Writing and recording alongside Sergio Mendoza (keys, accordion, percussion), the album expands on long running influences of cumbia, mariachi and the plethora of diaspora sounds flourishing throughout the Southwest. El Mirador also features vocals from Guatemalan singer-songwriter Gaby Moreno, while Spanish rocker Jairo Zavala brings his signature bravado to the track ”Cumbia Peninsula.” By working with friends and recurring collaborators, Calexico also highlights the unique social and linguistic intersections at the US-Mexico border and the magnificent possibilities of a borderless world.

File Under: Indie Rock
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Cool Maritime: Big Earth Energy (Western Vinyl) LP
Big Earth Energy plumbs the depths of his multimedia mind and naturalist heart, spinning an impressionistic narrative world off of cultural touchstones like the PC game MYST and the work of Japanese composers like Hiroshi Yoshimura, Yoichiro Yoshikawa and Studio Ghibli’s Joe Hisaishi. Using those inspirations and guided by Sean Hellfritsch’s experience as an animator and filmmaker, Big Earth Energy is the soundtrack to a hypothetical video game with a pointedly ecological premise and a twist of psychedelic charm. In Hellfritsch’s imagined virtual journey, the player assumes the perspective of a treefrog 65 million years ago, hopping epochs with each new level, forming a comprehensive picture of the massive changes the planet has gone through over eons. The ultimate goal of the game is not to amass resources, defeat enemies, or gain power, but to fully witness the unfolding of one of the biggest systems of energy imaginable. The album is steeped in exploratory RPG intrigue, possibility, and contemplation, lovingly overlaid with Miyazaki-an sentiments and aesthetics. Its meticulous polygonal arrangements recall the computerized sheen of late 80s Japanese environmental music, using true-to-period gear. Hellfritsch’s reconnaissance of virtual reality and actual reality feels skillfully balanced as if knowing how to navigate one dimension is merely training for traversing its opposite. On Big Earth Energy, he pinpoints the discovery, escape, introversion, and imagination that are mutual of the two worlds, which he scouts as if they are the same territory.

File Under: Ambient, Electronic, New Age
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DJ Python: Mas Amable (Incienso) LP
Call it deep reggaeton, avant-dembow, whatever; Mas Amable was easily our most rinsed record of the year, a sidewinding trip through slippery, mutable 90/180bpm metrics for lovers of rhythm and sound of all shapes and colours. Following the reticulated deep house-paced hybrids of his acclaimed 2017 debut, ‘Mas Amable’ displays a serpentine guile that surely lives up to Brian Piñeyro’s moniker. Through 50 minutes, he dangles the dance by a fine conceptual thread that ties a constant rhythmic skeleton to subtly shifting tonal and textural variables.  We start from shoreside ambience and lush field recordings, into hip-gripping dembow permutations and tripped-out vocals, elegantly and rudely shifting the pressure gauge from a gentle propulsive sway to darker steppers and wavey, whistling melodies, before neuro D&B stabs light up the dance and it all fades out on a deep blue reggaeton tip.  Like a mutable organism imperceptibly transforming before our eyes, ‘Mas Amable’ is both effortless and unfathomable, a heady trip through liquid, morphing tressilo drums and junglist markers that, at their peak, provide ample space for LA Warman’s vocal narration, imbuing proceedings with an eerie prescience and an existentially weary message. It all makes for a unique and richly immersive experience that we said back in 2020 would rank among the definitive records of the year, and so it did – at the very top. Classic, no less.

File Under: Electronic
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Envy of None: s/t (K Scope) LP
Envy Of None is the new band and debut album from Alex Lifeson (Rush), Andy Curran (Coney Hatch), Alfio Annibalini and singer Maiah Wynne. The ambient, cinematic darkness that the collective creates evokes a powerful atmosphere that will excite superfans and new audiences alike. Lifeson and Curran’s long-time friendship was the catalyst for the band’s inception – but Envy Of None is not defined by its members resumes – they aren’t Rush or Coney Hatch and far more than the sum of its collective parts. Above the beautiful cacophony of guitars, synths, bass and drums sits the fragile melodies of 24-year-old vocalist Maiah Wynne – the newest name in Envy Of None’s impressive personnel. Hearing Mariah’s voice intertwined with the music will bring back memories of when you heard Shirley Manson of Garbage or Amy Lee of Evanescence for the first time. Wynne brings charm and beauty to these recordings in spades – with floating hooks & emotive lyrics transcending the oftentimes textural aesthetic. The Storm Thorgerson-esque visuals that grace the cover may remind fans of Lifeson’s earlier work – Curran explains: “[the] Hypnosis style artwork of albums like Pink Floyd & Led Zeppelin & others were so eye catching, surreal & attention grabbing & we wanted to scratch that itch. We were instantly drawn to Lebanese photographer Eli Rezkallah at Plastik’s photography & design work. We fell in love with a bunch of his work – we had a hard time choosing something because he had so many great images”. However, the 70’s prog/Rush comparisons may end with the artwork – the music that this ensemble creates treads new ground with each track throughout their 42-minute debut, from industrial/electronic influences to post-progressive soundscapes. Envy Of None create a sound that will haunt, comfort and ignite. “If you can picture maybe Massive Attack with a little bit of some electronic stuff with Nine Inch Nails influences, with this beautiful, fragile, sweet voice & some very, very dark heavy sounds,” Curran notes.

File Under: Rock, Rush
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Exael: Collex (West Mineral Ltd.) LP
Exael debuts on Huerco S’ West Mineral label with ‘Collex’, a deep, impressionistic album of ambient soundscaping recorded between Chicago and Berlin, reminding us of early Vladislav Delay, Robert Henke’s site-specific work as well as that excellent Pendant release that kicked this label off back in January this year. Crafted over the two years since their first album,‘Collex’ finds Exael mining a finer and more elusive variant of ambient music, connecting dots between classic vapor-trail dub and hyper-modern inversions you’d more readily associate with 0PN or Kara-Lis Coverdale. With a richly refractive, iridescent quality, it marks the inward/outward distance travelled between concrète and electronic textures and spatial parameters, manipulating notions of stasis and kinesis with an unfathomable, gaseous quality that also reminds us of classic Vladislav Delay and Robert Henke’s site-specific work. It follows an excellent split EP with likeminded producer, Ryan Fall a.k.a. uon, as well as a number of compilation appearances with Allergy Season/Discwoman, Physical Therapy and Carpet Group Recordings, the latter of whom coincidentally issued Exael’s self-titled 2017 album under the Naemi alias. From the milky plumes of ‘Into Deep’, thru the scudding subaquatic electro-dub of ‘Split’, to the bristling gunk of ‘Choeo3’ and the Wanda Group-like subsidence of ‘Cart’, to the lushly fractious flux of ‘Glass In Plastic (with Arad Acid)’ and ‘Anc Alt’, Exael maintains a cool head despite the disorienting G-force and upended context, elaborating a form of simulacra that uncannily reflects the real world’s realigned ideas about gender, mental health, and emotional wealth. Offering a modernist re-vision of classic Chain Reaction and early 00’s dub inversions, it’s an uncanny reminder of a relatively recent era in electronic music that seems far out of reach in the present climate, a perfect accompaniment to Huerco S’ own excursion as Pendant. If you were into that, we reckon this one will rule your world.

File Under: Electronic
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Friimen Muzik Company: Free Man (Tidal Waves) LP
THE FRIIMEN MUZIK COMPANY (also known as FRIIMEN) was formed after the Biafran war in 1973-1974 in the town of ABA in the eastern part of Nigeria. Aba was the Number 1 Music Hub in the entire Eastern Region of Nigeria. While bands and artists like ‘Ofege’ and ‘Fela Kuti’ ruled the LAGOS scene, bands like ‘Friimen’ and ‘The Apostles’ were ruling the ABA scene. Before forming the band, most of its members were already working together as freelance session musicians backing up solo artists on several recordings and concerts (or were playing in military bands that gradually became civilian bands because the war had just ended). FRIIMEN members’ credits were numerous and they played, wrote or performed on recordings from well-known acts like The Funkees, The Jets, The Apostles…and countless others. When they started concentrating on writing their own songs, the group instantly took off and became an overnight hit that resulted in them doing multiple successful nationwide tours. FRIIMEN would go on to record three albums: Free Man (1976), We Can Get It On (1978) and Merry Man (1979). All three albums were released on the Aba based label Anodisc Records (THE key label to be on if you wanted your music heard and out there), Anodisc also released hit records by ‘Sweet Unit’ and ‘Voice Of The Cross’ but The Friimen Muzik Company was the label’s signature band. The Friimen Muzik Company was so solid that every new group or artist wanted the Friimen to back them up in the recording studio. As a result, Anodisc Records received tons of demo cassettes from aspiring artists…the label would then first consult the Friimen members to see if these new acts were worthy of giving a chance to record and release an album for Anodisc. Over the course of the years the band went through several line-up changes…but in 1980 the band finally broke up and their story came to an end. The album we are presenting you today (Free Man from 1976) was recorded at the famous Decca Studios in Lagos and comes swinging right out of the gate with a set of no less than EIGHT monster tunes. Expect nothing less than crazy afrobeat and over the top melodic funk influenced by a wide array of artists (both local and international). Mesmerizing solos, captivating grooves, impeccable sequences that turned many heads…everything you need to get a dancehall into a complete uproar. The musicians’ skills are just plain incredible! FREE MAN is a quintessential record that every serious collector or fan needs to have in his/her collection. Originally released in 1976 on Anodisc Records Nigeria, Tidal Waves Music now proudly presents the first official reissue of this seminal Afrobeat/Afrofunk album. This is also the first time the album is being released outside of the African continent. This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) with obi strip and featuring the original artwork. This reissue also comes with an insert featuring pictures of the band and extensive liner notes from band-member Arthur Freds

File Under: Afrobeat, Funk, Africa
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FUMU: Enter the Anima (Youth) LP
FUMU finally unveils that long-promised new album for YOUTH following last year’s ‘Almost, Never, Nearly Where?’ collection of sawn-off oddballs, presenting a throbbing pouch of productions that run the gamut from Bunker-style red-liners to ruffkut dancehall, sore electronics and a couple of brilliantly fucked vocal cuts that are prob the finest screwed-pop drills to have emerged from this city in years. A longtime spar of Turinn (Modern Love) and Richard Harris (Sockethead) as part of the Return to Zero gang, FUMU has been teasing skills for the last half-decade or so on a couple of deadly CD’s and one destroyed bashment 45 inspired as much by manc dancefloor undercurrents as the Bladerunneresque landscape of his formative Teesside stomping grounds. ‘Enter The Anima’ is his debut vinyl longplayer, and delivers on keenest expectations in wild style, looking back at formative and fractious asphalt-grained dance music archetypes while pacing toward a new in-between mode that fizzes with too much energy to stay in one place for more than a minute. The palette is prob gonna be familiar to anyone who caught any of those previous bullets, but where it deviates is where FUMU has us most gripped, starting at the end of the line with the mad ‘Kiss Down’ – easily the most progressive and brilliant thing here, framing Zula’s incredible vox around angular, slowed down madness that feels like a dismantled antithesis to hyperpop, deployed at a 70bpm crawl for ultimate unease, ending abruptly before it’s properly even begun. ‘Forge Tides Of Fire Inside’ also plays with the form, this time re-imagining a booty flex spun off-centre, sort of miami bass via the nastiest Bomb 20 DHR missile, before “I Was Sunk Up To My Neck” frames a heads-down skank with classic manc-synths like some hidden cut off that 0161 comp. And actually that’s not a bad frame of reference for the album generally, a sort of wildly shredded update on signature manc electronic/club styles, except endlessly more fractious and moody – and all the better for it.

