…..news letter #1030 – week…..

Hectic week around here. Shipments everywhere! Lots of new stuff and restocks. 

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

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

…..picks of the week…..

j: my seat and weep (Daisart) LP
Justin Cantrell’s debut J album finds him skating into delicate locations, marrying faded piano and delicate electronics with gusty radio static and frozen pads. Cantrell is better known for his recordings under the Ju Ca moniker, or his collaborations with mdo as picnic. As J, he reduces his sound to a whisper, gently manipulating environmental hums and crackles into a poetic wisp of harmony and microscopic sound. “my seat and week” is an album that requires close listening, and when you focus your attention, the details make themselves present. Like the lilting rhythm Cantrell extracts from piano on the title track, disturbing the natural pacing of the keys by digitally stuttering the sounds, or the faint sine chimes on ‘you take each others breath away…’ that beat quietly beneath an insectoid hum. Subtle spoken word from Angelina Nonaj elevate ‘more room to breathe in’, slipping between the gaps in Cantrells piano, while cello from Abby Sundborn gives a melancholy distance to ‘a healing tear’.  All together it’s a varied set, that highlights Cantrell’s community approach to his craft – the warmth is palpable.

File Under: Ambient
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Huerco S: For Those of You Who Have Never (And Also Those Who Have) (Proibito) LP
What were the clouds like when Huerco S was young? The Kansas-raised, New York-based producer’s absorbing ambient album For Those of You Who Have Never (And Also Those Who Have) goes some way to answering The Orb’s fluffy little proposition… Brian Leeds a.k.a. Huerco S’s 2nd album, following Colonial Patterns (2013) finds him working between the cracks and fissures of what we’ve previously heard from him, drawing out nine pieces of mineral ambient textures and non-percussive rhythms marking his best work since the 20 minute Untitled track off his debut for Opal Tapes in 2012. Defined throughout by a low lit, low-lying sense of intimacy, rather than oceanic or celestial tropes, Leeds’ appreciation of lower case nuance is in warm, crackling effect with a hazy glow that recalls Wanda Group’s earlier outing as The Hers, or the sweeter touches of Bellows. Like a well timed gary, once it really begins to sink in, the warbly electronic pitches and subtly chaotic ferric details really get to work in hypnotising and making you forget where you started, suspending disbelief for a 50 minute window of time just long enough to let your mind wander over the horizon. Time will tell, but this is surely a future ambient classic.

File Under: Ambient
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Horacio Vaggione: La Maquina De Cantar (Dialogo) LP
Horacio Vaggione (born 21 January 1943) is an Argentinian composer of electro-acoustic and instrumental music who specializes in micromontage, granular synthesis, and microsound and whose pieces are often scored for performers and computers (mixed music). His music is regularly played worldwide in major centers and festivals of contemporary music. La Maquina de Cantar is his first solo recorded work; originally released on the Italian Cramps Records label as the 18th volume of the Nova Musicha series dedicated to contemporary avant-garde composers, La Maquina de Cantar is now made available again on Dialogo in a faithful reproduction of the original gatefold cover artwork, including also an inner sleeve with the English translation of the liner notes.

File Under: Electronic, Avant Garde
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…..new arrivals…..

Afro Soul Prophecy: Heat in the City (Schema) LP
The Afro Soul Prophecy is an atypical musical project, out of time and trends, as evidenced by a several years gestation that has finally ended with the release of “Heat in the City”, an album that includes all the songs ever recorded, some of which have already been published in 2017 on 7” (SC716, “Red Light District / The Game of Love” – SC717, “Daddy’s Groove / Let Me Be your Lover”) and 10” records (SCEB002, with three different versions of “The Devil Made Me Do It”). The Afro Soul Prophecy was born thanks to the initiative of Luciano Cantone, co-founder of Schema Records, here also spiritual leader and producer of the project. “Heat in the City” is an almost completely instrumental album that finds its strength in its simplicity and balance between parts. The songs’ composer is Alex Puddu, well-known especially for his “Golden Age of Danish Pornography” disco-sex-funk triptych, surrounded by a long series of international artists who gave musical life to his ideas: Abdissa “Mamba” Assefa (Ethiopia, drums and percussion), Antti Lötjönen (Finland, double bass), Georgios Kontrafouris (Greece, Wurlitzer and Hammond), Timo Lassy (Finland, saxophone), Gendrickson “Pucci” Mena (Cuba, trumpet), Massimo Martellotta (Italy, guitar) and Morten Grønvad (Denmark, vibraphone). The Afro Soul Prophecy’s sound and groove are exquisitely black, but so rich of shades that require in-depth listening to be fully assimilated and to understand the overall range of “Heat in the City”, a record that draws inspiration from The Meters, War and Roy Ayers’ downbeat funk, but also indulges in afrobeat (The Devil Made Me Do It), Latin (Let Me Be Your Lover, The Game of Love, Daddy’s Groove) and disco contaminations (Everybody’s Going Uptown, Fire in Acapulco, Mean Street), while “Summer of ’75” and “The Crowd Pleaser” evoke pure urban blaxploitation scenarios. All these influences are fully rooted in this album, making it almost mystical and visionary, as if the aforementioned music genres scenarios could materialize in front of the listener’s eyes. “Heat in the City” owes most of its qualities to the fundamental contribution of Abdissa Assefa on percussion and Antti Lötjönen on double bass – a particular and atypical instrument in a context like this, as well as to Pietro Ciancaglini’s arrangements. The overall result, wide-ranging and full of hidden details, is the ultimate consequence of the multi-ethnic nature of this project, which involved musicians from all over the world; once again, the language of music has contributed to unite different cultures and to erase distances in the creation of “Heat in the City”, an album that needs multiple listenings to be discovered in full.

File Under: Afrobeat, Funk
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The Band: Cahoots (Capitol) LP
Capitol/UMe celebrate the 50th anniversary of The Band’s classic fourth album, Cahoots, with an all new remix and remaster by Bob Clearmountain. This half-speed mastered 180g vinyl LP edition was overseen by principal songwriter Robbie Robertson and sports a new stereo mix by Clearmountain from the original multi-track masters. As with the acclaimed 50th anniversary collections for the winning trio of Music From Big Pink, the self-titled record and Stage Fright, Clearmountain and Robertson’s approach to remixing Cahoots was undertaken with the utmost care and respect for the music and what The Band represents. That said, Robertson’s instructions for how his right-hand mixing partner should handle the Cahoots mixes possessed one key difference: Robertson wanted Clearmountain to transform them based on what he felt was lacking from the original mixes. Clearmountain shares, “Robbie told me, ‘Just think of the original mixes as rough mixes. Pretty much don’t pay attention to the mixes themselves.'” This directive gave Clearmountain the leeway to unclutter some of the album’s original arrangements, all with Robertson’s blessing: “In the beginning of these sessions, we didn’t know if we were making another Basement Tapes where nobody would hear the music or if we were actually making a real record,” Robertson admits. Though Robertson felt the first three Band records wound up sounding better due to a combination of how today’s technology actually enhances the limitations of yesterday’s technology, he doubled down with his instructions to Clearmountain for Cahoots: “I told Bob, ‘There are no rules. So, every mix we do, I want to start from scratch. I don’t even want to listen to the original. I want to listen to the way we hear it now and be fearless and experimental with it.” Clearly, Clearmountain took Robertson’s wishes to heart as is instantly evident in the greater clarity of the punch of the drums and bass and how putting guitar and organ lines a bit back in the mix enables certain vocal elements to be more out front. Concludes Robertson, “This is what I really meant. This is the honesty of this now. This is a trip. This is something special.” Originally released on September 15, 1971, Cahoots contains a number of The Band’s best-loved and most enduring songs, including “Life Is A Carnival” and “When I Paint My Masterpiece.” As recounted in the liner notes, longtime Band road manager Jonathan Taplin notes how “Carnival” was born in part out of Robertson’s infatuation with some of the more peculiar characters on display in Marcel Carné’s 1945 film Les Enfants du Paradise, not to mention his having worked on the midway at the Canadian National Exhibition in Toronto in his youth. In addition to The Band’s own impeccable style of groove-making, the song’s Mardi Gras-esque atmospherics are also due to legendary New Orleans R&B producer Allen Toussaint having been deployed to compose a most excellent, and decidedly funky, horn arrangement to buttress the track. Meanwhile, “When I Paint My Masterpiece” ensued from a visit by lifelong Band compadre Bob Dylan, an instant classic that’s bolstered by Levon Helm’s mandolin and Garth Hudson’s accordion, both of which lent the track a European feel that best matched Dylan’s lyrical axis. Incidentally, Cahoots features another guest of note who also happened to be a Woodstock resident at the time: namely, Van Morrison, who adds his indelible vocal stamp to “4% Pantomime.” One afternoon, Morrison stopped by Robertson’s writing studio, heard Robertson noodling on some chord changes and a melody on piano, and the next thing anyone knew, Morrison was singing and creating lyrics on the spot while looking right at Richard Manuel. Morrison (whom Robertson dubbed the “Belfast Cowboy”) was so galvanized by the tune that he suggested they all head to the studio to cut it that same night. A few hours and a few false starts later, “4% Pantomime” was officially on tape. In the finished version, Morrison and Richard Manuel trade impassioned face-to-face vocals captured only a few feet apart (with Manuel also turning in double duty on piano), Levon Helm supplying the unmistakable backbeat, and Garth Hudson adding all the right organ fills.  Cahoots peaked at No. 21 on Billboard, marking The Band’s fourth consecutive Top 30 album appearance. Fifty years on, Cahoots remains a stone-cold masterpiece, reinforced with a vibrant and refreshing new stereo mix. Believe it or not, Cahoots is most definitely worth more than “two bits a shot.”

File Under: Rock
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Art Blakey & The Jazz Messengers: First Flight to Tokyo (Blue Note) LP
Blue Note Records presents First Flight to Tokyo: The Lost 1961 Recordings, a thrilling previously unreleased live recording of Art Blakey & The Jazz Messengers captured at Hibiya Public Hall in Tokyo on January 14, 1961 during the band’s first-ever tour of Japan. The Jazz Messengers were among the first modern jazz groups to tour the country, and adoring Japanese audiences were enthralled by one of the band’s all-time great line-ups featuring the legendary drummer with Lee Morgan on trumpet, Wayne Shorter on tenor saxophone, Bobby Timmons on piano, and Jymie Merritt on bass. The concert featured soaring performances of well-known jazz staples including Charlie Parker’s “Now’s the Time,” Thelonious Monk’s “‘Round About Midnight,” and Jazz Messenger hits including “Blues March,” “Dat Dere,” and “Moanin’.” First Flight to Tokyo was co-produced by Zev Feldman and David Weiss and is available here on deluxe vinyl 2LP with an elaborate booklet featuring rare photos by Japanese photographers Shunji Okura and Hozumi Nakadaira and an historical essay by acclaimed jazz critic Bob Blumenthal plus new interviews with Wayne Shorter in conversation with Blue Note president Don Was, celebrated saxophonist Lou Donaldson, Japanese jazz star Sadao Watanabe, renowned Japanese music critic Reiko Yukawa, Blakey’s son Takashi Blakey, and a trio of drum greats: Louis Hayes, Billy Hart and Cindy Blackman Santana. Audio was newly transferred from the original ¼” tape reels, and the vinyl edition was mastered by Bernie Grundman and pressed on 180g vinyl at Record Technology Inc. (RTI). “The performances were captured at the end of a tour that resulted after Blakey was crowned in a Japanese magazine poll as the American musician that the country’s jazz fans were most eager to experience in person,” writes Blumenthal in the liner notes. “Over the first two weeks of January 1961 the Messengers performed in several major Japanese cities and were received as artistic heroes wherever they appeared. This outpouring by the Japanese public, plus the concert and broadcast settings in which the band was presented, were a far cry from the treatment and working conditions commonplace in the USA and made a great impact on Blakey, who responded with a keen appreciation of his newfound role as international representative of his art form. If the Blakey/[Horace] Silver partnership had established the Jazz Messengers style, and the tour [Benny] Golson’s edition undertook at the end of 1958 introduced the band to European audiences, then this first visit to Japan made the Messengers a worldwide phenomenon and cemented what would prove to be its most loyal fan base.” 

