…..news letter #887 – thaw…..

Oh boy! It’s no longer minus one million! You can almost go outside without your face freezing. And what good timing cuz there’s some killer new jamz in to stick in your ear. And as always, more new used hitting the bins as well.

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…..picks of the week…..

LDC05518_Cochemea: All My Relations (Daptone) LP
In stock on limited coloured wax! Daptone Records is overjoyed to present All My Relations – the debut solo album from long-time Dap-Kings saxophonist, Cochemea Gastelum. Cochemea’s electro-sax leads an ensemble of percussive giants (members of Sharon Jones & the Dap-Kings, Antibalas) on a psychedelic, spiritual journey, exploring his ancestral roots through melody and rhythm. As a body of work, it is an acknowledgement of oneness and harmony with all forms of life: people, animals, insects, plants, trees, and even rocks, rivers, mountains and valleys. It celebrates the sublime beauty of existence and beginnings of such. Some of the tunes were drawn from memory, imagined from a time and place Cochemea has never been, such as “Sonora” (the home of his Yaqui ancestors), and “Mescalero” (an Apache tribe from the South Central region of Mexico – ancestors of his great-grandmother). Others were born from the Musical impression of ritual, like “Mitote” (an ancient, secular round dance of the Aztecs and other tribes of the Sierra Madre Occidental – which in certain cultures can be associated with Peyote ritual). The track “Asatoma” is an ancient prayer from India. In Sanskrit, it prays for guidance to grow from darkness to light, to distinguish the real from the unreal, and to be guided from death of the physical to the immortality of the Spirit. It is a celebration of life. The musicians on the record also bring a piece of themselves and their heritage, creating a cultural cornucopia of sonic expression that allows Cochemea’s vision and spirituality to flourish. All My Relations, in a sense, is a musical prayer to the world to help recognize our one true source, our shared identity. We are one.

File Under: Spiritual Jazz, Funk
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LDC23015_Cool Maritime: Sharing Waves (Leaving) LP
Sean Hellfritsch is an active mixed-media visual artist, and modern modular electronic composer living and working in North East Los Angeles. Sharing Waves, his second outing for Leaving Records as Cool Maritime, is all-expansive environments, and fully-realized worlds to explore and get lost in. A persistent sense of adventure and excitement is practically baked into the songs, many of them having been recorded in inspiring and remote outdoor locations using a nomadic studio including a “lunchbox” modular system. The narrative flair of this instrumental music comes naturally to Hellfritsch, who is also an accomplished filmmaker. What you hear is musical ideas captured in moments of awe, happiness and inspiration. Although the sounds are largely electronic, the feeling is organic, with lush arrangements that breathe and breaststroke their way gracefully through the open air. Illustrative song titles like “Forest Bathing” and “Secret Caves” evoke inviting landscapes of reflection and resonance. Pristine and glassy droplets of sound pitter over damp and mossy beds of emotional chords and feelings, as escape turns inwards. In an interesting contrast to the nature-heavy motif, a number of the tracks on Sharing Waves were the result of a commission to create pieces for a large outdoor plaza in downtown Los Angeles. This dichotomy of nature versus development makes for an interesting fold in these fully realized compositions.

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

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Cactus Blossoms: Easy Way (Walkie Talkie) LP
The Cactus Blossoms – Minneapolis-based blood harmony brother duo Page Burkum and Jack Torrey – return with the new album Easy Way, a self-produced collection of ten new originals on their own Walkie Talkie Records. Featuring special contributions from Dan Auerbach (The Black Keys) and renowned saxophonist Michael Lewis (Bon Iver, Andrew Bird), Easy Way expands on the “creative turns of phrase, gorgeous harmonies, and ageless sound” (NPR) they’re known and loved for to deliver something new and distinctly modern. Since the release of their 2016 debut You’re Dreaming, The Cactus Blossoms experienced a number of breakout moments, including tours with Kacey Musgraves and Lucius, appearances on prestigious stages from Newport Folk to Lincoln Center, and a perfectly cast appearance on the third season of David Lynch’s Twin Peaks.