File Under: Electronic, Industrial
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Lightnin’ Hopkins: In New York (Candid) LP
Recorded November 15, 1960 at the Nola Penthouse Sound Studios in New York, Lightnin’ In New York captures the legendary bluesman in classic form, including some rare solos on the piano. Produced by Candid Records label co-founder, famed music critic and social activist, Nat Hentoff, and recorded at a time when Hopkins was being “rediscovered” by white audiences, the bluesman was reluctant in accepting his new role as an “artist” before predominantly white audiences. It was only a month earlier in October 1960 that Hopkins had made his Carnegie Hall debut alongside folk luminaries Joan Baez and Pete Seeger. Before that, he had rarely ventured outside of his native Texas. “In this album,” writes Hentoff in the extraordinary liner notes that accompany this 180g vinyl LP reissue remastered from the original master tapes by Bernie Grundman. “Lightnin’ has continued to illustrate how fresh, personal and surprising the blues still can be when they are molded by so strong and confident a source as this man from Houston.”

File Under: Blues
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Haruomi Hosono: Music for Films 2020-2021 (Speedstar) LP
Haruomi Hosono’s 3 works released all at once! Covers recent movie music by Haruomi Hosono! What is the theme song of his new live documentary movie ‘’SAYONARA AMERICA’‘? Happy End ’’Goodbye America Goodbye Nippon’’ self-cover ‘’Sayonara America, Sayonara Nippon’’!

File Under: Japan, Electronic, OST
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Harry Hosono & The World Shyness: Flying Saucer 1947 (Speedstar) LP
The original CD was released in 2007. An analog release of the masterpiece of the Minister of Education, Culture, Sports, Science and Technology Award in May 2013. After that, the long-awaited analog reissue was a rare work in the used board market. Guests Artist: Kiyoshiro Imawano, UA, Kaori Kizu, Shigeru Kizu, Mickey Curtis. Born 1947 in Tokyo Japan, a founding member of both the influential folk rock act Happy End and the pioneering electronic trio, Yellow Magic Orchestra. Haruomi, or Harry Hosono has also released a number of solo albums in his five decade career. His work spans many styles that effortlessly fuse exotica, funk, country, electronic, ambient, and everything in-between, with projects also including film soundtracks and production duties for other artists. His latest work is Hochono House, a reimagining of his debut solo album, and the Academy Award-nominated film ’’Shoplifters’’ soundtrack.

File Under: OST
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Egil Kalman: Kingdom of Bells (iDEAL) LP
Mind-bending solo debut of just intoned modular synth and double bass treks from Swedish player Egil Kalman, exploring borderlands between ancient drone, Scandinavian folk and experimental music horizons somewhere between Kali Malone, FUJI||||||||||TA and Keith Fullerton Whitman – a total stunner. Attending to the rare and classic Synthi 100 model coupled with tactile, thrumming low end strings, on ‘Kingdom of Bells’ Kalman continues to steer his practice to a personal truth after a pair of collaborations with Fredrik Rasten and Zoe Efsthathiou, and chops for Alasdair Roberts & Völvur. The 10-part album proceeds into conceptual space that we’d associate with the deep, purposeful tonal explorations of the XKatedral label, or, perhaps more acutely, Naaljos Ljom’s elisions of ancient Indian classical and forgotten Norse folk musick; repurposing the mystic potential of time-honoured tunings in a series of succinct windows to a place out of time. Kalman clearly revels in the space where distinctions of synthetic and acoustic melt into one another, producing tones that become hard to attribute to either source while giving them character thru curdled melodic cadences and curious harmonic juxtapositions that slowly, but surely, lead the head off on unexpected side missions. Opener ‘Cloudless daybreak’ balances a primordial crudeness with timelessly transportive lines of extended melody that diffuse into wondrous shapes across the album, from his descriptions of bats and nocturnal activity on ‘Iannis’ and ‘Yellowhammer’, thru deliciously groggy keen of ‘Lyra’ to pool in viscous subharmonics on ‘Delaware Road’. The last trio of tracks are on an especially heart-stopping tip, bathed in ambient light and a powered-down energy like unexpectedly soothing sleep paralysis that eventually fades to black. An incredible debut, one to swoon for, hard.

File Under: Electronic, Ambient
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Killer Mike: R.A.P. Music (Watertower) LP
R.A.P. Music, the breakthrough fifth studio album by rapper Killer Mike, was originally released in 2012 and is finally back in print as a colored vinyl 2LP-set with a bonus disc of instrumentals! Production was handled by rapper and producer Jamie “El-P” Meline; the album was the first collaboration between Killer Mike and El-P, who would later form the critically acclaimed duo Run the Jewels. Snares crash like abandoned buildings being blown up. Synthesizers ooze with a diseased glow of something dying in a toxic water supply. The effect is like a futuristic junkyard come to life. In the midst of the decay of post-industrial New York, Killer Mike, hip-hop inferno, pours fuel on the already inflamed. R.A.P. Music received widespread acclaim from music critics and landed on numerous Year End Best Album lists.

File Under: Hip Hop
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Monophonics: Sage Motel (Colemine) LP
The world’s premier psychedelic soul band, Monophonics cordially invites you to attend the grand re-opening of the once thriving, once vibrant establishment, the legendary Sage Motel. A place where folks experience the highs and lows of human existence. A place where big dreams and broken hearts live, where people arrive without ever knowing how they got there. It’s where individuals find themselves at a crossroads in life. What started as a quaint motor lodge and a common pitstop for travelers and truckers in the 1940s morphed into a bohemian’s hang by the 1960s and 1970s. Artists, musicians, and vagabonds of all types would stop there as seedy ownership pumped obnoxious amounts of money into high end renovations, eventually attracting some of the most prominent acts of the era. But when the money ran out, the Sage Motel devolved into a place where you rent by the hour. Sage Motel, Monophonics’ fifth studio album since 2012, tells its story. Once again produced by brilliant bandleader Kelly Finnigan, the album captures a timeless sound that blends heavy soul with psych-rock. If these walls of the Sage Motel could talk, this is what they’d say. So join us as we examine where the stories are told and experiences unfold…and sink into a soft pillow of soulful psychedelia…down at the Sage Motel.

File Under: Funk, Soul
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Kevin Morby: This is a Photograph (Dead Oceans) LP
“This is a photograph.” The story begins with Kevin Morby absentmindedly flipping through a box of old family photos in the basement of his childhood home in Kansas City. Just hours before, at a family dinner, his father had collapsed in front of him and had to be rushed to the hospital. That night Morby still felt the shock and fear lodged in his bones. So he gazed at the images until one of the pictures jumped out at him: his father as a young man, proud and strong and filled with confidence, posing on a lawn with his shirt off. This was in January of 2020. As the months went on and the world dramatically changed around him, Morby felt an eerie similarity between his feelings of that night and the atmosphere of those spring days. Fear, anxiety, hope and resilience all churning together. The themes began twisting in his mind. History, trauma and the grand fight against time. Having the courage to dream, even while knowing the tragedy that often awaits those who dare to dream. While his father regained his strength, Morby meditated on these ideas. And then, he headed to Memphis. He moved into the Peabody Hotel and spent his days paying tribute and genuflecting to the dreamers he admired. In the evening, he would return to his room and document his ideas on a makeshift recording set-up, with just his guitar and a microphone. The songs, elegiac in nature, befitting all he had seen, poured out of him. Produced by Sam Cohen (who also worked on Morby’s Singing Saw and Oh My God), This Is A Photograph features musical contributions from longtime staples of Morby’s live band, as well as old friends and new collaborators alike. If Oh My God saw Morby getting celestial and in constant motion and Sundowner was a study in localized intent, This Is A Photograph finds Morby making an Americana paean, a visceral life and death, blood on the canvas outpouring. As Morby reminds us early on, time is undefeated. So what do we do while we’re still here? This is a photograph of that sense of yearning.

File Under: Indie Rock
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OST: Encanto (Disney) LP
Encanto tells the tale of an extraordinary family, the Madrigals, who live hidden in the mountains of Colombia, in a magical house, in a vibrant town, in a wondrous, charmed place called an Encanto. The magic of the Encanto has blessed every child in the family with a unique gift from super strength to the power to heal – every child except one, Mirabel. But when she discovers that the magic surrounding the Encanto is in danger, Mirabel decides that she, the only ordinary Madrigal, might just be her exceptional family’s last hope. Journey into the magical Casa Madrigal with the music from Disney’s Encanto. Featuring original songs by Emmy, Grammy and Tony Award winner Lin-Manuel Miranda, including “Surface Pressure,” “We Don’t Talk About Bruno” and more!

File Under: OST
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Porridge Radio: Waterslide, Diving Board, Ladder to the Sky (Secretly Canadian) LP
Porridge Radio is one of the most vital new voices in alternative music, having gone from being darlings of the DIY underground to one of the UK’s most thrilling bands in the space of less than a year. Their barbed wit, lacerating intensity and potent blend of art-rock, indie-pop and post-punk sounds like little else around, and led their 2020 album Every Bad to make the nominees list for the coveted Mercury Music Prize. But if Every Bad established Dana Marolin’s lemon-sharp, heart-on-sleeve honesty, Porridge Radio’s third album takes that to anthemic new heights. Waterslide, Diving Board, Ladder To The Sky is the sound of someone in their late twenties facing down the disappointment of love, and life, and figuring out how to exist in the world, without claiming any answers. It’s also catchy as hell. The title – which was partly inspired by a collage by the British surrealist Eileen Agar – speaks to the “joy, fear and endlessness” of the past few years. Dana’s songwriting and delivery is more confident, with the emotional incisiveness of artists like Mitski, Sharon Van Etten and Big Thief. Though it’s softer and more playful in places than Every Bad’s blowtorch ferocity, there are moments of powerful catharsis, ones that occur when you allow the full intensity of an experience to take hold. With Waterslide, Diving Board, Ladder To The Sky, Porridge Radio have distilled their myriad influences down like they’re flipping through their own singular dial: dreamy yet intense, gentle but razor-edged, widescreen and yet totally intimate.

File Under: Indie Rock
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Claire Rousay: Everything Perfect is Already Here (Shelter Press) LP
Quiet “ambient” radical, claire rousay sifts her sensurreal style into a sublime and keenly awaited long player that carefully frays the fabric of time and space for Shelter Press. Gorgeous sounds that fall thru the cracks between Rachel’s, Mary Lattimore, Hiroshi Yoshimura, Machinefabriek, Oliver Coates and Julianna Barwick. Lingering in the listing wake of her oneiric cartography ’17 Roles (All Mapped Out)’ (2021) and last year’s breakthrough “A Softer Focus”, claire huddles with mates (Alex Cunningham (violin), mari maurice (electronics and violin), Marilu Donovan (harp), and Theodore Cale Schafer (piano)) on ‘Everything Perfect is Always Here’ – an exceedingly tactile investigation of the fissures between improvised/composed sound and waking/dream life. rousay slips into a role of conductor or band-leader, arranging the elements provided by her collaborators into a golden hour glow of delicate harmony and emotional honesty. She works like a diarist, drawing out her life in soft colors and curlicues, accenting her reality with dream-like textures and crumbling environmental detritus. The orchestral elements tread between the warmth of American folk music and the glacial perfection of classical modernism – rousay is the guiding force, softening rough textures and spinning songs into humming pads and gentle breezes. Donovan’s harp is particularly memorable, sitting above Rousay’s hissing atmospheres like angels serenading from the clouds. Finding an ideal home on Shelter Press, nestled among lower register prism pushers such as Felicia Atkinson, Andrew Pekler & Giuseppe Ielasi, claire’s music sprouts probing new forms with a diaristic intimacy that veils its natural, filigree handicraft. What we’re dealing with is effectively a form of beautifully unresolved dream architecture, weaving palpable signals of the everyday, such as voice notes and under-the-table location recordings, with airspun skeins of instrumental fabric that purl the prosaic into pure sound poetry. As its title implies, claire acknowledges a magick that underlines the lived experience; hers, yours and ours. There’s an imperceptible transience at play that most succinctly nods to and brings Eliane Radigue’s time-lapsed sound images and the laminal rustles of Craig Tattersall into the dematerializing flux of 2022, feeling as though we’re snagged in imagined, liminal space between the clutter of too many open browser tabs and flutter of sounds from an open window. The effect evokes a gentle sensation of detached voyeurism as much as intimacy, and rewards repeated play with an exquisite insight to the marbling of the present moment.