File Under: Jazz
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Donnacha Costello: Together is the New Alone (Keplar) LP
For its 20th anniversary, Keplar presents an absolute milestone in the history of IDM and ambient music for the first time in its definite form: Together Is The New Alone by Donnacha Costello was originally released on Mille Plateaux in 2001 as the second LP under the Irish producer’s given name and firmly established him as one of the leading artists in the field of forward-thinking electronic music after he had primarily made a name for himself with house and techno releases under the Jayrod moniker. This vinyl reissue with an entirely new artwork comprises all ten tracks originally only included on the CD version in their edited and final form in which they were last presented on the digital re-release under the name Together, remastered by Stephan Mathieu and self-published by Costello, in 2015. Truly prescient artists rarely opt for introspective sounds, however that was the case when Costello set out to produce Together Is The New Alone during nightly session in his hometown Dublin between April and July in 2001, and it also explains the album’s enduring appeal and unwavering radiance twenty years on. While many of his contemporaries dedicated themselves to explore the musical zeitgeist and notions of the future in conceptual terms, Costello made them emotionally tangible, allowing his audience to feel their underlying ambiguity rather than just reflect on it. Together Is The New Alone is an album that wordlessly speaks of the paradoxical sense of social alienation and isolation expressed by its title and thus seems even more topical today than it did at the time of its release. Working with elements from techno culture, glitch aesthetics, intricate IDM rhythms and lush ambient textures, Costello never once throughout the album adheres to tried and tested formulas and conventions, but holistically molds complex compositions out of distinct and discrete parts. The result is a record that is at once easily accessible and deeply affecting, but also infinitely rich and stunningly sophisticated in musical terms. A personal record expressing a universal sentiment — a truly timeless statement that will reverberate for decades to come. Full tone artwork; includes download code; edition of 500.

File Under: Electronic
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Elg: Dans Le Salon Du Nous (Vlek) LP
Since 2004, Laurent Gérard alias Èlg (Opéra Mort, Orgue Agnès) has never ceased to draw the sonic equivalent of concentric spirals and labyrinths made of cedars, brambles and guts. By constantly renewing his instrumentarium over the years, he has built improbable bridges between musique concrète and songwriting (Vu du Dôme, Mauve Zone), diagonal spoken word and wormhole (Amiral Prose), electronic incantations in crypt and blob choirs (Mil Pluton, La Chimie). The language is sometimes francophone, sometimes reduced to an alien babble, invoking the old man, the madman, the child, the dusty revenant, the epileptic bard or the messenger of love. In 2019 he began composing a series of sound paintings to illustrate multiple states of being, which constitute the album “Dans le Salon du Nous”, scheduled for release at the end of november 2021 on the Belgian label Vlek. He collaborated with his brother Mim on the production, and numerous collaborators across the tracks and the result is a stirring journey, whispered, sung and shouted flat on the stomach on the great slide that leads from birth to the Bardo. This experience lead to the formation of an ensemble to dig into this raw energy and redraw the contours of the record again and feel confident enough to present the most pop side of his fractal brain live. Èlg composes new songs with drawers and summons three mutant musicians whose imagination, personality and almost vegetal elasticity exceeded all expectations from the very first rehearsals. Marie Nachury, a vertiginously versatile and ambidextrous musician, as comfortable in learned music orchestras (Furvent, the Grand Sbam, Arfi) as in sprawling rock bacchanals (Dur et Doux collective, Brice et sa Pute), sings, plays the bass with her left hand, the organ with her right and operates two marble flute pumps with her feet. She is an angel. She is a witch. Johann Mazé (France Sauvage, Lord Rectangle) alias the man with 400 hands and 800 feet. His playing is a curious mixture of cold, hot, stiff, supple and incredibly organic. He can make any living thing dance and then sit down with a click. He even pulls custom-made electronic pads from his briefcase, built by a former NASA scientist. Arriving from the depths of the cosmos: Aurore Debret is a member of the band Dragon du Poitou and also solo composer under the moniker Or Or. She sings in many different ways and energies (she has this typical Rn’b vibe) but she also plays violin and synth and make them totally cry or scream. Alexandre Menexiadis will be there but hidden. He will have the luminous task to take care of live sound engeneering but also to be a wizard dubber by doing live manipulations on the master sound to add some spicy and cosmical dimensions. He has also part of the band Dragon du Poitou. Èlg et La Chimie is a four-headed hydra chanting its poly-melodies in songs that clash like so many small galaxies giving birth to a new map of the pop sky.

File Under: Experimental
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The Estimations: Heart of Stone (Kimberlite) 7″
It’s been a long time coming, but finally The Estimations are back with a second record! The A side, Heart Of Stone brings fuzz guitar, 4/4 drums, and a Levi Stubbs lead with haunting backing vocals to set a Norman-Whitfield-psychedelia-inspired soundscape for repressed lovers.  If you’ve spent your life getting hurt, it’s near impossible to trust and give yourself to someone completely.  This song is a hymn for the inhibited, rejected and pained out there who aren’t ready to get back in “the ring”. Turn over the disc and Don’t Go Kissin’ My Baby maintains the Motown theme with a bouncy bubblegum-soul arrangement, this time more typical of mid-60s Frank Wilson or Smokey Robinson productions.  Not only are we still in Mr. Gordy’s sphere of influence, but we’re also keeping the continuity here with the subject of trouble in relationships. Between being withholding and being jealous, this release shows that Jory and Co. might not be scoring high on the next Facebook relationship quiz, but musicians aren’t supposed to be good role models anyway, so who’s really surprised? So where’s Kimberlite been for the last two years?  Let’s please just accept that it’s been a hard time for everyone, and understand that real life has gotten in the way of a lot of passion projects.  We’ve got a lot in the works and are trying to get ourselves back together.

File Under: Soul
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Fabio Fabor: Mr Diabolicus – Mr. Mysterious (Schema) LP
Given his fascination with obscure and esoteric topics, an interest that lasted throughout his whole career as a composer of library music, Fabio Fabor must have been diabolic and mysterious for real. The Milan-born composer, who passed away in 2011, had always showcased a darker side compared to other fellow musicians of his era. A side that is well portrayed in works like the famous masterpiece “Pape Satan”, or “Satanas”, which is included in the very accessible “B 81” (Serie Usignolo) or in this splendid and experimental “Mr. Diabolicus – Mr. Mysterious”. This is still a library music release, but it is kind of difficult to imagine TV or radio shows accompanied by tracks like “Neutroni”, “Mr. Mysterious”, “Fucina diabolica” or “Idillio Cosmico”. We have nonetheless to acknowledge that in 1973 (the year this gem was released), Italian TV was often surprising the audience with innovative shows, likely to host music such as Fabor’s compositions – however, listening again to these 14 short compositions is still an extraordinary experience if we consider their impact and influence on contemporary music and on hip labels of our days like Ghost Box. “Sea Melody” e “Mare di ghiaccio” could have been taken from aquatic/biological-themed releases like “Ittiologia” o “Biologia Marina”, but the whole album quality is impressive. Along with “Pape Satan”, this is probably the best Fabio Fabor ever.

File Under: Library
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Fluxion: Parallel Moves (Vibrant) LP
Fluxion continues to carve his own musical path, taking his listeners to a personal journey in his inner world, moods and moments, showcasing the importance of being influenced by none other than real life moments, people, expectations, joy, dreams and disappointments. Expressing what comes from the inside, instead of the outside, creating a more intimate work, is at the main focus of the artist since his previous album Perspectives that came out on May 2020. Artistic development happens from within, not from repeating formulas of the past, but embracing and mixing life events, alongside different styles of music culture, and creating personal stories, outside of trends, that’s what keeps the music interesting. On Parallel Moves, Fluxion flows through various emotional states, and through blending of styles and expanding the borders, he manages to create variety listening to the album which is essential on an LP. But even with the variety the music bears the Fluxion sound aesthetic making it an enjoyable listening experience, that requires more listens.

File Under: Electronic
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Nils Frahm: Old Friends New Friends (Leiter) LP
When it comes to defining the space between classical and electronic music, hardly any other name is mentioned as often as that of the Berlin-based pianist, composer and producer Nils Frahm. His unconventional approach to an age-old instrument, played contemplatively and intimately, and on a mesmerizing scale through his vast stage shows, has won him many fans around the world. Frahm closes out 2021 with the new double album Old Friends New Friends.

File Under: Ambient, Electronic
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Stefano Ghittoni & DJ Rocca: Atemporal Space Tests (Schema) LP
Both active since the late ’90s, Stefano Ghittoni and Luca ‘DJ Rocca’ Roccatagliati have collected an infinite series of projects, collaborations, records and productions, focusing on the vast world of electronic music in any of its forms and shapes. Stefano Ghittoni is mostly known for his partnership with Cesare Malfatti in The Dining Rooms, who have just released their latest album “Do Hipsters Love Sun (Ra)?” on Schema Records. He also recently founded a record label called Intervallo Dischi, releasing vintage obscure and forgotten library music scores only on vinyl. On the other hand, DJ Rocca, founder of the Maffia Sound System project back in 1995, is very well known among lovers of electronic music, and his two-decade career can count on collaborations with Howie B, Pressure Drop, Zed Bias, Dimitri From Paris, Jazzanova and Daniele Baldelli among others. He can be found today in projects such as Electric Tree, Ajello, Supersonic Lovers and Crimea X, besides running his own record label Danny Was A Drag King. Today these two characters have finally been able to work together, and their artistic partnership has given life to the nine tracks of “Atemporal Space Tests”, a haunting collection of electronic jazz-funk songs, from mid to downtempo. It’s a fully instrumental record that plays very rhythmic and groovy, built on both analogic and digital sounds, like a floating and psychedelic soundtrack to a modern science fiction movie.

File Under: Library
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Curtis Harding: If Words Were Flowers (Anti) LP
Written and recorded over the past two tumultuous years, Curtis Harding’s If Words Were Flowers is a vibrant, intoxicating bouquet, one as diverse as it is dazzling. Drawing on vintage soul, R&B, hip-hop, garage rock, and psychedelia, the songs here are raw and gritty, fueled by airtight grooves, punchy horns, and adventurous production from Harding and frequent collaborator Sam Cohen (Kevin Morby, Benjamin Booker). “Nina Simone said that it’s an artist’s job to reflect the times,” Harding explains. “I think it’s important to live in the moment. If you do that and you’re honest and vulnerable, you can reach the people that need to be reached…That’s what this album is. It’s me giving my flowers to the world, to anybody who needs to hear what these songs have to say right now.”

File Under: Soul
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Hoavi: Music for Six Rooms (Balmat) LP
Balmat’s second release comes from Hoavi, aka Kirill Vasin, a Russian electronic musician whose work approaches what might be familiar reference points—deepest dub techno, atmospheric ambient, liquid drum’n’bass—with a singular and refreshing point of view. We first became aware of Hoavi after coming across one of his tracks in a DJ mix by Leech, aka Peak Oil label co-founder Brian Foote; we began corresponding, which led to a massive zip file of unreleased tracks turning up in Balmat’s inbox. Music for Six Rooms has been culled down from that bounty, its disparate moods distilled into 10 profoundly immersive tracks that touch upon dream pop, dub techno, and new age, all swirled together into the headiest of ambient dreamscapes. Active since the early 2010s, when he founded his Shells Rattle label, Hoavi has released on a number of labels including floe, Snare Tapes, Fauxpas, and Minor Notes. In October, Peak Oil will finally release his album Invariant, recorded in 2019 and intended for release in 2020, then tied up in pressing-plant backlogs for over a year. Balmat’s Music for Six Rooms follows roughly a month later; we think that the two albums offer a wonderfully complementary view of Hoavi’s talents—one rhythmic, the other largely beatless, yet both of them sensuous in the extreme.

File Under: Electronic
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Martin Davorin Jagodic: Tempo Furioso (Dialogo) LP
Martin Davorin Jagodić (1935 – 2020) was a Croatian contemporary music composer and educator. His work includes theatre music, graphic scores, instructions for performances, multimedia installation art, radio art, electroacoustic music on tape as well as experimental film soundtracks. Despite a very long series of performances during the years, only one single LP has officially been released under his name, named Tempo Furioso (Tolles Wetter), a collage of electronic and ‘found sounds’ divided in two long movements (one for each side of the LP). Originally released on the Italian Cramps Records label as the 8th volume of the Nova Musicha series dedicated to contemporary avant-garde composers, Tempo Furioso is now made available again on Dialogo in a faithful reproduction of the original gatefold cover artwork, including also an inner sleeve with the English translation of the liner notes.

File Under: Experimental, Avant Garde
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Steve Lacy: Straws (Dialogo) LP
Steve Lacy (July 23, 1934 – June 4, 2004) was an American jazz saxophonist and composer recognized as one of the important players of soprano saxophone. His career has been long and prolific; Lacy worked extensively in experimental jazz and to a lesser extent in free improvisation, but his music was typically melodic and tightly-structured. Lacy also became a highly distinctive composer, with compositions often built out of little more than a single questioning phrase, repeated several times. In 1977 he released a one-off record titled Straws for the Italian Cramps Records label, as the 6th volume of the DIVerso series (which included, among others, Demetrio Stratos’ solo albums) dedicated to contemporary avant-garde composers. Straws is now made available again on Dialogo in a faithful reproduction of the original gatefold cover artwork and inner sleeve.