File Under: Folk, Country
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Candlemass: The Door to Doom (Napalm) LP
Candlemass have come full circle: their first singer Johan Langquist (who left the band after singing on the legendary 1986 debut Epicus Doomicus Metallicus) has returned! Their first studio effort since 2012, The Door To Doom unsurprisingly follows the plotline mastermind, songwriter and bass player Leif Edling established in the past years: epic world class doom metal that relies on slow mammoth riffing. With Langquist`s highly dramatic vocal style and the love for details, the band made this album as the next Epicus. This masterpiece is rounded off by a beautiful guest appearance by none other than Black Sabbath’s Tony Iommi on “Astorolus – The Great Octopus.”

File Under: Metal
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Dead C: Rare Ravers (Ba Da Bing) LP
In tomorrow…. Disguised as the meandering outpourings of vacant thought and activity dialed simultaneously from zero and ten. Formed in the cauldron of a fevered mistake resolute. Surrounded by ignorance, dis-interest, and the attention of the carefully self-selected. Recorded and burned through a thousand galaxies of dust and doubt and endless infinite wonder, transforming both time and space. Forever exiled to the very bottom of the world to reflect on the struggling desperate pile above. Recognizing any contribution as miniscule and insignificant when placed within the greatness of the other, the dominant insolent preening satisfied, continually shouting the pre-eminence of the first world order. The latest by The Dead C—Rare Ravers: it’s a long player.

File Under: Experimental
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Endon: Boy Meets Girl (Thrill Jockey) LP
In tomorrow…. Endon is a band as mercurial as they are ferocious. Comprised of the quintet of vocalist Taichi Nagura, guitarist Koki Miyabe, drummer Shin Yokota, and electronics/noisemakers Taro Aiko and Etsuo Nagura, Endon’s music is contained chaos, bending and colliding genres into one another atop a bed of thunderous distortion, feedback, and unearthly squeals. Vocalist Taichi’s voice embodies an unreal number of personalities with wordless howls seething one moment, and agonized cries the next, before desperate gasps for air. It comes as no surprise that they have been credited as the most extreme band in Tokyo. Boy Meets Girl finds Endon relishing in the unexpected and shifting with relentless force from pounding sludge to off-kilter hardcore to synth-driven dance to utter oblivion. Boy Meets Girl was envisioned as a soundtrack to an imagined horror film about love. Disparate influences such as horrorcore, Dick Dale, Joe Meek and the Dead Kennedys converge and erupt forth over the course of single songs. The warped story of the album unfolds in scattered motifs and references, with the titular “boy” being born from a womb of noise and dealing with the conflicts that arise when recognizing the world, and love, outside his own ego. The record takes an abstract approach to the subject of love and looks beyond the well tread romantic aspects in favor of an altogether more disorienting take. Endon set out to make fictional film score with “light music,” played by a much heavier band. The core of the ensemble’s song structures are often built around Koki’s fuzz-laden guitar and Shin’s drum bombast which propel torrents of hisses and squelches from Taro and Etsuo. Taichi’s largely lyric-less screams, moans, and whimpers are potent messengers of the songs’ emotional heft. Recorded by Atsuo of Boris, Boy Meets Girl is not entirely harsh and heavy. Sequencer delicacies are laced into pieces like the mammoth “Doubts As a Source.” The respite of “Red Shoes” lay bare Endon’s ability to construct detailed arrangements, a trait shared with the album’s more eviscerating songs. There lies an ecstatic, excited energy amidst the anarchic defiance Endon’s music exudes. Born of the same Japanese scenes that gave rise to the likes of Merzbow and Boredoms, their sound is equally diverse and abrasive. Boy Meets Girl demonstrates Endon’s singular faculty to produce music that is at once tortured and transcendent.