File Under: Ambient, Experimental
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Nancy Sinatra & Lee Hazlewood: Nancy & Lee (Light in the Attic) LP
Light in the Attic is thrilled to announce the first official reissue of Nancy & Lee: the highly-influential 1968 duet album from Nancy Sinatra and Lee Hazlewood. This definitive edition of Nancy & Lee features newly-remastered audio by the GRAMMY®-nominated engineer John Baldwin and includes an array of exclusive content, including a new interview with Nancy, never-before-seen photos, and two bonus tracks from the album sessions: an ethereal cover of The Kinks’ “Tired of Waiting for You” and an uptempo version of “Love Is Strange” (first made famous by Mickey & Sylvia in 1956). This release marks the official debut on vinyl for both tracks. Nancy & Lee can be found in a variety of formats, including vinyl, cassette tape, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (RTI), is presented in an expanded gatefold jacket and features the iconic, original cover photo by Ron Joy. Inside, a 20-page booklet offers an array of photos from the legendary singer, actress, and activist’s personal collection, as well as an in-depth Q&A with Sinatra, conducted by the reissue’s GRAMMY®-nominated co-producer, Hunter Lea (also available in the CD package). In addition to the classic black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers. In celebration of the release, Nancy Sinatra and fellow musician and longtime friend Don Randi (The Wrecking Crew) visited Record Technology, Inc. (RTI) in Camarillo, CA to take a tour of the plant and get a sneak peek at the Bootique-exclusive pressing of Nancy and Lee. A short video piece documenting the day, including new interviews with Sinatra, Randi, and RTI plant manager, Rick Hashimoto is available here.

File Under: Country
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String (Xvarr x Justin Tripp): Last Index of… (V I S) LP
Properly absorbing electronic enigmas from Zaheer Gulamhusein (Xvarr, Waswaas) and Justin Tripp (Georgia), following their noses down the rabbit hole into aether-chamber interzones adjacent to Coil, Conrad Schnitzler, Werkbund, and Jeff Mills’ deep space missions. A strong case of two artists transcending the sum of their parts, String present an immersive exploration of the unknown, realising a “virtual vacation” from which they never returned. Their quest somehow made it into the mitts of Hamburg’s V I S, where it follows the label’s Ditterich von Eulberg-Donnersberg (Werkbund) album with uniquely engaging findings from the brink; eight tracks rendered in swirling sci-fi noir tones, siren-like chorales and plangent off-planet pads scried with a kosmiche twinkle in their 3rd eye. In other words: the sort stuff you may well have come to these pages for. In its elusive fluidity and unfathomably spatialized scope, we find the duo fusing to project a sound that, without prior notice, would be difficult to attribute to either artist. There are no doubt traces of Zaheer’s new age toned work as Xvarr and the microtonal shimmer of Waswaas, and likewise Tripp’s mutant sensibilities carried over from Georgia, but they’re distilled to a darker substance than anything we’d come to expect. It’s not so much gothic dark, more dark as in full of negative space, with a richly meditative appeal that threads their hardware improvisations from the Millsian deep space intrigue of ‘Phase Transition’ thru the eldritch eeriness of ‘World Line’, to the illusive choral motifs of ‘Fringe’ and oceanic abstraction of ‘From the End to the Beginning’, with glimmers of a more lush, idealistic hope in ‘Plus Operator’ and the cinematic ‘Degrees of Freedom’ that beautifully moderate the journey.

File Under: Electronic
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Tongue Depressor: Burnish (Xkatedral) LP
Kali Malone and Maria W. Horn’s XKatedral label deliver an incredible album of empyrean chimes and subterranean drones from out-musick duo Tongue Depressor. It’s an in-depth exploration of tuned percussion and just intoned drone that comes highly recommended if you’re into the work of Tony Conrad, C.C. Hennix, John Cage, Philip Corner and Michael Ranta – or if you’re into church bells, gamelan, or Popol Vuh’s earliest meditations. Floored. With a mesmerising grasp of rhythmelodic delicacy and skin-shivering microtonal tunings, ‘Burnish’ makes for a memorable introduction, where needed, to the remarkably attuned intuitions of Tongue Depressor, aka Zach Rowden (aluminium bowls, organ) and Henry Birdsey (orchestral bells, lap steel guitar). Recording and performing together since 2017, with some 20 tape and LP releases to their name, the New Haven, Connecticut pairing are one-take artists whose familiarity with each other’s style results in a such a closely shared musical system or language that it effectively blurs distinctions between improvisation and composition. On ‘Burnish’ they explore aspects of a chiming sublime and its phantasmic, doomier inverse with utterly compelling results. Both pieces of ‘Burnish’ were recorded in 2019 and feel like long rituals, played with a patience and rigour that effortlessly seduces to their sounds’ liminal, tip-of-tongue appeal. Typically laid to 1⁄4” tape on a reel-to-reel machine, the results create absorbing landscapes from their struck objects and sonorous resonances; rendering haptic gestures with an air-bending magic rooted in millennia of microtonal practice, done to instantly gratifying effect that only becomes enhanced with durational immersion. The A-side’s ‘Graver’s Block’ spellbinds with its suspenseful lattice of lissom timbral cadence and plasmic rhythmic diffractions hinting at Michael Ranta’s eastern fixations played in Harry Bertoia’s Sonambient barn. It trades strings for bells, with Birdsey on an orchestral set and Rowden playing hand-cast aluminium bowls. They were influenced by change ringing, a style of bell ringing usually found in British churches that uses a set of tuned bells played in often non-repeating mathematical sequences, but repurposed here to take on a completely new form that conjures the spirit of Gamelan as chimes rattle and phase past scraped metallic clangs. Side B’s ‘Monocline’ however locks into a treacly thick, just intoned drone of molten metal ooze recalling KTL via Tony Conrad and C.C. Hennix’s shark-eyed focus, layering organ and lap steel in an attempt to reference both 20th century minimalism and American folk music. They nail it too, slipping into a sacred mode that harmonises with Popol Vuh’s “In den Gärten Pharaos” – all light-headed organ nausea and tense, wavering tones that seem to mimic ancient incantations. Together, these two long pieces are the audio equivalent of lighting a thurible and suspending yourself in holy devotion. Just masterful business.

File Under: Drone, Experimental
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Tyler, The Creator: Call Me If You Get Lost (Columbia) LP
Tyler, The Creator delivers a vinyl 2LP edition of his Billboard 200 topping sixth studio album Call Me If You Get Lost which features the singles “Lumberjack” and “WusYaName” and took home the 2022 Grammy Award for Best Rap Album. The Gold-certified affair was self-produced and includes features from the likes of 42 Dugg, YoungBoy Never Broke Again, Ty Dolla Sign, Lil Wayne, Domo Genesis, Brent Faiyaz, Lil Uzi Vert, Pharrell Williams, Teezo Touchdown, Fana Hues and Daisy World. Call Me If You Get Lost follows-up his 2019 Grammy-winning album Igor, which debuted at No. 1 on the Billboard Hot 200 chart, with 8 of the album’s songs also charting on the Billboard Hot 100.

File Under: Hip Hop
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Sharon Van Etten: We’ve Been Going About This All Wrong (Jagjaguwar) LP
Sharon Van Etten has always been the kind of artist who helps people make sense of the world around them, and her sixth album, We’ve Been Going About This All Wrong, concerns itself with how we feel, mourn, and reclaim our agency when we think the world – or at least, our world – might be falling apart. Van Etten creates a stunning meditation on how life’s changes can be both terrifying and transformative. We’ve Been Going About This All Wrong articulates the beauty and power that can be rescued from our wreckages. The ten tracks on We’ve Been Going About This All Wrong are designed to be listened to in order, all at once, so that a much larger story of hope, loss, longing and resilience can be told. This is, in itself, a subtle act of control, but in sharing these songs it remains an optimistic and generous one. There is darkness here but there is light too, and all of it is held together by Van Etten’s uncanny ability to both pierce the hearts of her listeners and make them whole again. Things are not dark, she reminds us, only darkish. Exclusive MARBLED SMOKE vinyl produced by Jagjaguwar in 2022. Gatefold sleeve. Includes download card.

File Under: Indie Rock
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Anna Von Hausswolff: Live at Montreaux Jazz Festival (Southern Lord) LP
Following the release of her solo pipe organ album All Thoughts Fly and an accompanying sell-out European tour (Nov/Dec 2021), Anna von Hausswolff issues Live at Montreux Jazz Festival (2018) via Southern Lord. Live at Montreux Jazz Festival was mixed on the “Queen Neve” desk, previously owned by Queen (thus the name ) and situated at the Mountain Studios in the casino of Montreux, now ­located at Svenska Grammofonstudion, Gothenburg – further capturing the magic. About the experience Anna remarks: “In the beginning of 2013 I was texting back and forth with my friend Albin Oskarsson. He wanted me to come and play at a jazz festival that he was living nearby, it was Montreux Jazz Festival. At that point I was still quite unknown outside Sweden and regardless of my friend’s many attempts to contact the festival they never returned to him with an offer. I gave up the idea, he did not. Later that same year he unexpectedly died and a few years later, in 2017, an email popped up in my inbox, it was a request to open for Nick Cave and the Bad Seeds at the Montreux jazz festival. The tragedy that Albin was still not around to share the excitement with me gave me sorrow. “But, through the magic of music comfort came. The show was an emotional turmoil of ecstasy and grief, shared with an incredible audience and atmosphere. And, eventually, I could see his face in the venue, floating above all others, smiling and waving towards me. I’m so happy to have been given this moment and I’m beyond grateful to Montreux Jazz Festival, John Harris and Mathieu Jaton who so beautifully recorded this special concert that I will keep close to my heart forever and ever.”

File Under: Rock, Experimental
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Various: Frijazz Mot Rasisme (Smalltown Supersound) LP
The second release on Smalltown Supersound’s highly promising offside jazz label, ‘Le Jazz Non Series’ follows Bendik Giske and Buttechno’s mighty label opener with a killer compilation bursting with contemporary/outsider Norwegian free music as a show of solidarity against racism in the scene, with a title that translates to “Freejazz against racism“. Stitched and compiled by Anja Lauvdal and Tine Hvidsten, the set features 18 outsider Jazz burners centered around a varied and diverse cast of characters from the young Norwegian scene. While Norway has long had a positive relationship with free music, its players have invariably looked remarkably similar. “Frijazz mot rasisme” aims to address that by expressing the diversity of Oslo’s contemporary scene and show its commitment to anti-racism; of the players featured on the record, many are regulars at Norwegian demonstrations against local anti-Muslim organization SIAN – with the compilation designed to collect funds for local anti-racist work. Musically, “Frijazz mot rasism” is a fractal head-fry of the highest order, dilating a fertile movement thru spiraling outsider-jazz. If musical nodes are needed for a point of reference, it flexes from Don Cherry-inspired communal psychedelia sprawlers to fiery shredders, modal percussive cyclones and lushly expressive instrumental virtuosity of a sort we can only imagine would short-circuit and frazzle a pack of bleating Viking gammons. With well over half the tracks originating from female artists, the set also represents a phase shift in perception, wickedly reprising the form’s historic function as fire music and a soundtrack to civil unrest, but with a decided female energy that’s more agitant than aggressive, in a way that might just calm and enlighten the xenophobes. There’s a tonne to get down with; Sanskriti Shrestha & Andreas Wildhagen’s modal tabla groover ‘Eight hands’ is a real standout, with subtle treats in the liminal thizz of ‘Up There’ by Propan, and a strikingly stark solo performance by Inga Aas, held in balance with tussling razz-outs like ‘One out of town’ feat. Brian Sandstrom, and scatting, Dadaist mischief by Agnes Hvizdalek that’s sure to pique interest along with the chaotic swarm of its shred-out finale ‘Primary Antibody’. Wall to wall enlightening, emotional bangers this one = highest Tip!