File Under: Jazz
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Alvin Lucier: Bird and Person Dyning (Dialogo) LP
Alvin Lucier (born May 14, 1931) is an American composer of experimental music and sound installations that explore acoustic phenomena and auditory perception. Much of his work is influenced by science and explores the physical properties of sound itself: resonance of spaces, phase interference between closely tuned pitches, and the transmission of sound through physical media. Bird and Person Dyning is his first solo recorded work; originally released on the Italian Cramps Records label as the 11th volume of the Nova Musicha series dedicated to contemporary avant-garde composers, Bird and Person Dyning is now made available again on Dialogo in a faithful reproduction of the original gatefold cover artwork, including also an inner sleeve.

File Under: Experimental, Avant Garde
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Lucky & Easy: Cheeky Speaker (Ampoule) LP
The restless charms of Glasgow’s Lucky & Easy play out across a cherry-picked compilation for the legendary Ampoule label following those choice PUB reissues by the same artist. Putting his own, pastoral-tinged, Scottish twist on late ‘90s / early ‘00s currents, the artist also known as Pub fostered a strong, if cultish following during that era for his warm and gently wayward style of post-techno exploration. Lucky & Easy’s music was symptomatic of a yearn to mess with the techno and ambient formats that emerged during the preceding decade, and which quickly became hackneyed due to a ubiquity of dance and “chill out” forms during that epoch. Like a wave of fellow artists, he was emulating the emotional intelligence of Detroit techno and modernist R&B and hip hop, with a twinge of wistful post-rock for good measure, arriving at a syncretic sound that’s all the above and entirely its own thing. Cheeky Speaker contains a bounty of inventive, warmly personalised music that span output from 1998 – 2013, drawing from eight respective releases, with standout material strewn between the meter-messing ace ‘Bully Swimmer,’ the post-Detroit electro reverie of ‘Night Rainbows,’ the DIN-style rhythmic swinge of ‘Wigged,’ the chamber techno of ‘Kite Finger,’ and Sensate Focus-alike, bittersweetness of ‘Titswing.’  Good stuff.

File Under: Electronic
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Costin Miereanu: Luna Cinese (Dialogo) LP
Edition of 500 LP on black vinyl. Audiophile pressing. Gatefold cover, including printed inner. Perfect replica of the original packaging (with additional translated liner notes) and newly remastered for optimal sound.** Of all the historic labels associated with experimental music, few have garnered as much affection, or as devoted a following, as the Italian imprint Cramps. Its catalog reads like a who’s who of the 1970s musical avant-garde, housing seminal albums by John Cage, Gruppo di Improvvisazione Nuova Consonanza, Giusto Pio, Demetrio Stratos, Juan Hidalgo, Robert Ashley, Walter Marchetti, Cornelius Cardew, Raul Lovisoni / Francesco Messina, Alvin Lucier, Derek Bailey, and so many more, the vast majority of which have remained largely out of print and nearly impossible to obtain for decades. Now, at long last, the Milan based imprint, Dialogo, has begun a stunning series of vinyl reissues from Cramps’ Nova Musicha series – dedicated to contemporary avant-garde composers – beginning with Costin Miereanu’s Luna Cinese, originally released in 1975. Fully remastered and housed in a sleeve that beautifully reproduces the album’s signature design, complete with brand a new English translation of the original liner notes, this is a truly historic event.

File Under: Avant Garde, Experimental
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Herbie Nichols: The Prophetic Herbie Nichols Vol 1 & 2 (Blue Note) LP
Blue Note Records has announced the continuation of the Classic Vinyl Reissue Series which presents 180g vinyl LP reissues in standard packaging mastered by Kevin Gray and manufactured at Optimal. The pressings are all-analog whenever an analog source is available, with Gray mastering directly from the original master tapes. While the first 16 titles of the series focused on the best-known Blue Note classics from the 1950s and 60s, the new run of titles curated by Don Was and Cem Kurosman broadens its scope to span the many eras and styles of the legendary label’s eight-decade history presented by themes: Bebop, Hard Bop, Soul Jazz, Post-Bop, Avant-Garde, The 70s, The Rebirth, and Hidden Gems. Herbie Nichols was one of the most highly original and under-recognized pianists and composers in jazz history. Blue Note founder Alfred Lion considered him to be every bit as unique and important as Thelonious Monk, another singular talent who Lion was the first to record just a few years before he signed Nichols in 1955. Little-known during his lifetime, recognition has begun to grow in recent years for Nichols’ incredibly hip, angular compositions like “The Third World,” “2300 Skidoo,” “Step Tempest,” and “Dance Line,” each of which were miniature marvels built with their own sturdy inner logic. In May 1955, Nichols recorded two sessions with Al McKibbon on bass and Art Blakey on drums which were originally released as The Prophetic Herbie Nichols, Vol. 1 and The Prophetic Herbie Nichols, Vol. 2. The two 10″ LPs are combined here onto a single 12″ LP that’s presented in gatefold packaging with the two covers on the front and back with the liner notes on the inside.

File Under: Jazz
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Picnic: s/t (Daisart) LP
Relaxation aids from Picnic, the duo of Ju Ca and mdo, trailing the glistening wake of a lovely 2020 debut on Kansas City’s c- with a milky ambient bath featuring added suds by Huerco S, The Humble Bee, DJ Paradise (uon), and Dntel. On their eponymous sophomore outing picnic reveal a fuller picture of their sound. The eight original pieces are given to sensitively mulched textures and softly glowing pads mottled with new age spirited strings and wafting voices. It’s nothing particularly new or inventive but works it’s way under the skin with pharmaceutic efficacy, at its lushest in the descriptive title and feel of ‘drops in the water (with tics)’, and the gently keening, hypnagogic appeal of ‘basket.’ The remixers however capture a sense of subtlety that draws us in closer, from Craig Tattersall’s typically hushed, drowsily suspenseful take on ‘folds and rips’, which contrasts with the air-stepping, weightless version by Huerco S., to the dusky tone of uon’s DJ Paradise remix of ‘drops in the water’, and the veteran Dntel’s aqueous smudge of ‘dewey.’

File Under: Ambient
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Picnic: bonus (Daisart) LP
An ideal roll call of Ulla, Nadia Khan, Newworldaquarium, Ben Bondy, Mister Water Wet, NAP, JR Chaparro, Haji K., and many more, help tuck Picnic’s eponymous LP beauty to bed with a sublime suite of remixes and alternate versions One of 2021’s lushest ambient sides, ‘Picnic’ is a proper friends and family affair helmed by the duo’s mdo & Ju Ca, a pair of Melbourne-based souls who share that region’s prevailing grasp of ambient warmth and elemental utility. Where their debut LP, proper, also included guest spots from the likes of Huerco S., The Humble Bee, Dntel, and DJ Paradise, this new ‘Bonus’ follows suit to infuse the far flung yet mutual spirits of the modern ambient rhizome, dialling in subtle reflections on the originals, as well as new collaborations, that diffuse and extend its pleasures into the gauzy mid-distance. Nadia Khan opens with a blissed, puce-hued rendering of ‘dewey’ that sustains the original’s sanguine atmosphere, while new work ‘leaving a conversation’ ropes in pepper (Ulla), Monkey Twenty (Pontiac Streator), and Low Flung for a sweet patch of deep-diving smudge. Picnic’s zonked hypnagogic collaboration with Mister Water Wet ‘cliff dive’ pushes those same hazy buttons, while a standout piece of loping ambient technohouse from Newworldaquarium features a steady pulse in an effortlessly brilliant manner that’s somehow distinctly NWAQ –  the man can do no wrong to our ears. Other Joe supplies bass-heavy ballast in their spongiform ambient dembow take on ‘elkhorn’ that lands shades away from DJ Python’s deepest, and JR Chaparro takes time to get between the pores on on a 9 minute version of ‘folds and rips’, and Ben Bondy smushes our temples with the light-headed, domestic rustles and rumbles of his version to ‘drops in the water’.  Trust it’s all of the sweetest ambient variety, faithfully weft for downtimes in a way that’s both gaseous and heavyweight.

File Under: Ambient
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Pub: Do You Ever Regret Pantomime? (Ampoule) LP
An almost forgotten but bona fide Ambient classic floats up on a 20th anniversary edition with the legendary Glasgow-based Ampoule label, newly remastered with a bonus cut for added immersion – highly recommended to fans of BoC, Balil, Porter Ricks. Still every bit as woozy and gouched-out as we remember, Pub’s gingerly wistful debut album ‘Do You Ever Regret Pantomime?’ is a cult classc for those that know; a sublime example of a peculiar sound at its sensitive best. Back in 2001 it saw lots of rotation at our auld shop Pelicanneck and has since become prized for its effervescent melodies and light-touch drum programming that acknowledged and parsed influence from then-contemporary hip hop and post-rock as much as the prevailing trends of ambient and minimal techno. A plangent, elusive sense of nostalgia that arguably prefigures modes of hauntology beautifully percolates the album, dwelling on a melancholy state of mind that, with hindsight, speaks to a timeless sort of wistfulness and tentative tension surrounding the early years of the millennium – which now seems incredibly distant and naive in the midst of 2020’s shitstorm. The tracks are perhaps detectably burred with a gently rolling accent and crepuscular glow that we’d attribute to Pub’s Scottish provenance and which clearly resonates with BoC, so it’s maybe best to play this album after theirs, when its vaporised textures and thizzing melodic tendrils will best work their exceedingly subtle yet palpable magic. The real deal this one.

File Under: Electronic
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Alex Puddu: Discotheque (Schema) LP
Multi-instrumentalist and composer Alex Puddu is coming back with his brand new album “Discotheque”. Recorded between Copenhagen (at Panalama and Sexy Lady Studios) and New York (Soundwork Recording Studios), it consists of a strong set of soulful and melodic tracks with a tight production that brings you back to the late ’70s and early ’80s jazz-funk and boogie music scene. The album opens up with three singles in a row: “You Are My Fire”, “Be My Lover” and the UK radio station airplay hit “Don’t Hold Back”, all of them co-written with and featuring Gene Robinson Jr., lead vocalist of the legendary Philadelphia R&B/funk band Breakwater. Other remarkable special guests on vocals are Duane Hobson, on the jazz-funk fnest “Back Against The Wall” and the disco-groove “Saturday Night”, and the young Danish vocalist Sawa on the sweet soul-reggae ballad “Release The Catch”. The Album contains also some great instrumental tracks, like the title-track that sees Alex Puddu behind the drumkit once again, the sexy-exploitation “Love Affair”, “Fight Together”, “Nightflight” and “Blue Lines”. Two of today’s coolest bassists also played on “Discotheque”: Paul Westwood, who worked with David Bowie, Nick Kershaw, Elton John and Italian iconic artist Lucio Battisti on the 1978 pop soul masterpiece “Una Donna Per Amico”, and Bob Callero, most known for his activity with Italian ‘70s prog bands – Franco Battiato’s Osage Tribe, Duello Madre, Il volo – and pop artists – Lucio Battisti, Loredana Berté. You really thought the modern soul/funk/R&B scene had nothing else to say? “Discotheque” is here to prove you wrong!

FIle Under: Funk, OST, Jazz
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Spirale: s/t  (Dialogo) LP
The Milan based imprint, Dialogo, returns with the first ever vinyl reissue of Spirale’s lone 1974 self-titled LP. Resting at a fascinating juncture between progressive and free jazz, it was years ahead of its time when it first appeared, rendering it to the shadows for decades, before its ultimate ascent to becoming one of the great holy grails of Italian Jazz prog. This is a release known mostly by Italian progressive rock lovers, since its sound can be easily associated to the jazz-rock delivered by the way more popular Napoli Centrale and Perigeo – but also to the ‘fundamentals’ Dedalus, Arti & Mestieri, Uno, if not Maad, Nadma or Aktuala, or even the lesser known Bauhaus for instance. But playing this kind of music and trying to release an album in the first half of the ’70s in Italy was also incredibly hard and courageous: Spirale, in fact, was one of the many bands that lived a very short life, before splitting up and disappear forever. Spirale were an Italian quintet from Rome, consisting of Gaetano Delfini (wind instruments, vocals, percussion), Giancarlo Maurino (saxophone, flute, percussion), Corrado Nofri (piano, marimba, mbira, siren, Jew’s harp), Giuseppe Caporello (contrabass, guitar, percussion) and Giampaolo Ascolese (drums) who released a single eponymous album in 1974. Spirale was originally released on the International King record label, thanks to Mario Schiano, a free-jazz saxophonist who discovered the band, and producer Toni Cosenza, who included the album in the ‘King Jazz-Line’ series. Consisting of just four tracks, most of which taken by the 13-minute long “Cabral, Anno 1” and the marvellous 17-minute “Peperoncino (Cose vecchie, cose nuove)”, Spirale is an incredibly balanced and flowing record that sounds still fresh and inspired even today, and it’s a shame that it has remained hidden and overlooked for such a long time. Moreover, it is characterized by that undescribable and particular Mediterranean flavour that only Italian musicians were able to obtain. This beautiful album is of course immensely rare in its original edition, and is now finally reissued on Dialogo record label in a faithful restored version that will satisfy any collectors who have waited for years for this beauty to see the light again!

File Under: Jazz, Prog
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John Taylor Trio: Decipher (MPS) LP
“…one of contemporary jazz’s great performers…” so reads the prestigious Guardian’s assessment of English pianist John Taylor. As house pianist at London’s legendary Ronny Scott’s jazz club, Taylor accompanied many of the icons of jazz, and in so doing honed his individual style into what became one of the most important voices on the European jazz scene. The gigs and recordings of his own groups, his long-time association with trumpeter Kenny Wheeler, his many ECM trio recordings with Peter Erskine and Palle Danielsson and groups lead by the likes of Jan Garbarek and John Surman established Taylor’s importance. Taylor’s 1973 MPS trio album Decipher features two top players, bassist Chris Laurence and drummer Tony Levin, who perfectly compliment Taylor’s wide-ranging style on an album that offers the listener a delicious taste of his compositions. The virtuoso sprint of “Cipher” melds into the varying tempos and emotions of “Wait For Me”, whereas “Leaping” is a pointillist abstract exchange between the three. The emotive jazz waltz “Speak to Me” plays some magical slight-of-hand with the time, and “Song For a Child” sings out as a soft-spoken ballad. “White Magic” powers through as a hard-swinging elixir for all that ails. Taylor’s second album as leader presents a master composer/player at full maturity – what a joy that this music is available once again.

File Under: Jazz
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David Tudor: Microphones (Dialogo) LP
David Eugene Tudor (January 20, 1926 – August 13, 1996) was an American pianist and composer of experimental music. Originally an organist, he went on to become one of the leading performers of avant-garde piano music, giving first or early performances of works by, to name a few, Pierre Boulez, Morton Feldman, Karlheinz Stockhausen, Christian Wolff, and La Monte Young. Tudor is particularly associated with John Cage, who wrote a number of compositions for him. His solo record Microphone was originally released on the Italian Cramps Records label as the 16th volume of the Nova Musicha series dedicated to contemporary avant-garde composers, Microphone is now made available again on Dialogo in a faithful reproduction of the original gatefold cover artwork, including also an inner sleeve with the English translation of the liner notes.

File Under: Avant Garde, Experimental
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Piero Umiliani: Africa (Dialogo) LP
In 1972 Piero Umiliani was above all the man of a thousand soundtracks and the first Italian jazz experiments; from his later career we’ll soon learn that wasn’t enough for him, showing just a tiny part of a more complex picture. Closed within the walls of his Sound Work Shop Studio, the Maestro was weaving much more complicated and satisfying plots, incorporating dozens of influences from a life spent experimenting and discovering new sounds. Among the most fascinating ones, those who came from a continent like Africa, as much fabled as actually little known, but enchanting to the point that Umiliani dedicated to it the entire Africa – which is paired with its twin-record Continente Nero – and released it as M. Zalla, pseudonym used when it came to tidying up uncompromising and avant-garde music textures, as will later happen with masterpieces such as Suspense, Problemi D’Oggi or Mondo Inquieto. Always keep in mind when this album had been released, in January 1972, before approaching its content: here the prog-tinged black rhythm of Africa To-Day, the ‘fourth world’ inspiration coming from Jon Hassell’s Green Dawn, the ‘exotic’ references in Martin Denny’s style (Lonely Village, Echos), the electronic new wave (hearing is believing!) of Sortilège, the folk music (Rite, Folk-Tune). Many years in advance, in Africa Piero Umiliani summarizes sounds and styles that will make the fortune of much more celebrated and popular musicians and artists.

File Under: Library
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Piero Umiliani: Continente Nero (Dialogo) LP
Released via the Omicron label in 1975, three years after Africa, Continente Nero is the perfect flip side of an album that significantly expanded Piero Umiliani’s music perspectives, incorporating partially explored rhythmic variations already used in records such as Percussioni ed Effetti Speciali and To-Day’s Sound or experimenting new solutions that drew from a musical heritage little known at the time such as the African one. Without bothering with the usual alias M. Zalla, Umiliani reveal his birth name and surname for a second foray into a territory that pays homage to an entire continent. And it does so by taking inspiration not only from a tradition that starts from the divine Fela Kuti and reaches the amateur and field recordings by musicologists such as David Toop, invaluable documents of an artistic heritage still today almost impossible to map in its complexity, but also from the Afro-American jazz history by Art Ensemble of Chicago, John Coltrane, Max Roach and hundreds of others. It sounds clear in tracks such as Nuovi Fermenti, Rivoluzionari, Riscossa or Ultimo Stregone that show Umiliani’s extraordinary ability to grab a distant tradition essential traits and put them effortlessly into a personal imaginary world, as much exciting as the original one.

File Under: Library
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Piero Umiliani: L’Uomo E La Citta (Dialogo) LP
Piero Umiliani’s “L’Uomo e la Città” perfectly fits into the urban-themed section of Italian library music, an album where our Man is accompanied by jazz celebrities Bruno Tommaso, Oscar Valdambrini, Dino Piana and Nino Rapicavoli, all part of this Umiliani-led ensemble. “L’Uomo e la Città” takes less risks in favor of an extraordinary jazz tightness (“Rete Urbana”, “Quartieri Alti”, “Città Frenetica”), but amazes even more in the two excellent renditions of “Centrale Termica” and “Suoni della Città”, among the best tracks of the album. L’UOMO E LA CITTÀ (1972) In the intricate panorama of Italian library music, the themes of city, factories, metropolis, work, urbanization and technology have always been among the most fascinating (and used), relying on dozens of fundamental records by composers such as Alessandro Alessandroni, Farlocco, Gerardo Iacoucci, A.R. Luciani, Narassa and many others. The attempt to provide a plausible soundtrack to a continuously and rapidly ever-changing world, especially in the hectic seventies, has often produced masterpieces that combined avant-garde techniques with sounds, risky experimentation with easy-listening songs, the traffic chaos and assembly lines with the silence of the night, the end of the work shift with Sunday’s rest.

File Under: Library
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Piero Umiliani: Pianofender Blues (Dialogo) LP
“Music with a modern but discreet sound”. This is how Umiliani himself described the content of Pianofender Blues, entirely recorded with the aid of two electric pianos (Fender, of course, and Wurlitzer), bass, piano, drums and percussion; yet another curious foray of the Florentine artist, here exploring territories different than his usual jazz, soundtracks and avant-garde experimentations. Pianofender Blues is quite honest right from its title, and the melancholy of the sound produced by the world-famous American keyboard goes well with a much lighter repertoire that we could call, by using a vaguely old-fashioned locution, ‘easy listening’; an album that can be easily placed within Umiliani’s ‘less challenging’ production, together with other titles such as Atmospheres, Fischiando in Beat or Motivi Allegri e Distensivi, that testify their author’s versatility. Originally released in 1975 under the name Rovi, Pianofender Blues combines excellent instrumental technique with a sound inevitably born of those years, and enriches Umiliani’s long series of sonorizations – the so-called ‘music libraries’ – that have made him famous as much as his efforts within the jazz and soundtrack fields.

File Under: Library
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Piero Umiliani: Polinesia (Dialogo) LP
Piero Umiliani was capable of traveling not only in a physical sense but also with a long series of geographical-themed albums that have always been among his best productions, and his interests weren’t just limited to distant Africa, to its percussive sounds and unexplored territories – especially with the Africa and Continente Nero releases. In his vast and complex discography – including works recorded in his own name, in solo with groups and orchestras, but also under aliases such as Rovi, M. Zalla, The Soundwork Shoppers, Moggi, Catamo – there are excellent space-time excursions such as Genti e Paesi del Mondo, Paesi Balcanici, Il Mondo dei Romani, Storia e Preistoria, Medioevo & Rinascimento, Panorami Italiani and Paesaggi, where the musician could free an unstoppable creative vein that combined an artistic path intimately bound to Italy and to its traditions with the world’s sounds (and even more, given the cosmic ventures of Tra Scienza e Fantascienza and L’Uomo nello Spazio). Among his most adventurous efforts, Polinesia deserves a special mention, since it was fully recorded with glowing percussion and exotic suggestions that remind of Martin Denny, bringing to mind sunny white beaches, Oceania and the famous Bora Bora, defined by the well-known Italian writer and documentary maker Folco Quilici as the most beautiful island in the world. Prepare a colourful cocktail and enjoy the full moon, you already have the perfect soundtrack for that.

File Under: Library
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…..restocks…..

Courtney Barnett: Things Take Time, Take Time (Mom + Pop) LP
Syd Barrett: The Madcap Laughs (Harvest) LP
Walter Bishop Jr.: Coral Keys (Real Gone) LP
James Blake: Friend That Break Your Heart (Republic) LP
Charles Bradley: Victim of Love (Daptone) LP
Kenny Burrell: Midnight Blue (Blue Note) LP
Daktaris: Soul Explosion (Daptone) LP
Julie Doiron: I Thought of You (You’ve Changed) LP
Cleveland Eaton: Plenty Good Eaton (Real Gone) LP
Floating Points w/ Pharoah Sanders: Promises (Luaka Bop) LP
Green-House: Six Songs for Invisible Gardens (Leaving) LP
Gunn-Truscinski Duo: Soundkeeper (Three Lobed) LP
Steve Gunn: Other You (Matador) LP
Idles: Ultra Mono (Partisan) LP
Sharon Jones: I Learned the Hard Way (Daptone) LP
Kiss: Destroyer (Universal) LP
Mary Lattimore: Collected Pieces II (Ghostly) CS
Low: The Great Destroyer (Sub Pop) LP
Neutral Milk Hotel: In The Aeroplane Over the Sea (Merge) LP
Nirvana: Bleach (Sub Pop) LP
Shuttle 358: Chessa (Keplar) LP
Six Organs of Admittance: The Veiled Sea (Three Lobed) LP
Chris Stapleton: Starting Over (Mercury) LP
Talk Talk: Spirit Of Eden (EMI) LP
Wire: 154 (Pink Flag) LP
Various: Daptone Super Soul Revue Live! (Daptone) LP
Various: A Wound Without a Tear (Daisart) LP

…..news letter #1029 – skate…..

Heavy week for new arrivals and restocks! I’m swimming in at the moment, so I won’t keep you. Read on and hit up the site!

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

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

…..picks of the week…..

Ignatz & De Stervende Honden: Saturday’s Den (Ultra Eczema) LP
On their third LP for Ultra Eczema, psychedelic blues gloomers Ignatz & De Stervende Honden have driven off the bendy sideroads and onto a straight, if not exactly narrow, path. And there’s new sounds coming out of the stereo: The Les Rallisez Dénudés-type guitar fuzz of previous journeys has been phased out in favour of softer, repetitive VU stumbling and even some Fleetwood Mac-esque romance. But it remains an unmistakenly Ignatz & De Stervende Honden record, with all the necessary ingredients for long car rides, living room break-ups, morning glory, sunsets and drunken rambles about length, size and whatever else matters.

File Under: Psych, Blues
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OST: A Field in England (Invada) LP
Invada Records announce the re-release of Jim Williams’ score to the Ben Wheatley’s ‘A Field in England’! This is the retail variant, pressed on 2 x frosted clear vinyl. Please note this picture is a mockup and colours may vary in real life. Ben Wheatley’s black-and-white chamber horror, set amidst the strange margins of the English Civil War, is a puzzling, inexplicable nightmare, made all the more disturbing by Williams’ sparse, brooding score of early music textures that gradually morph into electro-psychedelic overload, aided by Martin Pavey’s sound design and – in one terrifying sequence – the use of Blanck Mass’s Chernobyl. Previously released on Rook Films as a 400 copy ltd run, the prices on the black market have risen to over £250.00 per copy! Although this doesn’t come with the original poster as released with Rook Films, this new Invada release uses the same artwork and packaging as the Rook Films edition, but includes a digital download card.

File Under: OST
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Arthur Russell: Another Thought (Be With) LP
Gatefold sleeve with insert and original liner notes. Another Thought was the first collection of Arthur Russell’s music to be released after his death in 1992. Released on CD by Point Music in 1993 it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With Records revisits this first compilation. This is the only place where you can hear some of Arthur’s most recognizable music, like the title track “Another Thought”, “A Little Lost”, “This Is How We Walk On The Moon”, “Keeping Up” and the woozy disco of “In The Light Of The Miracle” and “My Tiger, My Timing”. Though technically a compilation, the whole of Another Thought comes together as a consistent, coherent, wonderful album. Janette Beckman reproduced her iconic photograph of Arthur in his newspaper boat hat for the sleeve. Tom Lee gave permission to include his liner notes from the original CD booklet, together with Arthur’s lyrics. Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact, it’s essential for any fan of non-obvious pop music.

File Under: Pop, Experimental
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…..new arrivals…..