File Under: Jazz
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Various: It’s A Rough Old Road to Travel (Iron Mountain) LP
From the people who brought you ‘Hillbillies In Hell’…
16 timeless tales of existential angst wrought from backwoods outsiders and Nashville misfits. Furtive banjos and lonesome voices soundtrack a turbulent vista of Eternal Questions and Unquenchable Wanderlusts. Trench-warfare Laments, harrowing Self-examinations, faltering Ids and devastated Egos. Many originally waxed on private press labels and distributed in unrewarding amounts, these Troubled Troubadours sing of endless Yearnings, distant Freedoms, collapsing Identities, primordial Fears and stygian landscapes of molten Self-doubt. Years in the making – ’It’s A Rough Old Road To Travel’ presents existential Howls and Jungian diatribes from forgotten 45s: windswept Longings, broken Survivalists and disrupted Ecologies. All for your contemplative listening pleasure.

File Under: Country
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Various: Now Thing 2 (Chrome) LP
Dancehall knowledge Felix Hall presents a momentous 20 year follow-up to Mo Wax’s pivotal, highly influential 2001 instrumental showcase ‘Now Thing’ a blueprint of sorts for the likes of Equiknoxx almost two decades later. This new set – almost two years in the making – reunites original comp players Lil Toby, Will Bankhead and Oliver Payne (on compiling and artwork duties) and features 16 prime Jamaican bullets for Felix Hall’s shockout label, Chrome. Resetting the timeline to 1997-2020, ‘Now Thing 2’ expands on the crucial first set – which was a gateway to the world of dancehall for many heads – with deadly cuts from the scene’s leading producers; spanning Dave Kelly to Steely & Clevie, from NYC’s Bobby Konders to Ward 21, and including killer side-spins on ‘90s rave and R&B. Two decades since the first set, it’s astute to say that dancehall has exerted a huge degree of influence over dance and club music of all stripes over the interim. Much like how roots reggae and dub influenced disco and post-punk in the ’70s; Dancehall, with its origins in the digidub of Jammy’s ‘Sleng Teng’ riddim, has irrevocably informed jungle, rap, garage, and even pop and techno for the past generation, and ‘Now Thing 2’ is the strongest primer you’ll likely come across.. It’s a proper sound-system thing, deeply rooted in the competitive, inventive nature of Jamaican music, which would, according to ‘Bass Culture’ writer Lloyd Bradley’s liner notes “constantly reinvent itself as a way of staying ahead of the sound system on the next corner.” With access to new technology, producers persistently pushed their paradigm along the axes of function and distinction, with each asserting their individuality in a syncretic style and its permutations of tresillo drum patterns, all at the service of bringing bodies to the dance and keeping them there. The 16 tracks here lead directly from its predecessor with updates of highlights from the first, notably Richard Browne’s darkly dubbed ‘Grass Cyaat Refix’ and the return of Lenky (whose original ‘Now Thing’ rhythm lends the sets’ titles) alongside Andrew Thomas on the haunted fairground pressure of ‘Bad Mongrell’, while prolific dancehall architects Steely & Clevie serve the jabbing ‘Bitter Blood’, and Ward 21 come with the brooding badness of ‘Volume’. ‘Now Thing 2’ comes into its own however, via its more obscure, mutant workouts. NYC’s acid house legend Bobby Konders supplies 1999’s rolling ‘Lickshot Rewind’ from his dancehall label Massive B, and Crown Star Productions let off zinging rave hoovers on the mighty ‘Fire Cracker’, with Donovan Germain’s half step 140bpm rework of Timbaland’s Aaliyah classic ‘Are You That Somebody’ highlighting the vital dialogue between dancehall and mainstream charts. Compiled by Felix Hall, Lil Toby and Richard Browne, with art and design by Will Bankhead and Oliver Payne (also behind the first volume in 2001), ‘Now Thing 2’ is future-proofed for the next 20 years, and should be considered ultimate listening by a new generation of listeners and ravers who are increasingly cognisant of dance music’s important roots in Jamaican dancehall culture.

File Under: Reggae, Dub
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…..restocks…..

Arcade Fire: Everything Now (Sonovox) LP
Arcade Fire: Suburbs (Sonovox) LP
Jean-Michel Blais: Aubades (Arts & Crafts) LP
Blonde Redhead: Melody of Certain Damaged Lemons (Touch & Go) LP
Camberwell Now: Ghost Trade (Modern Classics) LP
Jimmy Carter & The Dallas County Green: Summer Brings the Sunshine (Numero) LP
Childish Gambino: Camp (Glassnote) LP
Cocteau Twins: Heaven or Las Vegas (4AD) LP
Duster: Stratosphere (Numero) LP
Billie Eilish: When We All Fall Asleep (Interscope) LP
El Michels Affair: Sounding Out the City (Big Crown) LP
Helm: Axis (Dais) LP
Joe Hisaishi: Howl’s Moving Castle: Image Symphonic Suite (Studio Ghibli) LP
Joe Hisaishi: Nausicaa of the Valley of Wind (Studio Ghibli) LP
Iasos: Inter-Dimensional Music (Fact of Being) LP
Abbey Lincoln: Straight Ahead (Candid) LP
Leo Nocentelli: Another Side (Light in the Attic) LP
Oasis: (What’s The Store) Morning Glory? (Big Brother) LP
Purple Image: s/t (Tidal Waves) LP
Max Roach: We Insist! (Candid) LP
Yasuaki Shimizu: Kiren (Palto Flats) LP
Toro Y Moi: MAHAL (Dead Oceans) LP
Tyler the Creator: Goblin (XL) LP
Carmen Villain: Only Love From Now On (Smalltown Supersound) LP
Weather Station: What Am I Going To Do With Everything I Know? (Fat Possum) LP
Jack White: Fear of the Dawn (Third Man) LP
Kiyoshi Yamaya: Wamono Groove: Shakuhachi & Koto Jazz Funk ’76 (180g) LP

…..news letter #1048 – dayed…..

Another heavy week for new arrivals! Been waiting on the Zoviet France LPs to arrive for over 2 months. The second half of Bill Fay’s Still Some Light contains one of my all time favorites tracks of his. Some major new releases like the Arcade Fire, Daft Punk reissues, Mary Lattimore, more Blue Note & Acoustic Sounds reissues. A big batch of punk and metal from Supreme Echo, and so much more!

Current operations…..

– in-store shopping/pick ups – 11 – 6 pm Monday – Friday, 11 am – 5 pm Saturday
(if you don’t want to come into the store for a pick up, call and/or use the back door)
– We will be wearing masks, if you want to, great! If not, that’s also fine, but please be respectful of other people’s space and decisions.
– Sanitize your hands (we’ll have some)

…..picks of the week…..

Zoviet France: Bundle (Vinyl on Demand) 16LP
 :Zoviet*France: is an idiosyncratic group of anonymous music makers, gatherers of sound, and fabricators of unknown music. For nearly 40 years, they have explored and reported back from the liminal areas of music and composition, walking the margins where little is easily located and consensus reality melds with the hypnagogic and half-heard.  Having wilfully obscured themselves in Newcastle upon Tyne since their inception in 1980, :zoviet*france: has developed a radical relationship with cheap technologies, homemade acoustic instruments, primitive looping and sampling techniques, and basic dub trickery from which the group has crafted a distinctly unique vocabulary of sonic hypnosis. Just as the group’s sound has alchemically reconfigured inexpensive technologies, the packaging of their releases has avoided standard formats with aluminium, steel, wood and porcelain among the materials that have been bent and cut to shape instead.

This bundle includes:
VOD 172 1/2 in.version (1996) 2LP – first time on vinyl  
VOD 172 3/4 Digilogue (1996) 2LP – first time on vinyl for the original expanded CD release
VOD 172 5/6 Feedback (Mort aux vaches) (1998) 2LP – first time on vinyl
VOD 172 7/8 The Decriminalisation of Country Music (2000) 2LP – first time on vinyl, including additional unreleased recordings
VOD 172 9/10 A Long Walk (2011) 2LP – first physical release
VOD 172 11/12 7.10.12 (2012) 2LP 
VOD 172 13/14 The Tables Are Turning (2013) 2LP – including additional unreleased recordings
VOD 172 15/16 A Third Collusion (new) 2LP – tracks from compilations, first time on vinyl

File Under: Electronic, Ambient, Kris’s Picks, Ian’s Picks
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Bill Fay: Still Some Light: Part 2 (Dead Oceans) LP
Bill Fay has always sung about attempting to understand the most universal questions: those of nature, spirituality, humanity. His songs are “calming hymns for another chaotic time”, he says. His influence can be traced through many artist’s work, and so it only seemed right to celebrate this with a collection of newer voices interpreting his timeless tracks. Originally released in 2010 by David Tibet (Current 93), Still Some Light was released as a double CD, made up of 70’s album demos (Disc One) and 2009 home recordings (Disc Two). In 2022, for the first time, this collection of recordings is pressed to vinyl, presented alongside contemporary reimaginings of the tracks by Kevin Morby, Steve Gunn, Julia Jacklin and Mary Lattimore. Fay’s words and melodies remain unaffected by the passing of time and changing trends; and here alongside the original recordings, these reinvented versions still calmly guide us through another moment of chaos.

File Under: Folk
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Jason Kolar: Liquid Rhythm (Dauw) LP
Three years after Stroom TV released his debut album Modified Perspectives, Kolàr released, Loops & Pieces, a documentation of sounds he has been working on in the period 2017-2020. According to Kolàr, this tape, also his first release for Dauw, was full of vaporous drafts transforming into solid forms with the help of time and distance. Compared to his previous work, the music on Loops & Pieces is much more stripped down and minimal, yet the dreamy character remained. On Liquid Rhythm, we see Kolàr combining approaches of both albums. Using synths and acoustic instruments, he created 10 songs reflecting his typical playful yet melancholic aesthetics. “This record is dedicated to all those humans, animals and elements that flow around me; no matter the distance, no matter the time. They all shape who I am and the way I listen” – Jason Kolàr

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

David Allred: Driving Through the Aftermath of a Storm on a Clear Day (Dauw) LP
Ambient folk musician and experimental composer from Portland, Oregon David Allred returns to Belgium-based Dauw Label with a full length record, Driving Through the Aftermath of a Storm on a Clear Day, set to be released on vinyl and all streaming services on December 10th, 2021. The underlying theme of this music is about exercising calm and learning to find it in the aftermath of all situations. These modern classical compositions are primarily centered around felt piano, strings, brass, tape, voices, synthesizers, guitars, percussion, etc. with methodical dynamic dub-inspired experimental arrangements throughout. While primarily working and touring internationally as a solo artist, David has also released music under various collaborative projects such as Allred & Broderick (with Peter Broderick) and Good Enough for Grandpa (with Greg Eldridge). David has additionally appeared on works by Aidan Coughlan, Jung Body, St. Tsunami, Heather Woods Broderick, Lubomyr Melnyk, Masayoshi Fujita, Chantal Acda, Brigid Mae Power, Birger Olsen, The Beacon Sound Choir, etc.

File Under: Electronic, Ambient
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Arcade Fire: WE (Columbia) LP
White or Black vinyl! WE serves as the sixth Arcade Fire studio album and is made up of seven songs that speak to this moment with unique directness. Written, recorded, and released during a critical historical juncture, they are divided into two distinct sides, “I” and “WE.” If the “I” side of the record evokes and embodies our holed-up anxiety and lack of physical connection, the “WE” side captures the excitement of new possibilities and the elevating thrill of committing to one another socially and personally. Produced by Nigel Godrich, Win Butler and Régine Chassagne, WE is a 40 minute epic as much about the forces that threaten to pull us away from the people we love, as it is inspired by the urgent need to overcome them. 180 gram vinyl LP in a gatefold jacket with printed inner sleeve, folded 24″ x 36″ poster and 4″ x 4″ sticker.

File Under: Indie Rock
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Belle & Sebastian: A Bit of Previous (Matador) LP
A Bit of Previous is a classic Belle and Sebastian album preoccupied with songs and melodies that won’t leave your head and lyrics that can make you smile and ponder and sometimes be melancholic. It’s an album self-produced and recorded by Belle and Sebastian (with contributions from Brian McNeil, Matt Wiggins, Kevin Burleigh and Shawn Everett) and their most hands-on since The Boy With The Arab Strap. So what is a A Bit of Previous? It’s a bit of everything, and a lot of what makes Belle and Sebastian so special and enduring. It’s a band tackling the insight, experience and responsibility that come with getting older with humor and irreverence and lyrical exactitude and musical bravado. It’s one of the UK’s most beloved pop portraitists asserting themselves as an infallible source of energy and fun.