Bardo Pond: Amanita (Matador) LP
Coloured wax! Formed in 1991, the Philadelphia-based quintet have spent some thirty years mapping guitar music’s outer limits ­ – dialing into extremes of noise, chaos, and harmony in free-form compositions that now unfurl across 12 full-length records and a near-limitless body of EPs, cassettes, and CD-Rs recorded by the lineup of John Gibbons (guitar), Michael Gibbons (guitar), Isobel Sollenberger (voice, flute), Clint Takeda (bass), and Joe Culver (drums), Amanita is the place where the band’s spontaneous collective creativity blazed into maturity. “Amanita was a manifesto of everything we were trying to do,” says Michael Gibbons. “It was really a template for everything we did later. We were a real unit – just so creative, just making up riffs. There were songs, but they were still rooted in our free-improv base. We had a beauty, but we also had a really strong impulse to be dissonant.” Even within the heady subcultural micro-verse of ’90s underground zoner-music, the Fishtown-basement-dwelling quintet’s vision of “psychedelia” was singular in its heaviness. “We weren’t interested in the cliched idea of what that term meant,” he adds. “We were very interested in the psychedelic experience as it being a bridge to rebirth. What’s the chemical your brain releases when you’re overwhelmed? Endorphins. That’s what we were trying to get to when we played these parts.” Matador Records celebrates the 25th anniversary of Bardo Pond’s long out-of-print second album and label debut, Amanita, with a newly remastered colored vinyl 2LP reissue.

File Under: Psych
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Bush: Razorblade Suitcase (Round Hill) LP
Ten bands re-issue their albums on pink colored vinyl, all for one cause. This is the eighth year for the initiative that has raised over $250,000 for Red Door Community, an organization that provides community support for both those diagnosed with cancer and their caretakers. 2021’s set includes releases by The Hold Steady, Grandaddy, The Allman Brothers, Bush, Plain White T’s, Less Than Jake, Primal Scream, Umphreys’ McGee, Minus The Bear and Tom Tom Club. Bush followed up the breakout success of their 1994 debut Sixteen Stone and its hit singles “Everything Zen,” “Little Things,” “Comedown” and “Glycerine” with Razorblade Suitcase in 1996. Produced by Steve Albini, notorious for his abrasive productions for Pixies, Nirvana, and PJ Harvey, the album entered the U.S. charts at No. 1 on the strength of the hit single “Swallowed” and eventually went double platinum. In celebration of the album’s 20th anniversary, it was remastered and pressed on double vinyl LP with four rare bonus tracks from the Razorblade Suitcase era (“Old,” “Sleeper,” “Broken TV” and “Bubbles”) plus new, re-interpreted cover art and design.

File Under: Rock
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Doug Carn: Adam’s Apple (Real Gone) LP
Doug Carn made four records for the Black Jazz label, more than any other artist, and each one topped the previous release’s lofty standard. Adam’s Apple was his last (1974) album for the label, representing the final note in his staggeringly creative crescendo. It was also the first record without Jean Carn, but Carn and crew (John Conner and Joyce Greene) don’t miss a beat on the vocals. And the band is absolutely sick, featuring reedman Ronnie Laws and fellow Black Jazz recording artist Calvin Keys on guitar, and led by Carn’s increasingly electronic forays on various keyboards. The result is a record that brings to mind Herbie Hancock’s Headhunters, electric Miles, maybe even Earth, Wind, and Fire (Carn covers EW&F’s “Mighty Mighty”), but all overlaid with an uplifting gospel vibe. To quote Pat Thomas’ liner notes (which feature extensive quotes from Doug Carn himself), “Adam’s Apple is more energetic, funky, and futuristic than Carn’s earlier Black Jazz work. In short, sublime.” Newly remastered and available on CD, black vinyl, or orange with black streaks vinyl limited to 750 copies and exclusive to independent record stores.

File Under: Jazz
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Alex Chilton & Hi Rhythm Section: Boogie Shoes: Live on Beale Street (Omnivore) LP
Memphis is a city with music in its blood. When Fred Ford, co-founder of the Beale Street Music Festival, was diagnosed with cancer, David Less organized Fredstock, a fund raiser to help with his medical bills. Less contacted Memphis legend Alex Chilton (The Box Tops, Big Star), who was living in New Orleans, to ask him to participate. Alex said he didn’t have any musicians to play with in Memphis, so Less suggested the Hi Rhythm Section (the band behind classics from artists including Ann Peebles, Ike & Tina Turner, O. V. Wright, Otis Clay, and Al Green). Alex replied, “That will work.” This previously unissued live set contains versions of soul classics from The Supremes and Otis Clay, rock numbers from Chuck Berry and Little Richard, and even a cover of the KC & The Sunshine Band title track. Available here on vinyl LP, Boogie Shoes: Live On Beale Street was recorded at the New Daisy Theater in Memphis in 1999, during Fredstock. Packaging contains liner notes from producer David Less, a friend of Chilton, and author of the acclaimed Memphis Mayhem: A Story Of The Music That Shook Up The World, and features a cover from rock & roll and folk art painter, Lamar Sorrento. “I never saw him have so much fun on stage. Without rehearsal, Alex called songs and the band locked in. The horn section consists of top Memphis session guys who huddled together when each song was called creating parts on the fly. The pure joy of playing this music so freely with such legendary musicians comes across in every groove of the record.” – David Less, from his liner notes

File Under: Rock
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Amelia Cuni: Parampara Festival 13.3.1992 (Black Truffle) LP
Black Truffle release Parampara Festival 13.3.1992, a stunning performance by Amelia Cuni captured live in Berlin almost thirty years ago. Milanese by birth and resident in Berlin for many years, Cuni lived in India for over a decade, studying the classical vocal style of dhrupad under masters of the form. Though perhaps known to many listeners primarily through her performances of the vocal music of John Cage and collaborations with Werner Durand and Terry Riley, she is recognized internationally as one of the great contemporary proponents of traditional dhrupad singing. These recordings document her performance at the 1992 Parampara Festival at the Haus der Kulturen der Welt, a landmark event celebrating the global spread of Indian classical music, bringing together Indian teachers with their international students. Accompanied by Gianni Ricchizzi on vichitra vina (a plucked zither played with a glass ball slide) and her own tanpura, Cuni stretches out for a languorous side-long performance of the late night “Raag Bageshri”, the limpid tones of her vocal improvisations illuminating the droning strings like flashes of the moon revealed by rushing clouds. Initially working patiently through a series of subtle dialogues between Cuni’s melodic extemporizations and phrases in response from Richizzi’s vichitra vina, the performance builds to a series of strikingly beautiful, virtuosic held notes from Cuni at the beginning of its second half, before picking up some brisker rhythmic articulation on the way to its conclusion. On “Devino Amor”, Cuni presents her own composition, a setting of mystical texts by the 13th century Franciscan friar Jacopone da Todi, elaborated through various traditional raags. Like the words used for most dhrupad compositions, the text Cuni has selected from da Todi praises divine love, thus linking her otherwise unorthodox use of Italian text to the dhrupad tradition. The result is a performance of a yearning intensity that communicates across any language barrier. On the final performance, Cuni and Ricchizzi are joined by Helmut Waibl on the two-headed pakhawaj drum for a piece using a 14-beat rhythmic pattern that sets in motion a cycle of tension and release, metrical dissolution and resolution, possessing a subtle grandeur. Illustrated with archival images of the performance and accompanied by new liner notes from Peter Pannke and Lars-Christian Koch, Parampara Festival 13.3.1992 invites listeners to lose themselves in Amelia Cuni’s unique approach to ancient tradition.

File Under: Middle Eastern
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Decemberists: Picaresque (Kill Rock Stars) LP
The Decemberists know that the psychology of a culture at war is complex; that historical archetypes can inform the masses on current events far better than the evening news; and, perhaps most importantly, that life is ultimately a spectacular and colorful pageant. They remind us that, on any given day, we might rub shoulders with rogue spies and runaway prostitutes, child monarchs and vengeful mariners, boy ghosts, couples contemplating suicide, cannibals and drowning angels. This existence is indeed a spectacle to be revered.In August of 2004, Rachel Blumberg, Jenny Conlee, Chris Funk, Colin Meloy, and Nate Query set up shop at a former Baptist church in Portland, Oregon. With co-producer Chris Walla at the controls, the five musicians collectively known as The Decemberists emerged three weeks later with the bulk of the work completed for Picaresque (Kill Rock Stars – March 22, 2005), their most ambitious and realized effort to date.Features: 5 extra songs and incredible packaging – double lp in a gatefold with a 20 page color booklet.

File Under: Indie Rock
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Aaron Dilloway & Lucrecia Dalt: Lucy & Aaron (Hanson) LP
“Lucy & Aaron is the debut collaboration LP from the duo of Lucrecia Dalt (RVNG Intl.) and Aaron Dilloway (Dais Records). Full length LP in full color cover with printed inner sleeve featuring art by artist Pieter Schoolwerth.” “I met Aaron in Madeira around 10 years ago, and I was blown away by his set, when I was going to tour the US for the first time, Forest, my US my booking agent asked me if I wanted to tour with someone from his roster and I suggested Mr Dilloway, the first show we played together was in Toronto, he started with a very groovy loop, some kind of soul extract that felt just right. With that, he levelled the dynamics and the atmosphere of the room, moving back and forth from the stage to the audience to double check if everything was sounding right. I have never seen such an elegant, disturbing and powerful show at the same time, it was a wild combination. We played a couple more shows together and on my journey throughout the states I was never in a place where his name didn’t pop up with a positive comment of admiration. We became extremely close and utopian. We started this record during a two week visit of mine in NYC, we crossed our signals, sometimes his affecting mine, or the other way around, we just wanted to make a fun, weird and inevitably emotive record that somehow captured so many things we love about music, to put oneself in character and go with the flow.” –Lucrecia Dalt “Lucrecia and I met briefly 10 years ago while performing at a festival together. We traded some releases and I was very excited by what I heard. Her records stuck out to me over the years as something very special. I was a fan. We met again recently while performing on a bill together in Toronto, and while watching her perform, I was mesmerized by her selections of sounds, as well as her movements and control of the mixing board. I felt like we worked similarly. We struck up a very close friendship and what followed was a year of intense discussions about art, music, performance and recording. Immediately we began working on music together and her expertise in mixing and her highly trained ears and overall drive were very inspirational. This album was recorded in 3 different locations, Pioneer Works in Brooklyn, NY where Lu was doing a residency, sessions at Lu’s home in Berlin, Germany and finally at my home in Oberlin, OH. It was one of the most inspirational periods of my life and helped me overcome some intense musical and psychological obstacles. I learned so much by making this record.” –Aaron Dilloway

File Under: Experimental
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Fucked Up: Year of the Horse (Tank Crimes) LP
The follow-up to 2018’s critically lauded Dose Your Dreams full-length, Fucked Up’s hugely ambitious Year Of The Horse is operatic in scope and artfully assembled offering up one track with a ninety-plus-minute runtime. The epic tone poem is spread across four sides that pass through the realms of metal, classical, ‘70s groove, and international hardcore punk to explore themes of motherhood, ecology, stewardship, and the deep myths of our civilization. Recorded over the past few years by Alex Gamble in Toronto, who worked with the band on Dose Your Dreams, and mastered by Dan Randall at Mammoth Sound, Year Of The Horse includes guest appearances by Matt Berninger (The National), Julien Baker, Maegan Brooks Mills (Chubby And The Gang), and Tuka Mohammed and is dedicated to Power Trip’s Riley Gale and Iron Age’s Wade Allison.