File Under: Indie Rock
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John Coltrane & Johnny Hartman: s/t (Impulse) LP
Clarinetist Tony Scott once called the number “Lush Life” “the Mount Everest of Jazz soloists.” Thousands have stood at the foot of the mountain but only a couple of dozen ever made it right to the top. Among these few were the singer Johnny Hartman and the John Coltrane Quartet in March 1963 — not just with that song but with other favorites too. The list extends from “They Say It’s Wonderful” which sounds as though it is clad in black silk, to the lyrical “My One And Only Love,” right up to the light-footed rumba “Autumn Serenade,” here are six true masterpieces which will get right under your skin. Just listen to how relaxed and self-assuredly the crooner’s great voice carries the melody, which is then taken up and continued by the great John Coltrane on his instrument. The album was inducted into the Grammy Hall of Fame in 2013. Seeking to offer definitive audiophile grade versions of some of the most historic and best jazz records ever recorded, Verve Label Group and Universal Music Enterprises’ audiophile Acoustic Sounds vinyl reissue series utilizes the skills of top mastering engineers and the unsurpassed production craft of Quality Record Pressings. All titles are mastered from the original analog tapes, pressed on 180-gram vinyl and packaged by Stoughton Printing Co. in high-quality gatefold sleeves with tip-on jackets.

File Under: Jazz
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Chick Corea: Akoustic Band Live (Concord) LP
The jazz world was stunned and saddened by the unexpected passing of legendary pianist Chick Corea on February 9, 2021, from a rare form of cancer. In a posthumous statement released on his Facebook page, Corea bid farewell to his compatriots and fans in the same joyous spirit with which he always approached the keyboard: “I want to thank all of those along my journey who have helped keep the music fires burning bright. It is my hope that those who have an inkling to play, write, perform or otherwise, do so. If not for yourself then for the rest of us. It’s not only that the world needs more artists, it’s also just a lot of fun.” Two of the gifted musicians who’d helped Chick keep those fires burning so brightly were bassist John Patitucci and drummer Dave Weckl, the pianist’s bandmates in his storied Akoustic Band. Corea worked hard making sure everything was just right for this first release by the trio in over two decades. Straightforwardly titled Chick Corea Akoustic Band Live, the triple vinyl set was recorded January 13, 2018 at SPC Music Hall in St. Petersburg, Florida. The Concord Jazz release serves as a celebratory reminder of Corea’s singular genius, with more than two hours of inspired playing and spirited camaraderie. Under any circumstances, these thrilling live recordings would be a welcome addition to Corea’s prodigious discography. With the news of his passing still so fresh in listeners’ minds, its release comes as an opportunity for fans to bid farewell while cherishing the communal energy and playful vigor that made the pianist a favorite of jazz lovers around the world for nearly 60 years. And the reunion of the Akoustic Band is emblematic of the esteem in which Corea held his fellow musicians, as he made sure to express in his final statement.

FIle Under: Jazz
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Daft Punk: Alive 1997 (Daft Life) LP
Known as much for their music and technical innovation as their groundbreaking and elaborate visual universe, which centered around their irrepressible and mysterious Robot personas, the idea for Daft Punk’s first live album, Alive 1997, started when the duo happened upon a live recording captured from a stellar performance in Birmingham, UK in November 1997 during their first European tour. After listening to the recording, they decided that it was their best live performance ever and wanted to share it with Daft Punk fans worldwide. Issued in 2001, Alive 1997 is comprised of 45 minutes of non-stop live mixing that showcases Daft Punk’s unique and influential DJ style. Alive 1997 served as the group’s second release of 2001, coming on the heels of the critically acclaimed album, Discovery, which spawned the #1 dance/club hit, “One More Time.”

File Under: Electronic
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Daft Punk: Homework (Daft Life) LP
In their nearly 30-year history together Grammy-winning robot helmet adorned French house duo Daft Punk redefined electronic music, pioneered the live dance concert experience and shaped pop culture. Widely regarded as an innovative synthesis of techno, house, acid house and disco, their 1997 debut Homework stands among the most influential dance music recordings of all time. Featuring the acclaimed hit singles “Around the World” and “Da Funk” which were both nominated for Grammy Awards for ‘Best Dance Recording’, Homework offered a rewarding and groundbreaking early glimpse at a group who subsequently became the biggest electronic act in the world! “Daft Punk’s debut is pure synapse-tweaking brilliance. In the Nineties, when artists like the Chemical Brothers and Fatboy Slim were bringing in guest-star vocalists and sampling rock records, and ad executives were strip-mining club beats, French duo Thomas Bangalter and Guy-Manuel de Homem-Christo proved that techno and house could be as elastic, catchy and, at times, as funny as the poppiest pop without diluting its hypnotically driving, acidic essence.” – #1 on Rolling Stone’s list of ‘The 30 Greatest EDM Albums Of All Time’

File Under: Electronic
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Justin Townes Earle: Single Mothers & Absent Fathers (Vagrant) LP
Colored vinyl 2LP reissue of Justin Townes Earle’s 2014 album Single Mothers and 2015 follow-up Absent Fathers. Absent Fathers was recorded alongside Single Mothers as a double album, but as the singer-songwriter began to sequence it, he felt each half needed to make its own statement and they took on their own identities. Single Mothers was released in September 2014 and, combined with Absent Fathers, perfectly showcases exactly why JTE is considered a forefather of Contemporary Americana. The albums were recorded live with his four-piece touring band with only days of rehearsal leading up to recording to keep the ideas fresh. No overdubs, no other singers, no additional players – just a real, heartfelt performance capturing the moment. In fact, his songs “Picture in a Drawer” and “It’s Cold in This House” are only Justin, his guitar and his pedal steel player Paul Niehaus.

File Under: Folk, Country
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Carl Erdmann: Bizzarrophytes (Morning Trip) LP
Carl Erdmann’s Bizzarrophytes was recorded in Roswell, New Mexico, during the final years of the 70’s. A desert-fried haze of buzzing sitar raga, shimmering guitar soli, and lonesome instrumental psych. Erdmann had been galvanized several years prior by witnessing an intimate performance by Ravi Shankar at Austin’s University of Texas. Erdmann spent the next several years with a sitar in the back of his pickup truck – teaching himself the instrument between stints working on an oil field as a geologist. Bizarrophytes was released in a miniscule private press run, financed and distributed by Erdmann himself. Most copies didn’t make it out of the southwest. And it has remained woefully hard to find until now. The disparate sounds of Erdmann’s experimentation hang together as a beautifully cohesive tapestry of home-brewed psychedelic folk. A menagerie of eclectic instrumental experimentation, baked in the desert sun, and captured to tape. Morning Trip Records is proud to present Bizzarrophytes.

File Under: Folk, Psych
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Taylor Deupree: Mur (Dauw) LP
Deupree describes the album title “as if there’s always something about my music that’s like a murmur”, resulting in a murmuring effect when pronouncing the names of each track. Mur is a personal journey through the challenging year that 2020 has been. Taylor Deupree is an American musician and mastering engineer based just outside of New York. As a former member of the American electronic band Prototype 909, Deupree has had numerous collaborations with artists such as Ryuichi Sakamoto, Stephen Vitiello, Alva Noto and Marcus Fischer. Curating 12k, a New-York based music label, is another aspect of Deupree’s career and brought together over one hundred releases since its beginnings in 1997. Having some similar artists in our catalog (Federico Durand, Will Samson and Steinbüchel for example), it’s safe to say that Deupree’s new release through Dauw will be in good company. “Mur is a profoundly tender work, made for close listening; the waters of its meditational, memorial stream of flowing minimalist ambient run deep.” (Loud and Quiet, 7/10)

File Under: Electronic, Ambient
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Booker Ervin: The Book Cooks (BMG) LP
Vinyl reissue of the classic 1961 debut album by the American jazz tenor saxophonist. Booker Ervin was one of jazz’s biggest what-if’s; he died young, at 39, from kidney disease, right as he was hitting another wave of sonic experiments. He was a tenor who played the blues like they emanated from deep inside him, taking inspiration from field hollers as much as bebop. He got compared to Coltrane – who made a lot of similar playing decisions – but he had a different way of playing his blues. The Book Cooks shows that Ervin arrived on the solo scene essentially fully formed; he’d change towards the end of the ‘60s, but this LP was a roadmap for him for the first part of his bandleader career.

FIle Under: Jazz
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Father John Misty: Chloe and the Next 20th Century (Sub Pop) BOX
Father John Misty returns with Chloë and the Next 20th Century, his fifth long-player and first new material since the release of God’s Favorite Customer in 2018. Chloë and the Next 20th Century was written and recorded August through December 2020 and features arrangements by Drew Erickson. The album sees Josh Tillman and producer/multi-instrumentalist Jonathan Wilson resume their longtime collaboration, as well as Dave Cerminara’s return as engineer and mixer. Basic tracks were recorded at Wilson’s Five Star Studios with strings, brass, and woodwinds recorded at United Recordings in a session featuring Dan Higgins and Wayne Bergeron, among others. Chloë and The Next 20th Century comes introduced by the singles “Funny Girl,” “Q4,” “Goodbye Mr. Blue,” and “Kiss Me (I Loved You).” This Deluxe box set includes a hardcover book containing both of the colored vinyl LPs plus two bonus 7″s (Lana Del Rey covering album track “Buddy’s Rendezvous,” while the other has Jack Cruz’s version of a “Kiss Me (I Loved You)”) and a poster.

File Under: Indie Rock
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Humble Bee: Daymark (Dauw) LP
Craig Tattersall made quite a name for himself by offering a series of consistent releases on his own imprints Cotton Goods and Other Ideas. After more than 5 years of silence, our favourite bee is finally back with 2 new full length albums: Daymark and Nightmark. Both albums are made around the same time and can be seen as complementary odes to these different and opposite parts of the day. With typically tactile sensitivity, his ’Daymark’ half unfolds in two durational parts that transition from sleepy, dawning rustles to wintry keyboard melodies and Basinski-esque washed-out piano and smudged ‘shirean brass in ‘Off Station, at little afternoon, amidst the saltwater marsh’, to an achingly fragile B-side of lonely piano motifs and accordions that endearing struggle and wheeze on into evening, appearing to grow heavier and tired with their bassy load until the piece sinks into sighing organ drones. Trust it’s all served with generous helpings of fuzz and accreted crackle that softens the edges even further and can’t help but charm listeners seeking sympathetic whimsy.

File Under: Ambient, Electronic
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Humble Bee: Nightmark (Dauw) LP
Craig Tattersall made quite a name for himself by offering a series of consistent releases on his own imprints Cotton Goods and Other Ideas. After more than 5 years of silence, our favourite bee is finally back with 2 new full length albums: Daymark and Nightmark. Both albums are made around the same time and can be seen as complementary odes to these different and opposite parts of the day. In the 2nd part of his latest for Belgium’s Dauw, Craig Tattersall (Hood, The Boats) whispers frayed scenes for his spiritual home, poetically describing a gauzy trip into late night. Tattersall’s melodic sensibilities are more tenderly raw on the concluding part of his new album couplet. The A-side’s ‘On the stroke of the dark, keeper of the light, beacon for the heart’ he weaves in burbling music box mælody and slow breathing woodwind to his dappled keys, leading to a really gorgeous section of burned-out, hypnagogic wooze recalling Burial or Gas at their most heart-grabbing, and tailing off into trains of droning, melodic thought that really only come about once the sun has set. ‘Extinguished Light’ then blows out the candle or dampens the oil light flicker to play in the shadows with warbling, laminal, sibilant motifs that tremble off his fingers-as-tongues and gently reverberate out into the gloom, drowsily drawing us into crackling harmonic distortions that remind of Stephan Mathieu’s post-classical experiments, and come to settle in near static figures that linger in a heavy but spare air.

File Under: Ambient, Electronic
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Jeanines: Don’t Wait For A Sign (Slumberland) LP
Jeanines’ 2019 self-titled debut was an indiepop tour-de-force that drew from a deep set of DIY pop influences, garnering attention from well beyond the international pop underground. Now they’re back with “Don’t Wait For A Sign,” and it’s a real gem. With the band now divided geographically and touched by the isolation and uncertainty of the pandemic, Jeanines’ new album is deeper and a bit darker than their debut. The folk influences feel more pronounced, at times recalling early Fairport Convention or Vashti Bunyan as much as indiepop touchstones like Dear Nora, The Aislers Set, and the many bands of Pam Berry. The thirteen songs on “Don’t Wait For A Sign” show a band in total mastery of their idiom—a brilliantly compelling blend of timeless influences illuminated by distinctive songwriting and sharp lyrics. The arrangements are always on point, full of interesting transitions and modulations but never fussy or in the way of the songs themselves. Alicia Jeanine’s vocals really take flight here, richer and more confident, and often layered in harmony. Second albums can be tricky, but but with “Don’t Wait For A Sign” Jeanines ably manage to build on their terrific debut with well-honed songwriting, singular melodies, and unerringly sympathetic production.

File Under: Indie Rock
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Jogging House: Companion (Dauw) LP
Dauw presents the new full-length studio album “Companion” by Jogging House. In 2019 “When” was released and figured as Jogging House’s first release through Dauw. It was composed with a very limited setup and expressed the typical Jogging House sound in which warm soundscapes are mingled with soft and playful melodies. For Companion, Potschubay explored new paths by subtracting almost every rhythmic structure to a bare minimum resulting in a more minimalistic and abstract sound design reflecting his moods after a year filled with loss and pain. It’s a thank you to the beings that helped him through – an album for the ones who stand by us. “My main goal is always to express my emotions as honest as I can. But when I start a new track, I often don’t have a particular plan to achieve that goal. So I try to find sounds that capture what I’m feeling at this very moment and then follow them. I add what feels right and throw out what feels wrong until I have a skeleton that I am confident could become a whole track.” Boris Potschubay is a German musician based in Frankfurt am Main. Besides his own music, Potschubay curates his own label, Seil Records which forms a home for Hainbach, KMRU among others. Jogging House debuted in 2011 and brought us more than a dozen releases in the meantime. Listening to all the records chronologically one after the other, demonstrates us how Potschubay is experimenting a wide range of sound sources and creates a variety of atmospheres but stays true to its own individuality.

File Under: Electronic, Ambient
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Jogging House: When (Dauw) LP
The Frankfurt-based Jogging House is a relatively new name in the scene of minimal electronic music. However, within a short period of only 2 years he was able to attrack substantial attention from the (modular) synth community with numerous video’s in which he portrayed his music with a central focus on the instruments being used. The culmination of these endeavours were presented in the form of several well-received releases on his own Seil Records imprint. His new album ‘When’ is an album about time and how not to be bothered by it. Characteristic for Jogging House is his interest in music that seems to have fallen out of time. That feels both old and new. That evokes memories while remaining uncharted. This ambivalence is exactly what the artist wanted to capture on When. “The only way I know how, is to not overthink things, but trying to be as free as possible and doing what feels right. Thus, the eight tracks that make up When were recorded in single takes (straight to cassette), opening room for improvisation and detours.” The result is – compared to his previous releases – in many ways more raw and stubborn, full of unsynced fragments of fading melodies and rhythms that are ignoring time signatures. (Hopefully) creating an experience that is both confident and fragile, relaxed and untamed.

File Under: Ambient, Electronic
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Norah Jones: Come Away With Me (Blue Note) LP
Norah Jones’ seminal 2002 debut album Come Away With Me became a global phenomenon, reaching No. 1 in 20 countries, selling nearly 30 million copies, and sweeping the 2003 Grammy Awards. This 20th Anniversary reissue finds the now-classic album freshly remastered and presented on 180g vinyl LP. Beautifully crafted, expertly recorded and played, the intimacy of the 14 mellow, soul-and-country tinged songs is what makes it so special. It’s like eavesdropping on someone’s private thoughts and it has a maturity that belies Jones’ age – she was 22 years old when she made it. Aside from the opening track, which made the Billboard Top 30, her cover of Hank Williams’ “Cold Cold Heart” and the delicate “Come Away With Me” serve as the standout cuts. A modern-day “standard” akin to Carole King’s Tapestry, few records in the 21st Century have resonated like this one! “I was incredibly proud of this album and so thankful to everyone who made it with me,” reflects Norah. “I figured it was a good first try and felt that it truly captured who I was – musically – at that time, which made me the proudest and is all you can really hope for when making a record. In the end I was so thankful that I got to explore a few different paths before putting them all together. No one, including the label, had any idea it would reach the success that it did. I’m forever grateful to Bruce and the very special team at Blue Note for giving me the chance to find my sound through all of it and for never telling me who I had to be.”

File Under: Jazz
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King Gizzard & The Lizard Wizard: Butterfly 3001 (ATO) LP
“We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in it’s simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in Da Club!!!” – Joey Walke

File Under: Rock, Electronic
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Kradle: Standing on the Edge (Supreme Echo) LP
Canadian 80s Heavy Metal Rock. Kradle ruled the Vancouver metal scene with hits’n’hooks, heavy melodic rhythms, virtuoso guitars, and a charismatic frontman adorned in leather and studs. Torn from the same vest as their Sunset Strip brothers, Kradle played epic shows and received multiple record label offers yet left behind only one official tape. Standing on the Edge is the definitive Kradle collection: 12 songs in 48 minutes spanning the group’s evolution over four different recording sessions 1984-86. Remastered from original reels and best existing sources. Large-format 12-page booklet with photos, art, lyrics, and bio. Kradle stickers. 450 copies. “Kradle are a force to be reckoned with.” – Steve Newton, The Georgia Straight “We are interested in signing your band for release in North America with possible licensing in Japan, Europe, and South America.” – Wesley Hein, Enigma Records, 1984

File Under: Metal
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Steven Lambke: Volcano Volcano (You’ve Changed) LP
Steven Lambke has seen the music world from many angles – as a singer-songwriter performing as Baby Eagle, as a touring rock-and-roller as a member of the Constantines (Sub Pop Records), as the Creative Director of Sappyfest in Sackville, NB and as a co-founder of the artist-run label You’ve Changed Records. Lambke creates a DIY and artist-first free space on the margins of an industry driven by sales and a particular kind of recognition, careful about how he embodies his practice of art-making, and the work his music is doing in the world. On Volcano Volcano he is joined by long-time collaborators Daniel Romano and David Nardi (also of Daniel Romano’s Outift), and emerging superstar songwriter Carson McHone (Merge Records) for a joy-filled album rich in poetry and guitars, community and friendship, and dreaming together a new world “re-ordered from below”.

File Under: Indie Rock
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Mary Lattimore: Hundreds of Days (Ghostly) LP
The third LP from Mary Lattimore, released via Ghostly International (Tobacco, Dabrye), sees her expanding her sound far beyond her ever-present harp. Electric guitar, voice, piano, synth and more all crop up across the seven tracks that make up Hundreds Of Days. It is a testament to Lattimore’s compositional nous that these new instruments are incorporated tastefully, moving in and around her harp playing with delicacy. The luxurious arpeggios, runs and little clusters of notes she draws from her main instrument at times recalls post-minimalist composers like Arvo Part, while her expanded instrumental repertoire allows her to go further than she has previously. Case in point: the portentous, emotive ‘Their Faces Streaked With Light And Filled With Pity’, which contains an electric guitar part that could have been written by Explosions In The Sky or Earth

File Under: Ambient, Electronic, Classical, Harp
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Hank Mobley: Curtain Call (Blue Note) LP
It’s a sign of the sheer volume of top-notch hard bop that Blue Note was recording in the 1950s-60s that a supremely swinging date like Hank Mobley’s 1957 album Curtain Call would sit in the vaults unreleased until 1984. Mobley himself was in the middle of a particularly prolific streak that year with the tenor saxophonist recording 6 sessions for Blue Note in 1957 alone. This highly-enjoyable 6-song set includes 4 Mobley originals including the extended opener “Don’t Get To Hip,” the hard-charging title track, and the bright swing of “The Mobe” along with 2 standards (“Deep In A Dream” and “My Reverie”) performed by a quintet with Mobley joined by Kenny Dorham on trumpet, Sonny Clark on piano, Jimmy Rowser on bass, and Art Taylor on drums. Blue Note Records’ acclaimed Tone Poet Audiophile Vinyl Reissue Series continues in 2022. Launched in 2019 in honor of the label’s 80th Anniversary, the Tone Poet series is produced by Joe Harley (from Music Matters) and features all-analog, 180g audiophile vinyl reissues that are mastered from the original master tapes by Kevin Gray of Cohearent Audio. Tone Poet vinyl is manufactured at RTI in Camarillo, CA, and packaged in deluxe Stoughton Printing “Old Style” gatefold Tip-On jackets. The titles were once again handpicked by Harley and cover the crème de la crème of the Blue Note catalog along with underrated classics, modern era standouts, and albums from other labels under the Blue Note umbrella including Pacific Jazz and United Artists Records. Every aspect of these Blue Note/Tone Poet releases is done to the highest-possible standard. It means that you will never find a superior version.

File Under: Jazz
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Nostrils: Undaunted (Supreme Echo) 7″
Kick you in the head! High-energy, lo-fidelity, loud, snotty, melodic, sardonic – The Nostrils emerged as the dawning light of Winnipeg’s second wave of punk rock. Undaunted collects 8 songs spanning the group’s in-yer-face punk and hardcore antics, including a celebratory cover of local greats Lowlife. Remastered from 40-year-old cassettes by vocalist Bruce Hallett with a meticulous upgrade by Audu Obaje. 16-page booklet with photos, art, and an anarchy-A chronicle of these Prairie Punks! Mega-long EP. Stickers. 550 copies. “One song … is as powerful and driving as anything going, and makes me sad that they decided to call it quits.” – Tim Yohannon, MRR #4 “The Nostrils do it well, sounding … like a cross between early Clash or Jam with a liberal dose of Iggy.” – Rusty Haight, The Edge

File Under: Punk
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Pharaons: Evil World (Supreme Echo) LP
Chaotic African Thrash. PHARAONS from the island nation of Madagascar were quite possibly the first extreme metal band from Africa. Influenced by early Sarcófago and Sepultura – with lyrical themes on government corruption, church sex abuse, war and destruction. Malagasy black / deathrash metal mayhem! 11 songs in 46 minutes recorded 1989-91 and carefully remastered by Audu Obaje. Large-format 12-page booklet with photos, art, and their incredible story. Two stickers. 550 copies.

File Under: Metal, Africa
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Pink Steel: Here We Go Again (Supreme Echo) 7″
Pink Steel were a staple of the Victoria BC music scene 1979-83, playing alongside the Infamous Scientists, Neos, Nomeansno and more. Their sound was powerful, earnest and original punk rock unlike other groups — they had seven members and showed great dexterity with varied compositions. This carefully remastered mega-long EP contains all 6 songs from their two 7”s reissued for the first time since 1981. Includes a generous 16 page booklet full of photos and their story all housed in a deluxe close pocket sleeve.

File Under: Punk
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Pye Corner Audio: Social Dissonance (Sonic Cathedral) LP
In the heady days prior to the pandemic, on October 23, 2019, Pye Corner Audio headlined Sonic Cathedral’s 15th birthday bash at The Social in London (on a bill that also included bdrmm and Andy Bell). Now, following a limited cassette release in 2020, the incendiary performance – which mixes improvisations with reworked material from across his career – has been remastered by Antony Ryan (ISAN) and is to be made available on vinyl for the first time. Wryly titled Social Dissonance, it comes on green and blue swirl vinyl in a striking fluoro green and neon blue sleeve by designer Marc Jones. “This is a recording of a gig in a small space with a big heart,” says Pye Corner Audio, aka Martin Jenkins. “A memory of a night before the world changed completely. However, new alliances were formed and friendships made in that basement in Little Portland Street.” Indeed, Pye Corner Audio went on to collaborate with Andy Bell on an acclaimed series of remixes and the Ride guitarist returned the favour by playing on some new recordings that will be coming out on Sonic Cathedral later this year.