File Under: Punk
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Gnod: La Mort Du Sens (Rocket) LP
If one overarching feeling has dominated the last two years on this orbiting rock, it’s uncertainty. A sense of an old order in ruins, and nothing lined up to replace it. With societal strife, psychic warfare and sheer boredom assaulting us from all fronts in this still-fresh decade, co-ordinates have been hard to place forging a path forward. Therefore, who better to turn to as a soundtrack for this tumultuous new era than Gnod – longtime chroniclers of discord. “The Death Of Meaning” is the translated rendering of the new Gnod album’s title, and this also reflects its creation. As Paddy Shine of Gnod notes: “I think the title sums it up well because this album was coming together at a time when confusion was king for us all – still is. I think we can all relate to that. This record is a really strange beast because of the big change that happened between mixing and recording. I think the title really does sum up the vibe of ‘What the Fuck’? Maybe we should have called it that!” Wielding the taut, stripped-down and bludgeoning sound that had evolved on 2017’s ‘Just Say No The Psycho Right-Wing Capitalist Fascist Industrial Death Machine’ and 2018’s Chapel Perilous, Gnod initially recorded the tracks for ‘La Mort Du Sens’ with key soundman and collaborator Raikes Parade in ‘an old mill in Manchester’ around the Christmas period of 2019. “It’s the first album in a while where we kept it in-house and DIY, and we wanted it to be as ferocious as our live sets have become” says Paddy, “We banged it all down live – two drummers and a load of cabs in a room pushing each other forward” Nonetheless, the arrival of the pandemic in early 2020 took the record on another course, adding to a turbulent and cathartic vitality that electrifies the likes of the caustic Melvins-in-hell assault of ‘Pink Champagne Blues’, the uncompromising percussive battering ram of the twelve-minute ‘Giro Day’ and the post-punk angularity of ‘The Whip And The Tongue’ with a fearsome elemental charge. “The world changed two months later so we were mixing this old world record in the new world and a lot of the vox got laid down during lockdown” reflects Paddy. “‘Pink Champagne Blues’ is a burst of total nihilist abandon and the lyrics wrote themselves in the midst of a dark wintry night of the soul” Masters of an approach which manages to be both unmistakable and unpredictable. Gnod are now well established as prophets of the dispossessed. ‘La Mort Du Sens’ is no less than another relentlessly invigorating stop-off on their wild ride to who knows where. “It’s all about the energy” reckons Paddy. “We never really know what’s coming next. It just organically shifts around, and I think we are getting better at not analysing where it’s going and just going with the flow” “Got No Obvious Destination, innit”

File Under: Psych
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Irreversible Entanglements: Open The Gates (International Anthem) LP
Irreversible Entanglements’ third full-length album Open the Gates is ethereal shards of jagged onyx, a melancholic exploration of the post-colonial debris that surrounds us. Let’s watch and listen, as this platter snakes through the sandy ashes of possible histories, dialogs with a nervous present, and asks to be birthed into a holographic new future. “Together in holy sound!” the band stitches patient anthems out of atmosphere. Pulling from a wider sonic vocabulary than on previous excursions, the agit-jazz found here is simultaneously pre- and post-apocalypse, as bass lurches in a tranced-out loop, horns are up in the track grooves like poltergeists playing in the streets, poetry cascades like a warrior call at a satsang, the drums both wild and refined pulse with uhuru-heart cadence. This is Irreversible Entanglements on new ground; same as the old ground.

File Under: Jazz
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King Gizzard & the Lizard Wizard: L.W. (Self Release) LP
Freewheeling six-headed freak-rock movement King Gizzard & The Lizard Wizard return with their seventeenth album L.W. Serving as both a standalone work and a companion piece to 2020 predecessor K.G., L.W. sees the prolific and fearless Melbourne-based innovators produce a truly original album. L.W. is the third volume in the band’s explorations in microtonal tunings which began with 2017’s Flying Microtonal Banana. As the band enter their second decade, the creative future of this most 21st century of outfits only promises to be bolder, madder and more imaginative than ever.

File Under: Psych
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King Gizzard & the Lizard Wizard: Butterfly 3000 (Self Release) LP
King Gizzard & The Lizard Wizard’s eighteenth studio album, Butterfly 3000, might be their most fearless leap into the unknown yet; a suite of ten songs that all began life as arpeggiated loops composed on modular synthesizers, before being fashioned into addictive, optimistic and utterly seductive dream-pop. The album sounds simultaneously like nothing they’ve done before, and thoroughly, unmistakably Gizz, down to its climactic neon psych-a-tronic flourish. This is undoubtedly their most accessible and jubilant album to date. Colored vinyl LP with gatefold jacket packaging.

File Under: Psych
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Annea Lockwood: Becoming Air/Into the Vanishing Point (Black Truffle) LP
Following on from the acclaimed Tiger Balm / Amazonia Dreaming / Immersion LP (BT 028LP, 2017), Black Truffle present two major new instrumental works from legendary sound artist and experimental composer Annea Lockwood. Demonstrating the ever evolving and radically open nature of Lockwood’s practice, these two recent works were developed in close collaboration with their performers. “Becoming Air” (2018), developed with and performed by trumpeter Nate Wooley, uses extended technique and electronics to interfere with Wooley’s virtuosic control over his instrument, pushing him into areas of fluctuating pitch and timbral instability. Motivated by a desire for “the letting go of sound to be itself”, “Becoming Air” unfolds as a series of texturally distinct moments separated by pauses, each fixing on a particular approach to the instrument (long tones, upper-register whistles, breathy wooshes) and maintaining it in an essentially static fashion, focusing our attention on subtle changes and variations. Dipping into near-inaudibility in the fragile high tones of its opening section, the piece dramatically increases in volume and intensity in its final third, climaxing with a passage of roaring distortion, where the interaction between feedback and trumpet pitches calls up the shuddering interference effects of Robert Ashley’s Wolfman. “Into the Vanishing Point” (2019) is a collaborative work developed with New York piano and percussion quartet Yarn/Wire, who have performed work by major contemporary composers such as Olivia Block, Catherine Lamb, and Klaus Lang. Carrying on the ecological and environmental concerns of some of Lockwood’s previous works, “Into the Vanishing Point” was inspired by a devastating news article on the global collapse of insect populations. Discovering that the four members of Yarn/Wire had also read this text, Lockwood mapped out a loose structure for the piece that would allow the composer and four performers to explore their “feelings about what is happening ecologically”. Working with a huge variety of instruments, objects and techniques of sound production, the resulting work is an alluringly lush, organically unfolding tissue of unorthodox textures and haunting tones. Though not intended to sonically represent ecological issues in any direct way, its unique sound world of rubbed piano strings, gently handled objects and chiming pitches often calls up natural images: of insects and frogs, wind rushing through trees, a bird’s wings in flight. Presented in a stunning gatefold cover with liner notes by Lockwood, Wooley and Yarn/Wire, Becoming Air / Into the Vanishing Point is a testament to the generosity and experimentation that continue to characterize the work of this extraordinary artist, active for over fifty years.

File Under: Experimental
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Radboud Mens: Sine-Plus+ (Staalplaat) LP
Sine is one of the earlier works by renowned sound-artist, composer and sound designer, Radboud Mens. It was constructed in 1998 and released on CD by Staalplaat in 2000 who now reissue this on vinyl in 2021, featuring two new tracks updating the themes of the original material. Having forged out a unique path in music for many years this is a means by which to view the genesis of what would become “Radboud Mens music”. Side A comprises the original Sine which is considered a minor masterpiece of the early 2000s click dub electronica. “Funkenkammer” launches proceedings through a measured gathering of elements; buzzes and hums traverse the rhythmic spikes that punctuate throughout. Already at this starting post one can acknowledge machine music with a human pulse. Machines lurch and growl gently amongst a tiny ping pong pulse on the next track “Steel”. “Moi” attaches itself to the subconscious with its dizzying sinewy highs and bare bone bass shadowing an equal love for dub processes and experimental forms. With “Metal/Dub/Plate” a dark drone anchors the mischievous random play on the surface whilst “For Da” presents light clicks and woozy atmosphere. Here we enter the new chapter in the story of Sine. Radboud works on music that binds disparate forms together into one sound, as a result these new tracks incorporate all styles witnessed in the original, retaining the clicks and cuts mentality whilst incorporating a deeper ambient drone approach with a minimal dub influence sweeping throughout. Tape shifts gears into a deep haunted world consisting of a skittering beat and a repetitive melodic cloud of sound. Condition takes the experimental dub further into space leading into a remix if his own track “Circle of Fifths” which wraps up the release with an uplifting conclusion where ascension takes hold. Equally unnerving and enticing the original and updated Sine fit firmly together as a unique whole bringing together a sparse assured sound carefully crafted to ignite a transcendental mood in the listener. Color vinyl in special packaging; edition of 400.

File Under: Experimental
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Motrik: Moon: The Cosmic Electrics of Motrik (Jealous Butcher) LP
Portland-based krautrock band Motrik formed in 2013, its four members united by a pledge to modernize their beloved genre. Sharing a passion for pioneers like Can, Kraftwerk, and Trad, Gras och Stenar, the group has demonstrated its ability to deliver over a series of EPs and albums, most recently 2020’s acclaimed Artificial Head. As they continue to experiment by incorporating additional influences ranging from funk and jazz to psych and prog Motrik’s third full-length, a double LP titled MOON: The Cosmic Electrics of MoTRIK, is a further continuation in the story of an historic genre befitting of the album’s cosmic artwork. Motrik boldly takes full advantage of the space that four sides of vinyl allow on this latest offering. The middle of the album features two long suites that feel typical of the group’s dynamic live performances, which frequently feature fog cannons, lasers, and other prop homages to Kraftwerk and company. The 13-minute ‘Stabilize’ emerges from a haze of synth pulses and guitar tones, settling into a steady NEU!-like chug that swells and recedes like an ecstatic wave. On ‘Space Elevator’, the motorik drive from which the band take their name evolves into an insinuating and sensual disco-like throb before the perfect proggy comedown in the final minute.

File Under: Prog, Kraut Rock, Kosmische
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Muslimgauze: Jackel The Invizible (Staalplaat) LP
Listeners who know much of anything about Bryn Jones’ work as Muslimgauze know that he was prolific in both his work and in the way he sent out his work to labels and other interested parties. Fittingly enough for an artist that feverishly productive and often taciturn to the point of frustration, he didn’t tend to give much more information than handwritten track titles on the sleeve of a DAT. Why he would submit multiple copies of the same or similar tracks to those he worked with, often in totally different configurations, is now a permanent mystery, but it does lead to Jackal The Invizible, essentially a compilation of material from multiple other releases that Jones had also submitted at the time on its own DAT. All of the songs here were released at least 20 years ago (a few over 30) and as with practically all Muslimgauze releases they were limited and/or hard to get ahold of now. Jackal The Invizible is both a way to issue those tracks on vinyl as the Archive series has been consistently doing, and in interesting look into how Jones would organize and sequence his albums. The track listing here was faithfully reproduced from the way Jones titled these tracks on this submission, which is how you get Fedayeen’s “Bharboo of Pakistan Railways” here called “Fedayeen Bharboo of Pakistan Railways 2001”. This compilation as with most of his work was submitted without comment, so it can be asked, was it intended to be a compilation? Had he at some point decided he preferred these tracks in this arrangement rather than on their other tapes? Did he produce so much work and/or was so disorganized he simply forgot this batch had been mailed off before? Did he have a standing arrangement with his postal worker and just handed him whatever was closest to the door each week? The new juxtapositions can be quite striking; shifting suddenly from the harshly distorted blurts of “Resume and Shaduf Fatah Guerrilla 1999” to the cooly nocturnal atmosphere of “Abu Nidal 1987” and then to the dubby bass pulses and rattling hand percussion of “Hand of Fatima 1999” is an experience unlike much else in Jones’ oeuvre, even though all three modes are ones he has worked in before. Engineered and mixed by J. Delf. Mastering by Rinus Hooning. Edition of 700.

File Under: Industrial
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My Bloody Valentine: Loveless (Domino UK) LP
FINALLY! Loveless, was originally released in 1991. Musically, it took an unexpected leap forwards, standing ahead of anything released at the time. Shields and the band moved further towards a music of pure sensation, creating textures and tones that could be felt as much as heard; with loveless the band created an album that overwhelmed the senses. Loveless is widely considered a flawless whole and rightly regarded as a masterpiece; a 1990s equivalent to Pet Sounds, In A Silent Way or Innervisions, a record constructed by exploring the edges of what a recording studio is capable of. It is a record best experienced as a whole, in one sitting – a listening experience like no other and unmatchable in its sonic brevity.

File Under: Indie Rock, Shoegaze
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New Jazz Orchestra: Le Dejeuner Sur l’Herbe (Decca) LP
If one were asked to pick an album that represented the best of British jazz in the 1960s, ‘Le Déjeuner Sur l’Herbe’ by the New Jazz Orchestra would be a serious contender. Recorded in September 1968, it draws together many of the key streams that had developed in British jazz in the preceding years, and also presages much of what was to come. Notwithstanding the line-up, which includes some of the very best British jazz musicians directed by an inventive and ingenious leader in Neil Ardley, the session features pieces written by the most distinctive jazz composers active in Britain at that time alongside idiosyncratic interpretations of works by John Coltrane and Miles Davis. And it’s all captured beautifully by engineer Howard Barrow and producer Tony Reeves and it features a stella cast of some of the greatest musicians, not just from that era or genre but beyond; Jack Bruce, who would become one of the founding members of Cream, Barbara Thompson, Ian Carr, Michael Gibbs, Dave Gelly, Dick Heckstall-Smith and Jon Hiseman, who went on to form one of the greatest jazz/progressive/rock bands – Colosseum.