File Under: Electronic
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Riot .303: 1981-83 (Supreme Echo) LP
Canadian Prairie Punk! Early 80s greats RIOT .303 from Calgary featuring ex-Sturgeons rhythm section and future Beyond Possession vocalist. 17 punk rock anthems recorded 1981-83, including their full studio output — four each from 1982’s super-rare Crowd Control EP and Thrasher’s Skate Rock Vol. 1, plus 9 powerful unreleased songs. Meticulously remastered by Audu Obaje. 8-page booklet with photos, art, and full-band interview. Two stickers. 550 copies, colored vinyl. “Punk rock that sounds very much like the Canuck SUBHUMANS” – Tim Yohannan, MRR #3, Nov./Dec. 1982

File Under: Punk
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Scenics: In the Summer (Dreamtower) LP
The Scenics didn’t play by the punk rules of the day. Their wild creativity meant any Scenics performance was an adventure… In the summer of 1976 Andy Meyers, fresh out of High School, and Ken Badger, working at the local music store, met and started The Scenics. After hearing their first studio recordings, legendary Toronto promoters The Garys immediately slid them onto Talking Heads’ September 1977 show. Featuring 12 studio recordings from 1977-78, remastered by Joby Baker.  Liner notes by Last Pogo director Colin Brunton. We have the last copies from the trios’ own Canadian pressing on Dream Tower Records. 12” black vinyl LP with download card. Recommended for fans of Pere Ubu, MX-80 Sound, Television, and other kings of the lesser-trodden proto-punk path! “In 1977 New York had Talking Heads, England XTC, but here was their equal in Toronto” Bob Mersereau, CBC.  “This one is quite special” 4 stars, Kris Needs, Record Collector. “These underground icons merged Television’s guitar work, Big Star’s pop prowess, Pere Ubu’s dementia, & Ramones’ urgency.” Montreal Mirror.

File Under: Punk
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Dusty Springfield: Complete Atlantic Singles 1968 – 1971 (Real Gone) LP
In 1968, Dusty Springfield was already an international superstar with 15 hits under her belt for the Philips label when she decided it was time for a change. What followed was one of the most legendary and momentous label moves in pop music history: Dusty decamped to Atlantic Records, where, under the tutelage of Jerry Wexler, Tom Dowd, and Arif Mardin, she recorded one of the greatest albums of all time, Dusty in Memphis, and scored such indelible hits as “Son-of-a Preacher Man” and “The Windmills of Your Mind” before moving on to Philly soul (“A Brand New Me”). We at Real Gone Music have closely examined this crucial period in Dusty’s career over the years, with three previous releases. But there remains one facet of her Atlantic period which has remained largely untouched: her singles. The Complete Atlantic Singles 1968-1971 presents the A and B-sides of all dozen singles she recorded for the label in their original mono single mixes. These singular sides highlight how the move to a more R&B sound at Atlantic (also aided by producers Gamble & Huff and Jeff Barry with such players as The Memphis Boys and The Sweet Inspirations) brilliantly capitalized on the smoky tones of Dusty’s mezzo-soprano to create some of the most potent blue-eyed soul ever recorded. Mastered by Mike Milchner from original tape sources, annotated by Joe Marchese, and featuring copious photos, The Complete Atlantic Singles 1968-1971 is an absolute must for any Dusty devotee or any soul fan to boot.

File Under: Funk, Soul
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Staple Jr. Singers: When Do We Get Paid (Luaka Bop) LP
We’re the Staples Jr. Singers and we’re a family band from the small town of Aberdeen, Mississippi. We wrote these stone-cold soul songs when we were just teenagers, and all of them were about what our family was going through at the time. Back then, we had one question on our minds, something we’re sure a lot of you can relate to: When Do We Get Paid?

File Under: Funk, Soul
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Stick Farm: Reharvest (Supreme Echo) LP
Canadian Teen Crossover. A potent hybrid of metal-tinged hardcore drenched in progressive thrash. STICK FARM from Victoria, BC secured a record deal before performing live or entering a real studio, releasing two 7” EPs in a fast-paced, two-year rise. From their humour-laden hardcore days, they quickly graduated to more complex lyrics and arrangements. Reharvest comprises 8 songs in 37 minutes recorded 1990-91 by legendary punk rock producer/engineer Scott Henderson and remixed from original reels by Cody Baresich. Large-format 12-page booklet with photos, art, and the band’s inside story. Two stickers. 475 copies. “Powerful – reminds me of Neurosis or some Nomeansno” – GF, MRR #95

File Under: Metal
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Richard Thompson: Music from Grizzlyman (No Quarter) LP
Richard Thompson’s score for Grizzly Man – Werner Herzog’s 2005 documentary film of real life and death in the Alaskan wilderness – is one of the best-kept secrets in the British guitarist’s epic canon: an instrumental masterpiece disguised as a movie soundtrack. Recorded over two days as Thompson played live in the studio to Herzog’s footage – mostly alone, at times in chamber settings with cello, piano and percussion – these tenderly detailed melodies and quietly visceral improvisations are cinema in their own right, rendered with pictorial instinct and the dazzling technique forged in Thompson’s lifelong passage through traditional folk, psychedelia, North African modes and intensely personal songwriting. Here is Thompson at his natural best – finger-picking dance; snake-curl twang and singing-wire harmonics – in a solo clarity that runs from jig-like joy to deep-note meditation, the “Main Title” blues march with its echoes of Fairport Convention’s “Sloth” to the long night of “Treadwell No More,” a harrowing darkness in slicing treble and tremolo shiver. Produced by guitarist Henry Kaiser, Grizzly Man is a record of powerful solitude – as bold and majestic as the land in Herzog’s film; as intimate as prayer – and essential Richard Thompson. Remastered by Bob Olhsson and Ed Pettersen and reissued on 180g vinyl LP housed in “old style” tip-on gatefold jacket packaging.

File Under: OST, Folk
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Trees Speak: Vertigo of Flaws (Soul Jazz) LP
This new release is a vast leap into an ocean of space and sound, a quantum leap into cybernetics, biology, anti-gravity, time travel, dream speech and transfiguration. A seriously next step release! Showing no signs of slowing down their rapid creative pace – incredibly this is their fourth album in the space of just over one year – Vertigo of Flaws: is a mighty 29 tracks – one and a half hours of music across one double album that is surely going to be a defining point in their musical career, a giant leap into the sonic unknown, an epic exploration of intensity and sound. Alongside their now trademark German krautrock motoric-beat rhythms, angular New York post-punk attitude, tripped-out 60s spy soundtrack, psyche-rock, and 70s synthesizers and vocoders, here you will also hear a new cosmic spacial awareness (both personal inner space and galactic outer space) and a truly wilful pushing of sonic boundaries – as police sirens, static noise, alarms, radio signals, avant-garde voices, and orchestral string quartets, all collide to add beautiful dissonance to uber-powerful, intense, addictive and propulsive rhythms – in the process creating a truly unique soundscape that Trees Speak have made wholly their own. If you ever wanted to hear Can, Hawkwind, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid, Tangerine Dream, Suicide, Neu!, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one band – then this is it! Trees Speak are Daniel Martin Diaz and Damian Diaz from Tucson, Arizona and their music often draws on the cosmic night-time magic of Arizona’s natural desert landscapes. ‘Trees Speak’ relates to the idea of future technologies storing information and data in trees and plants – using them as hard drives – and the idea that Trees communicate collectively. Special guests from the hyper-creative hub of the Tucson music scene on this release are Gabriel Sullivan, Ben Nisbet, Saul Millan, Stephani Guilmette, and Davis Jones.

File Under: Electronic, Prog, Psych, Kosmische
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Wouter van Veldhoven: Verzmelen II (Dauw) CS
Verzamelen II is the second volume in a retrospective series in which we look back at the work of Wouter van Veldhoven (Netherlands). Throughout the past decade, the Dutch composer built an impressive catalogue of music in which tape loop and modular synthesis experiments hold a central place. Both collaborations and solo-work saw the light through some distinctive labels such as Slaapwel, The Tapeworm, Umor Rex and Digitalis among others. With this series we want to dive into some work which slightly went under the radar. The pieces are collected from several releases and are re-mastered for the occasion. Some of them were never physically released before. Peter Broderick and Hainbach kindly joined this trip by offering two new reworks which close this second volume. Songs taken from ‘A head stuck in tapes’, ‘Een paar schetjes en optredens 2005-2006’ & other found unreleased tracks.

File Under: Electronic, Ambient
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Weather Station: What am I Going to Do With Everything I Know (Fat Possum) LP
The Weather Station returns with this limited edition 12″ 45 RPM EP. The 6 song EP was recorded with Daniel Romano and the acclaimed North Carolina band Megafaun. Each side of the record is a trio of interconnected songs: Side A is a meditation on knowledge, Side B is a narrative, a love story in three parts. It is a quiet, yearning, and soulful record that expands on the acoustic folk of All Of It Was Mine (YC-011) while deepening the intimacy.

File Under: Indie Rock
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Frank Zappa & The Mothers: 1971: Fillmore East (Zappa) LP
The iconic 1971 release gets expanded for its 50th Anniversary! Featuring the original single LP newly remastered with two additional vinyl discs of period-perfect vintage mixes from the Vault. Includes the John Lennon and Yoko Ono encore and the original “Billy The Mountain.” Liner notes by Vaultmeister Joe Travers. Pressed on 180g vinyl 3LP by Optimal Media in Germany and cut by Chris Bellman at Bernie Grundman Mastering 2021. Released in August 1971 just two months after it was recorded, Fillmore East – June 1971 was Frank Zappa and The Mothers’ masterstroke conceptual live album, a well-oiled and well-edited aural treatise chronicling the prurient feast and famine of a certain band’s somewhat salacious life on (and off) the road. In effect, it was the seemly predecessor to October 1971’s expansive, groundbreaking magnum opus, 200 Motels, the surrealistic documentary and soundtrack which ultimately took on a life of its own. Even so, Fillmore East – June 1971, the landmark live recording with the scrawled “penzil” cover art made to resemble a bootleg of the day, managed to capture its own level of then-modern zeitgeist in patented Zappa-reconstructed form. The Mothers lineup that ruled the Fillmore East roost in New York City for four extraordinary sets across two back-to-back nights on June 5-6, 1971 consisted of Ian Underwood (winds/keyboards), Aynsley Dunbar (drums), Jim Pons (bass/vocals/dialog), Bob Harris (keyboards/vocals) and was rounded out by Howard Kaylan (lead vocals/dialog) and Mark Volman (lead vocals/dialog), aka Flo & Eddie of The Turtles, with special guest Don Preston. It was a fitting Mothers collective chosen to close the renowned NYC venue, and they performed such iconic tracks like “The Mud Shark,” “Bwana Dik,” and the groupie routine labeled as “Do You Like My New Car?” The June 1971 Fillmore East finale was made even more special thanks to John Lennon and Yoko Ono appearing alongside Zappa and The Mothers to perform a final encore for the unsuspecting crowd, including a red hot version of Walter Ward’s “Well” led by John on vocals (an old Beatles live favorite from the Cavern Club in Liverpool) with two solos by Zappa, a seminal reading of “King Kong” that soon enough metamorphosized into an extended jam ultimately called “Scumbag” as well as further improvisational vocal ululations from Yoko with guitar feedback by John and backing from The Mothers. As Travers keenly confirmed in his always enlightening liner notes, the Fillmore East 1971 tapes were “the first time that The Mothers were recorded live on 16-track analog tape. Previously, all live recordings were captured on 1-inch 8-track or lower.” Barry Keene, the recording engineer for these dates, also used a ¼-inch 2-track machine to capture a line mix. Though not all of the 16-track tapes have survived over the years, Travers and company were able to utilize the 2-track board tapes to fill in any missing gaps.