File Under: Jazz
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New Pornographers: Mass Romantic (Matador) LP
Coloured vinyl! In December 2021, Matador Records celebrates the 21st anniversary of The New Pornographers’ debut record and breakout, Mass Romantic (2000), with a new reissue. The album – clocking three singers and twelve effervescent and undeniable power-pop gems – returns on colored vinyl LP complete with a bonus 7″ featuring the “Letter From An Occupant” single plus the two rare B-sides, “The End of Medicine” and “When I Was a Baby.” Mass Romantic officially introduced the music world to legendary übergroup, The New Pornographers. Together, Blaine Thurier (“Low Self-Esteem Girl”), Carl Newman (Zumpano, Superconductor), Dan Bejar (Destroyer), John Collins (The Evaporators, Thee Goblins), and Kurt Dahle (Limblifter), along with Neko Case on selected lead and accompaniment, produced an epic, baroque masterpiece of such hyperbolic grandeur that if it were a painting, one would not be able to stop studying it lest a vital detail be overlooked. One of the catchiest, most joyous records of recent years, the collection is highlighted by such power-pop gems as “Letter From An Occupant” and “Slow Descent Into Alcoholism.” “A striking power-pop album, forty staggeringly catchy minutes of four-part harmonies and Wall of Sound production, exploding with energy and joy; but the New Pornographers’ real secret is their arrangements: a stampeding legion of guitars, organs, hand claps, tambourines, and their idiosyncratic voices.” – Rolling Stone “The New Pornographers mix the pop purism of the Beach Boys, the power charge of Cheap Trick and the gentle psychedelia of Syd Barrett.” – New York Times

File Under: Indie Rock
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Alva Noto: HYbr:ID Vol 1 (Noton) LP
HYbr:ID Vol. 1 is the first installment of a new series of Alva Noto’s works bringing together heterogeneous composition methods. HYbr:ID Vol. 1 captures the music commissioned for the score of “Oval”, the choreographic piece directed by Richard Siegal and performed by the Staatsballett Berlin at the Berlin State Opera in 2019. The process of creating HYbr:ID Vol. 1 was defined by the search for a form to bind astrophysics phenomena, fiction, and performance movements. Its narrative is inspired by cinematic visual techniques and static images portraying scientific events which also inspired the titles of the nine compositions. The music possesses a dilated rhythmic base contributing to the images of gravity and spatiality. At points static is used with an ornate, delicate intricacy. The album’s sonic spectrum builds with deep sub-bass, gloomy sonics, spacious sound design, and inorganic ambiance that is gently coerced with artistic finesse. The nine compositions are accompanied by graphic notations informed by the album’s sonic and acoustic codes. Album art designed by Carsten Nicolai. Nibo mastering by Bo @ Calyx.

File Under: Electronic
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PDP III: Pilled Up on a Couple of Doves (Shelter Press) LP
Pilled Up on a Couple of Doves is the debut full-length by PDP III, who fell into alignment in December of 2018 amid a handful of immersive and improvisatory recording sessions held at Gary’s Electric Studio in Brooklyn, New York. The trio is a collaboration between composer/producer Britton Powell and two Berlin-based artists, the British composer/cellist Lucy Railton and the electronic artist Brian Leeds (Huerco S). At the outset of these sessions Powell presented a series of compositional sketches anchored around multi-tracked electronics and acoustic percussion. These concepts were then used as the framework for collective improvisation, with the musicians working on instinct and layering as many as eight separate takes across a track. A portion of the record also reflects moments that are purely spontaneous — in-the-moment invention with Railton on electronics and cello and Powell and Leeds working on laptop computers. The composition process involved little in the way of overt instruction, instead favoring discussion on more abstract notions of feel and energy. As a result, the final product was a bit surprising to all involved. “I don’t think the three of us had any idea how heavy and physical this thing was going to feel,” reflects Powell. Subsequently reduced, edited, and collaged by Powell over the next two years, Pilled Up on a Couple of Doves presents a succession of alien moods. Gauzy textures are buoyed by extreme low-end pressure. Serene industrial hum illuminates the rhythmic beating of waveforms. The sounds frequently evoke opposing emotions — tenderness and anxiety, claustrophobia and transcendence. The record culminates in 20-minute closer “49 Days,” where gradually unfurling textures for cello and electronics mirror the overtones of a ringing gong. It’s unsettling, but deeply meditative. A map of liminal space. Music to get lost to. “One thing that’s important in relation to my work with music is to access a place outside of physical space,” says Powell. “To pursue music as a tool to reach a place outside of physical existence. There’s something really simple, innocent, and timeless about working with acoustic percussion instruments,” explains Powell. “I think that they allow for a very true examination of sound. It feels vulnerable and really powerful at the same time.”

File Under: Ambient, Drone
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Phew: New Decade (Mute) LP
Renowned avant-garde artist Phew returns to Mute for the album, New Decade. Working within the medium of voice and analog electronics, New Decade’s six tracks define Phew as a master of her craft – fusing her ghostly vocals with intense droning textures and clamorous guitar feedback. New Decade is a stark and haunted album, populated by voices that intone empty pleasantries in English and Japanese or manifest as wordless shrieks and groans, against a backdrop of fractured, dubbed-out electronics. Phew explains that there’s a loose concept running through the album, relating to the perception of time: “During the ’80s, and up until the ’90s, things progressed along a line from past to present to future, but I think that’s changed, especially since the start of the 21st century. Personally speaking, I’ve stopped being able to see a future that extends from the present.” Described by Pitchfork as “a Japanese underground legend,” she was a founding member of Osaka avant-punk band Aunt Sally, who broke up in 1980. Since then she has worked solo and collaborated with an incredible list of musical luminaries including Ryuichi Sakamoto, Jim O’Rourke, Ana da Silva (The Raincoats), Seiichi Yamamoto (Boredoms), Holger Czukay (Can) and producer Conny Plank (Neu!, Cluster, Harmonia). Her 1992 album for Mute, Our Likeness, features Alexander Hacke (Hackedepicciotto, Einstrürzende Neubauten), Jaki Liebezeit (Can) and Chrislo Haas (Crime & the City Solution, DAF, Liaisons Dangereuses).

FIle Under: Electronic
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John Prine: Fair & Square (Oh Boy) LP
John Prine’s Grammy Award-winning album, Fair & Square, is available on vinyl for the first time in over 16 years courtesy of Oh Boy Records! The 2005 release won Best Contemporary Folk Album at the 48th Grammy Awards and achieved the fastest rise to No. 1 in the history of Americana radio. It marked a series of milestones for Prine, as it was his first album in nine years following 1995’s Lost Dogs and Mixed Blessings, as well as his first release after getting married to his wife and current president of Oh Boy, Fiona Whelan Prine. Released to widespread acclaim, Rolling Stone declared it, “an excellent set of songs full of rootsy warmth and unpretentious wit,” while The Washington Post praised, “this low-key masterpiece arrives not just as a reminder of Prine’s cleverness and mischievous wit but also as a confirmation of his deeply human values. These are values rooted in the enduring mystery and majesty of everyday, ordinary lives.”

File Under: Folk, Country
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Privat: Ein Gedachtnis Rollt Sich Auf Der (Alter) LP
PRIVAT is a band based in Vienna. With one live show and a compilation appearance under their belt, the duo of Robert Pawliczek and Robert Schwarz are short on extant information. Despite this, there’s a wealth of novel tact and flashpoints in the wicked intensity of PRIVAT that makes sense as a consolidation of the duo’s cumulative activity across music and the visual arts in the last decade. Their debut album, Ein Gedachtnis Rollt Sich Auf Der Zunge Aus, is an annihilating introduction to this new collaboration. Schwarz’s background lies in both architecture and computer music. Across a handful of labels, he’s presented field recordings and experimental works, and he’s participated in exhibitions with some of Europe’s most prominent institutions for adventurous art practices. He is also the co-founder and curator of the Viennese festival PARKEN; Or, Live in the Park, which aims to mediate experimental forms of music in public spaces. Pawliczek is a conceptual artist and musician, and it’s his work that graces the sleeves and can be found in accompanying video material. He’s been involved in some exceptional groups and projects that have been centered in and around Berlin in the last years. These include Bobby Would, Heavy Metal, Itchy Bugger, and Pitva. Having met in Antwerp in the orbit of Dennis Tyfus’ former gallery Pinkie Bowtie, the pair initially began to work on PRIVAT back in 2018 around a shared affinity for repetitive electronic music and an aesthetic preference for spartan coldness. Ein Gedachtnis Rollt Sich Auf Der Zunge Aus makes good on their pact. The album presents a set of works that carefully balance the galvanizing propulsion of rhythmic electronics with the kind of textural palette that betrays the pair’s experimental roots. Deadpan vocals are delivered throughout, developing a kind of frosty symbiosis. Tempered by just arrangements, there’s a song-writerly core that’s organizing the album’s somber meditations, piquing moments of comparison with Moroder’s rawness as readily as anything that’s cultivated in industrial music’s tape-worn dirges.

File Under: ELectronic
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Propagandhi: Today’s Empires, Tomorrow’s Ashes (Fat Wreck)LP
Twenty years after its initial release, Propagandhi’s, Today’s Empires, Tomorrow’s Ashes, has finally been given the remix it deserves! The legendary 2001 release has also been newly remastered from the original reels by Jason Livermore from The Blasting Room studio. Fourteen anthems of fast, heavy, irreverent, melodic, metallic punk rock with nods to mid-eighties political hardcore. Not just another pop punk album filled with songs about their girlfriends.

File Under: Punk
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Elaine Radigue: Chry-Ptus (Important) LP
Eliane Radigue’s Chry-Ptus is her very first piece for the modular synthesizer. It was composed in 1971 using a Buchla 100 which had recently been installed at NYU by Morton Subotnick. This double-LP was mastered by Golden and pressed at RTI for maximum fidelity. From the original press release: “Chry-Ptus (1971). Originally two tapes which were to be played simultaneously, with or without synchronisation, which does not affect the structure of the work, but creates changes in the game of sub-harmonics and overtones. Three variations on this piece were performed at the New York Cultural Center in 1971, with variations of amplitude and location modulation as well as synchronisation. Realized on the Buchla Synthesizer at the New York University. The booklet contains a text by painter Paul Jenkins, who also realised the watercolor on the front cover, written on occasion of Radigue’s first concert in New York, April 6th, 1971. “It’s with the Buchla that I constructed Chry-ptus, a piece made up of two tapes with an analogue duration, 22 or 23 minutes, which could be played either simultaneously or with a slight time difference, so as to establish slight variations every time the piece was played. I spent the first months eliminating everything I did not want; I even used a notebook in which I tried to determine a writing system resembling chemical formulae.” –Eliane Radigue

File Under: Experimental
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Royksopp: Lost Tapes (Cooking Vinyl) LP
Lost Tapes is a monthly release of rare B-sides, exclusives and even some previously unreleased tracks from Röyksopp. Now the first 10 tracks from the series are released on heavyweight 180g vinyl 2LP for the first time. Röyksopp on the Lost Tapes series: “Upon renovating our arctic chateau here in the desolate north, we came across an old sea chest containing an abundance of [tracks]. We thought the only right thing would be to make these ‘hard-to-find’ tracks available…”

FIle Under: Electronic
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Ayane Shino: Sakura (Mental Groove) LP
A love-filled tribute to the late Japanese techno and ambient pioneer Susumu Yokota. In 2021, talented classical guitarist Ayane Shino discovered his impressive works and recorded cover version of tracks from his acclaimed Sakura album. Those new contemporary musical pieces will please his ever-growing fanbase as well as listeners beyond the electronic music scene. First in a series (The Timbre Of Guitars) of classical cover versions by Japanese guitarist Ayane Shino. For fans of: ambient, new classical, electronica Japan, Susumu Yokota. Half speed mastering; inside out cardboard; edition of 500.

File Under: Ambient, Japan
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Spoon: Wild (Matador) 7″
“Wild” is drawn from Spoon’s forthcoming full-length, Lucifer on the Sofa. The song captures the band at its most visceral and vivid, with rough edges intact and a guitar solo perfectly slotted into the middle eight. This 7” single version comes backed with an alternate mix by British reggae innovator Dennis Bovell.

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

File Under: Rock, Goth, Industrial
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Ghedalia Tazartes & Rhys Chatham: Two Men In A Boat (Sub Rosa) LP
“The beauty of all this, as well as its sorrowful brutality, is even more powerful and stupefying since Ghédalia’s sudden departure. Because retrospectively, not only is this recording the trace of a rare moment in a Parisian garden, it also summons a ghost, that of a loved one that is gone, and of his voice, which is fully alive here.” Tazartes and Chatham had met once in 1977 at CBGB’s and had not seen each other since then when they were asked by their mutual agent to play a private show in Paris. This happened in September 2018 in a house with a garden where sax player Steve Lacy had lived back in the 1990s. This album presents the recording of this show plus another show at La semaine du bizarre festival in Montreuil, France a year later, mixed with a couple of studio sessions. This was probably the last music Tazartès, who died in February 2021, recorded. His unique singing blends perfectly with Chatham’s loops on electric guitar, trumpet and flute. Clear vinyl.

File Under: Experimental
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Trees Speak: Post-Human (Soul Jazz) LP
Trees Speak’s new album Post-Human once again blends 1970s German electronic and ‘motorik’ krautrock instrumentals (think Harmonia, Can, Cluster, Popul Vuh, Neu!), haunting and powerful 1960s and 1970s soundtracks (think Italian prog-rock Goblin and John Carpenter horror movies, Morricone and existential John Barry spy movies), together with a New York no wave electronic synth and guitar analogue DIY-ness (think Suicide, anything on Soul Jazz’s New York Noise series or Eno’s New York No Wave)! The new album Post-Human draws further upon German krautrock high-concept albums from the likes of Tangerine Dream and Klaus Schulze from the 1970s, as Trees Speak create their own powerful new landscapes of sound that manage to be at once contemporary as well as both timeless and with a sense of science-fiction futurism. Trees Speak seamlessly segue together all these musical elements into Post-Human, a conceptually expansive album which follows on from their critically-acclaimed debut LP Ohms, and the follow-up Shadow Forms released on Soul Jazz Records less than six months ago. This powerful new album is a high-concept collage of retro-futurist science-fiction music, which is fantastically illustrated by a specially commissioned cover design by the artist Eric Lee, a dramatic vision of life after humanity.

File Under: Kraut Rock, Prog, Kosmische
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Universal Veil: Helios/Hind (Hood Faire) LP
The Universal Veil is a duo comprised of Sam McLoughlin (Twisted Nerve, Pre-Cert Home Entertainment) and Folklore Tapes head honcho David Chatton Barker. Their improvised live performances with their own handmade “ritual instruments” are by turns meditative, trancelike, joyous and surreal. Helios/Hind is a fascinating sonic artifact which unearths lo-fi cassette recordings from several years of past performances and weaves them together into a new whole, using an array of esoteric processes. It is possessed by the same spirit of mystery and discovery that is present at their live shows, where unusual sounds are spontaneously generated, recycled and transmuted into a deeply strange, magical and psychedelic soundscape which at times feels like it has a life of its own. Housed in a manila die-cut sleeve with a sun scorched sigil branded on the reverse and packaged with an insert pamphlet with triangulation notes; pressed at Vinyl Factory, UK; limited to 231 hand-numbered copies.

File Under: Experimental
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Vanishing Twin: Ookii Gekkou (Fire) LP
There’s a mystery to Vanishing Twin – from their name to the multitude of sounds that inhabit their music. They don’t sound like many but they hint at plenty. Ookii Gekkou (Japanese for Big Moonlight) is the sound of ordinary life under a different set of rules, a record conceived and created in dark times – a sort of dream catcher for all the madness of the past year. Vanishing Twin explore new ground on Ookii Gekkou incorporating elements of Afrofunk, outer jazz and avant-garde, all while referencing Sun Ra to Alice Coltrane, Martin Denny to Morricone, Can’s Holger Czukay to meditative Gamelan, or The Free Design, to library music of the late ‘60s and early ‘70s. Locked into their strangely-accessible groove is a history of ‘other’ sound, a crafted hauntology that evinces something completely new. Hurricanes, organisms, vibes, bells, and percussive rallies purvey throughout Ookii Gekkou, each infiltrated with influences as diverse as Piero Umiliani, Art Ensemble of Chicago and ELO among others. Indeed, even a cursory earful adds to an ever-expanding palette of sound, no mean feat for the newly-trimmed quartet of songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, and synth/guitar player Phil MFU, this reduction resulting in no fewer ideas and even bigger steps. Vanishing Twin is a conundrum in these fragmenting times; familiar, yet different; appealing to this world, but from another, parallel one.

File Under: Psych, Indie Rock, Library
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War on Drugs: I Don’t Live Here Anymore (Atlantic) LP
Coloured vinyl finally in! The War On Drugs return with I Don’t Live Here Anymore, their first studio album in four years. Over the last 15 years, The War on Drugs have steadily emerged as one of this century’s great rock and roll synthesists, removing the gaps between the underground and the mainstream, between the obtuse and the anthemic, making records that wrestle a fractured past into a unified and engrossing present. The War On Drugs have never done that as well as they do with their fifth studio album, I Don’t Live Here Anymore, an uncommon rock album about one of our most common but daunting processes – resilience in the face of despair. Just a month after The War On Drugs’ A Deeper Understanding received the 2018 Grammy for Best Rock Album, the core of Adam Granduciel, bassist Dave Hartley, and multi-instrumentalist Anthony LaMarca retreated to upstate New York to jam and cut new demos, working outside of the predetermined roles each member plays in the live setting. These sessions proved highly productive, turning out early versions of some of the most immediate songs on I Don’t Live Here Anymore. It was the start of a dozen-plus session odyssey that spanned three years and seven studios, including some of rock’s greatest sonic workshops like Electric Lady in New York and Los Angeles’ Sound City. Band leader Granduciel and trusted co-producer/engineer Shawn Everett spent untold hours peeling back every piece of these songs and rebuilding them. One of the most memorable sessions occurred in May 2019 at Electro-Vox, in which the band’s entire line-up – rounded out by keyboardist Robbie Bennett, drummer Charlie Hall, and saxophonist Jon Natchez – convened to record the affecting album opener “Living Proof.” Typically, Granduciel assembles The War On Drugs records from reams of overdubs, like a kind of rock ‘n’ roll jigsaw puzzle. But for “Living Proof,” the track came together in real time, as the musicians drew on their chemistry as a live unit to summon some extemporaneous magic. The immediacy of the performance was appropriate for one of the most personal songs Granduciel has ever written. The War On Drugs’ particular combination of intricacy and imagination animates the 10 songs of I Don’t Live Here Anymore, buttressing the feelings of Granduciel’s personal odyssey. It’s an expression of rock ‘n’ roll’s power to translate our own experience into songs we can share and words that direct our gaze toward the possibility of what is to come.

File Under: Indie Rock
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Roger Webb: Bartleby OST (Trunk) LP
Unreleased until now and super duper wow. Like British pastoral jam with killer (boom bap) drums, bass and percussion. Just dying for some huge hip-hop producer to come and piss all over it, in a good way. This record is the hidden monster, the one killer OST no one saw or heard. Bartleby the film is from 1970. Full color LP sleeve with Julian House artwork.

File Under: OST
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Kenny Wheeler: Windmill Tilter (Decca) LP
One of the landmark classics of the rising British jazz scene of the late 60s – an unusual pairing between modern trumpeter Kenny Wheeler and famous arranger John Dankworth – both coming together in this sublime set of instrumental tracks based on the story of Don Quixote! The music is something that stands alone from the story completely – a key moment in Wheeler’s rise to genius, as he crafts these tremendous solos over a larger group directed by Dankworth – almost a Sketches Of Spain for the Brit scene – with work from an array of players who include Dankworth, Tony Robert, Tony Coe, and Ray Swinfield on saxes – plus John McLaughlin on guitar and Dave Holland on bass – all working together in a really inventive lineup that instantly made the record a classic on the scene. Includes “Preamble”, “Don The Dreamer”, “Sweet Dulcinea Blue”, “Bachelor Sam”, “The Cave Of Montesinos”, “Altisidora”, and “Don No More”.

File Under: Jazz
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Jamire Williams: But Only After You Have Suffered (International Anthem) LP
But Only After You Have Suffered is a densely layered and deeply personal new work from multidisciplinary artist, composer, percussionist and producer Jamire Williams. Conceived as a spiritual, autobiographical artistic statement, Jamire applies sound collage practice to modern jazz composition, beat production, MC/vocalist features, and his uniquely impressionistic drumming style – making an album as akin to minimalist painting as an art-house film soundtrack or a classic hip-hop mixtape. A “self-reflective, almost testimonial work” that swiftly cycles across a vast spectrum of styles, it’s the culmination of his five-year musical journey to the outer reaches of his own sound. It’s the album he has always wanted to make. Across twelve multi-faceted tracks, he brings together artists from his hometown of Houston (vocalists Corey King, Lisa E. Harris, Fat Tony, Jawwaad Taylor), those he became close to over several years living in LA (Sam Gendel, Zeroh, Mic Holden, Josh Johnson, fellow International Anthem artist Carlos Niño), and other creative partners from his life-long journey in sound (Chassol, Svet, Kenneth Whalum). As such, But Only After You Have Suffered builds its own world from the pull between Jamire’s jazz heritage – eleven years as a drummer in NYC recording with world-renowned musicians like Jason Moran, Christian Scott, and Dr. Lonnie Smith – and the experimental, narrative art-pop of his more recent work with Solange, Moses Sumney, and Blood Orange. Rooted in his faith, Jamire opens the album with “Hands Up,” a devotional hymn cut against the stark reality of the modern world that sounds like an apocalyptic middle-grounding of Kendrick Lamar’s To Pimp A Butterfly and Merry Clayton’s “Gimme Shelter.” Whether in the rousing, spiritual “Just Hold On” or the fluid verses of Fat Tony on “Safe Travels,” the music exists in the tension between higher realms and social realities – what Jamire calls the “duality of a personal thing and what I’m seeing in my community, in the Black community, as a Black man.” The album reaches its climax on “Pause In His Presence,” which features a chilling operatic performance from Lisa E. Harris, recorded in one take off the back of a single conversation and a shared vision between the two artists.

File Under: Hip Hop, Jazz
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…..restocks…..

Amyl & The Sniffers: Comfort to Me (ATO) LP
Aphex Twin: Selected Ambient Works (R&S) LP
Arcade Fire: Neon Bible (Sonovox) LP
Arcade Fire: Suburbs (Sonovox) LP
Ash Ra Tempel: Schwingungen (MG Art) LP
Big Thief: Two Hands (4AD) LP
Art Blakey: Moanin’ (Blue Note) LP
CFCF: Continent (Paper Bag) LP|
Sonny Clark: Cool Struttin’ (Blue Note) LP
Ornette Coleman: Free Jazz (Atlantic) LP
Damned: Music for Pleasure (Sanctuary) LP
Dry Cleaning: New Long Leg (4AD) LP
Ella Fitzgerald: Ella Wishes You A Swinging Christmas (Verve) LP
Floating Points & Pharoah Sanders: Promises (Luaka Bop) LP
Ryo Fukui: Scenery (We Release Jazz) LP
Ryo Fukui: Mellow Dream (We Release Jazz) LP
Serge Gainsbourg: Historie de Melody Nelson (Mercury) LP
Maleem Mahmoud Ghania w/ Pharoah Sanders: Trance of Seven Colors (Zehra) LP
Vince Guaraldi Trio: A Charlie Brown Christmas (Craft) LP
Gunn-Truscinski Duo: Soundkeeper (Three Lobed) LP
Jon Hassell: Vernal Equinox (Ndeya) LP
Iggy & The Stooges: Raw Power (Sony) LP
Norah Jones: I Dream of Christmas (Universal) LP
Kimiko Kasai w/ Herbie Hancock: Butterfly (Be With) LP
Khruangbin: Hasta El Cielo (Dead Oceans) LP
King Gizzard & The Lizard Wizard: Infest the Rats Nest (ATO) LP
Kraftwerk: Comptuerwelt (Parlophone) LP
Kyuss: Welcome to Sky Valley (Elektra) LP
Delvon Lamarr Organ Trio: I Told You So (Colemine) LP
La Femme: Psycho Tropical Berlin (Born Bad) LP
Menahan Street Band: Make the Road by Walking (Daptone) LP
Mogwai: As the Love Continues (Temporary Residence) LP
Lee Morgan: The Cooker (Blue Note) LP
Nirvana: In Utero (Geffen) LP
Nirvana: MTV Unplugged in New York (Geffen) LP
Ol’ Dirty Bastard: Return to 36 Chambers (Get on Down) LP
Anderson .Paak: Venice (Steel Wool) LP
Parquet Courts: Wide Awake (Rough Trade) LP
Pink Floyd: Dark Side of the Moon (Pink Floyd) LP
Pink Floyd: Meddle (Pink Floyd) LP
Pole: 1 (Mute) LP
Pole: 2 (Mute) LP
Pole: 3 (Mute) LP
Pop Group: y (Mute) LP
Primal Scream: Screamadelica (Sony) LP
Radiohead: Kid A Mnesia (XL) LP
Horace Silver: Further Explorations (Blue Note) LP
Slits: Cut (Island) LP
Strokes: New Abnormal (RCA) LP
Hiroshi Suzuki: Cat (We Release Jazz) LP
System of a Down: Toxicity (Legacy) LP
T. Rex: Electric Warrior (Rhino) LP
McCoy Tyner: Expansions (Blue Note) LP
McCoy Tyner: Tender Moments (Blue Note) LP
Colter Wall: s/t (Thirty Tigers) LP
Colter Wall: Western Swing & Waltzes and Other Punchy Songs (Thirty Tigers) LP
Baby Face Willette: Face to Face (Blue Note) LP
Wrens: Secaucus (Craft) LP