File Under: Rock
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Zoviet France: in.version (Vinyl on Demand) LP
The 90’s run of :zoviet*france: is, what I consider to be, a divisive time for long time fans of the group. Gone are the days of wild and experimental sound collages and grating industrial, ritualistic ambient banger’s and in its place is a more subdued and droning affair. During this period especially the groups hallmark sound would be twisted and shifted into what amounted to a swill of limp krautrock inspired dark ambient. Their live albums especially, are long and desolate treks. Their live albums offered startling and chilling dark ambient passages as essential as their 80’s catalogue. In.Version, of the groups 4 main live albums of this period is the most glacial.

File Under: Electronic, Ambient
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Zoviet France: Digilogue (Vinyl on Demand) LP
Digilogue is a set of extremely dark and somewhat convoluted minimalism from :zoviet*france:. The combinations of experimental and conventional sounds create massive clouds of sinister atmospheres. The layered textures increase the tensions of exotic darkness. This music is definitely exotic and definitely erotic — not pleasantly but disturbingly. The sinister timbres are seductive and jarring. It is a shocking sample of an alternate reality. This CD will appeal to fans of Darkroom, Lustmord, Lászlo Hortobágyi, and Jeff Greinke. Even though it is disturbing, it is an excellent disc.

File Under: Ambient, Electronic
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Zoviet France: Mort Aux Vaches: Feedback (Vinyl on Demand) LP
Quite possibly one of the better live showings from digital era Zoviet France, and in my opinion this matches the dark spiritual energy of Vienna 1990 as well, which is a testament considering that that album is a leviathan of dark ambient. Heavy on the pulsating, bubbly effects, Feedback feels like you are exploring the dark corridors and caverns of an alien moon, where lava flows are the only source of light and the tremors of your own footsteps and the cracking of rock are the only thing you are aware of, your mind and body are slowly dissociated as the madness brought on by the extreme isolation of being the only living thing on this world becomes clear.” – RYM

File Under: Electronic, Ambient
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Zoviet France: A Long Walk (Vinyl on Demand) LP
Vinyl On Demand is back once again with a third round of vinyl reissues for the pioneering ambient project Zoviet France. This campaign focuses on the English group’s work between 1996-2013, and it is culled from compilations, albums, singles, and other ephemera from a crucial period in their development. Among those reissues is 2011’s A Long Walk, a mysterious and previously hard to find work from Zoviet France. A Long Walk’s four simply numbered tracks bear some influence on the moves they would make for 2012’s critically acclaimed 7.10.12 but in miniature. The faint drum machine patter of the closing song is especially revealing in that sense. A Long Walk is now available on vinyl for the first time thanks to VOD.

File Under: Electronic, Ambient
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Zoviet France: Decriminalisation of Country Music (Vinyl on Demand) LP
As Glasgow’s Tramway building evolved from train station into arts space, Zoviet France were present recording the ambient sounds for use in their commissioned themes for the Scottish Arts Council.  Though you’d hardly believe it from the mostly non industrial nature of these very comfortable soundscapes.  Five tracks range between five and twelve minutes apiece and the remaining four serve as in-between filler.  In “Something Spooked the Horses” a constant warm drone and panning scratchiness are overlaid with yearning strands of pedal steel guitar.  “Electron Gate” gently pulsates a bass loop as microscopic bits click and fuzz.  “Pyroclastic Flow” is noisier with some possible power tool abrasion honed into layered drones.  “Spiiltek” is dancing plastic chips and electronic blips which relinquish to the deep bass waves beneath.   “Light Abrasion” closes with a higher pitched wall of sound and occasional cricket like chirping.  All in all “Decriminalisation..” is an engaging work of auditory art.  And it’s as suited for busy high brow art rooms as it is lonely late night bed rooms …

File Under: Electronic, Ambient
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Zoviet France: 7.10.12 (Vinyl on Demand) LP
This, Zoviet France’s first major release in over a decade, originally surfaced last fall as a characteristically cryptic and incredibly limited box set containing rubbings of neolithic Northumbrian stone and a vial of hawthorn berries.  Unfortunately, it completely sold-out world-wide on the day it was released, so most of us never got to hear it.  VOD has now issued a new version. 7.10.12 offers up roughly an hour of minimal/quasi-ambient loopscapes.  While they certainly offer many subtle nods to ZF’s weirder, more abrasive past, these records feel more like the beginning of a curious new phase than a triumphant return to form.

File Under: Electronic, Ambient
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Zoviet France: The Tables are Turning (Vinyl on Demand) LP
Although you’re more likely to find :zoviet*france: soundtracking art installations and performances, 2012 saw the release of the studio album 7.10.12 released as a boxset edition on alt.vinyl. On The Tables Are Turning the duo of Ben Ponton and Mark Warren present a studio version of their live soundtrack to Designer Body, a contemporary dance production by Ballet Lorent. Ballet Lorent’s 2009 production featured dancers on revolving plinths. At first fully dressed with hats, scarves and full make up as the performance progresses they continuously remove their clothing until they are naked. It’s a transformation where the dancers remove all items of artifice until they are unadorned and in their natural state – another form of designer body. The specially commissioned score by :zoviet*france: accentuates the performance with a powerfully atmospheric score featuring the sounds of music boxes and run-off grooves amidst synths, drones and rhythms. From the gentle layered blur of electronic hums and rickety music box sounds of the opening track ‘The Grit In The Clouds’ the first half of the soundtrack is filled with disparate abstract sounds. Brooding synth washes rise amidst the looped cyclical shimmering cuts of ‘Amber Rose Hand’ with clipped run-off grooves of mournful chants bringing this to a sombre beautiful close; its gentle rotation contrasts with the following track ‘Flam’ where panning skittering rhythms and ultra low bass tones reverberate against fragments of treated strings , unravelling into hypnotic patterns of flickering ringing guitar. ‘Moss Balls On Moss’ moves into harsher electronic territory where the electronics evolve from ricocheting thuds underpinned by a constant drone into a roar of crunchy textures. The disparity of sounds here does make me think :zoviet*france: work better on longer tracks but everything falls into place on the following tracks, It’s as if :zoviet*france: are trying to dispense with as much sound as they can, just like the dancers discarding their clothes. There’s an air of beauty to be found on ‘Green Air’ with its electrified, orchestral strings clipped and cut-up, circling against a darker strain of electronic drone, while bird song provides a moment of tranquillity. That tranquillity accompanied by vinyl pops continues to run through the slow, sombre creaking electronic movements of ‘Prophecy Loved A Child’. The entire atmosphere changes on ‘Sweeping Arbor Low’ – Arbor Low being a Neolithic stone circle – where everything is reduced to a series of low ominous drones. While ‘Sandbox’ pulses with a grainy shingle pounded rhythm, ‘The Fire Of Revolution’ flourishes from pensive keys into airy melodic orchestral realms in its extended form. It’s beautiful and along with ‘Green Air’ they rate as the finest compositions on The Tables Are Turning. Shimmering electronics adorn ‘A Moment Of Film’, while the slight ringing shrill of a treated music box on the closer ‘Poured Out Slowly’ swells into a mesmerising synth score underscored by bubbling bass tones, and the run-off static of a record groove. It’s a fitting end to the gentle understated work of The Tables Are Turning.

File Under: Electronic, Ambient
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Zoviet France: A Third Collusion (Vinyl on Demand) LP
VOD presents the third chapter in the Collusion series that collects rare tracks previously released on various Zoviet France’s compilations. First time on vinyl. Constructed from an array of samples and environmental recordings plus plenty of feedback, Collusion exudes a rare beauty for an album of such varied sounds (each track was originally released on a different compilation). Though the first includes a long passage from a religious-revival preacher (complete with the sample used for the title of the early-’90s rave hit “Injected with a Poison”), the dark ambience and white noise of later songs like “Sprey,” “First Vigil” and “White Dusk” make for a surprisingly exciting album.

File Under: Electronic, Ambient
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Various: Ebirac All-Stars (Numero) LP
Far from the twin epicenters of New York and Miami, Carlos Ruiz and his Ebirac label were both feeling and generating the aftershocks of the mid-’70s salsa boom. Holed up in their own bustling Puerto Rican community center on Chicago’s west side, these third coast salseros plied their trade outside the hot lights, cutting their teeth in city parks, VFW halls, and Holiday Inn rec rooms. Nearly 50 records survive in the wake of orquestas La Justicia, La Solucion, and Tipica Leal ’79, the most impassioned, singular moments of which are compiled here.

File Under: Funk, Latin, Soul
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….restocks…..

Absent In Body: Plague God (Relapse) LP
Arctic Monkeys: Suck It And See (Domino) LP
Syd Barrett: The Madcap Laughs (Harvest) LP
Bedhead: Beheaded (Numero) LP
Belle & Sebastian: Tigermilk (Jeepster) LP
Belle & Sebastian: If You’re Feeling Sinister (Jeepster) LP
Belle & Sebastian: Boy with the Arab Strap (Jeepster) LP
Big Black: Atomizer (Touch & Go) LP
Black Midi: Schlagenheim (Rough Trade) LP
Blud Aus Nord: 777: Cosmosophy (Debemur Morti) LP
Bon Iver: s/t (Jagjaguwar) LP
Buena Vista Social Club: s/t (World Circuit) LP
Caravan: s/t (Music on Vinyl) LP
Cattle Decapitation: Karma. Bloody. Karma (Metal Blade) LP
Nick Cave & The Bad Seeds: The Good Son (Mute) LP
Nick Cave & The Bad Seeds: The Boatman’s Call (Mute) LP
Nick Cave & The Bad Seeds: Let Love In (Mute) LP
Nick Cave & The Bad Seeds: Henry’s Dream (Mute) LP
Czarface: Every Hero Needs a Villian (Silver Age) LP
Miles Davis: Get Up With It (Music on Vinyl) LP
FACS: Present Tense (Trouble In Mind) LP
Feelies: Crazy Rhythms (BarNone) LP
Flying Burrito Brothers: Gilded Palace of Sin (A&M) LP
Godspeed You! Black Emperor: G_d’s Pee AT STATE’S END! (Constellation) LP
Godspeed You! Black Emperor: Lift Your Skinny Fists Like Antenna.. (Constellation) LP
Grinderman: 2 (Mute) LP
Herbie Hancock: Crossings (Music on Vinyl) LP
Herbie Hancock: Fat Albert Rotunda (Music on Vinyl) LP
P.J. Harvey: 4 Track Demos (Island) LP
P.J. Harvey: Stories from the City (Demos) (Island) LP
High On Fire: Surrounded By Thieves (Relapse) LP
Hole: Celebrity Skin (Music on Vinyl) LP
Barbra Howard: On the Rise (Remined) LP
Syl Johnson: Is It Because I’m Black (Numero) LP
July: s/t (Music on Vinyl) LP
King Crimson: Starless and Bible Black (Panegyric) LP
Kosuke Mine Quintet: Mine (Le Tres Jazz Club) LP
Mdou Moctar: Afrique Victime (Matador) LP
Mdou Moctar: Ilana: The Creator (Sahel) LP
Herbie Nichols: Prophetic Herbie Nichols Vol. 1 & 2 (Blue Note) LP
Nirvana: MTV Unplugged in New York (Geffen) LP
Nirvana: In Utero (Geffen) LP
Orville Peck: Bronco (Columbia) LP
Pixies: Trompe Le Monde (4AD) LP
Daniel Rossen: You Belong There (Warp) LP
Rupa: Disco Jazz (Numero) LP
Rush: Moving Pictures (Mercury) LP
Gil Scot-Heron: The Revolution Will Not Be Televised (BGP) LP
Sigur Ros: Agaetis Byrjun (Krunk) LP
Slowdive: Souvlaki (Music on Vinyl) LP
Speed, Glue & Shinki: Eve (Warner) LP
Throbbing Gristle: 20 Jazz Funk Greats (Mute) LP
McCoy Tyner: Expansions (Blue Note) LP
Waxahatchee: Saint Cloud (Merge) LP