File Under: Electronic, Rock
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Ragnar Grippe: Symphonic Songs (Dais) LP
In tomorrow…. Recorded between the release of Sand (1977) and Lost Secrets (1981), Symphonic Songs is a formerly unreleased work that chronicles the dynamic shift and development in experimental Swedish composer RAGNAR GRIPPE’s canon. Following his seminal release Sand in 1977, Swedish experimental composer Ragnar Grippe worked on various art and performance commissions, often returning to Stockholm during the summer months to focus his efforts on his compositional practice. It was there at the famed EMS Studios where he began employing the Buchla synthesizer and the facilities multi-tracking capabilities as new instruments to map his mining of sound and movement. He emerged with a new commission for Susan Buirge later formally titled Symphonic Songs and used in her avant-garde theater piece “Ci-Déla” which debuted in Paris in 1981. Symphonic Songs showcased Grippe’s sound au courant, pushing dense against sparse, calm into cacophonous, using each track as its own intersecting plane. Using the machinations of studio and structure to drive Symphonic Songs’ voice, Grippe culled a haunting, often cinematic electronic work that dots and darts into unexpected corners with curious aplomb.

File Under: Experimental, Electronic
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Hot Water Music: A Flight & A Crash (Epitaph) LP
In 2019, Hot Water Music celebrates their 25th anniversary as a band, touring the world performing tracks from their entire catalog. Epitaph Records will be repressing three of the band’s albums on colored vinyl for re-release in the 2019 calendar year including 2001’s A Flight and A Crash, 2002’s Caution and 2004’s The New What Next. Visceral. intense, and simply unforgettable – A Flight And A Crash is a sonic exploration of the pain and triumph of life with an energy and emotion seldom heard. With some of the most intricate yet hard-driving rhythms the band has ever produced, this album pulls at your gut, head and heart all at the same time. It’s easy to see why Magnet magazine called them “the best punk band on the planet!” at the time.

File Under: Punk
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Hot Water Music: Caution (Epitaph) LP
In 2019, Hot Water Music will be celebrating their 25th anniversary as a band and touring the world performing tracks from their entire catalog. Epitaph Records will be repressing three of the band’s albums on colored vinyl for re-release in 2019: 2001’s A Flight and A Crash, 2002’s Caution and 2004’s The New What Next. True to it’s title, Caution immediately demands the listener’s undivided attention. With a unique blend of heartfelt punk, guttural rock, and explorative neo-hardcore, Hot Water Music shirks categorization on Caution. Immediate and infectious on “Trusty Chords,” a feral rocker that works off a pop blueprint, the band emphasizes variety as it glides into the rhythm-steeped “One Step To Slip” and the cathartic “I Was On A Mountain.” Further demonstrating HWM’s depth, Caution sees the band careen from the circle-pit stylings of “Wayfarer” to the subtle yet frenetic underpinning of “Alright For Now” with artful management. “We’ve never tried to be anything but what we are,” said bassist Jason Black. “Musically, we’ve never wanted to define ourselves at all.” And in keeping with that assessment, the Gainesville, FL foursome differed from virtually every other band making punk-inspired sounds in 2002. On Caution – the group’s second disc for Epitaph – HWM drives home the point that music should be more about substance and skill and less about red hair dye.

File Under: Punk
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Jh1.fse: Trials & Tribulations (Dais) LP
In tomorrow…. Emotional exploration through sound can become so indulgent that it overshadows the journey. JH1.FS3 eschews mining the human condition as mediation, opting for nuanced analysis rather than vanity. Using the seeds of improvisation as their root construct, the duo work without code, vocabulary or genre. Instead, they systematically work as individuals in tandem, using disparate and varied sounds and sources to create gauzy collages of ideas, sound and visceral sense reaction. Comprised of Frederikke Hoffmeier (Puce Mary) and Jesse Sanes (Hoax, Liebestod), JH1.FS3 delineates a more subtle “cinema of the ear”, and a cold approach to reflecting on experience without leveraging tropes or familiarity.

File Under: Electronic, Experimental
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857661008094_mainKingstonians: Sufferer (Antarctica Starts Here) LP
In tomorrow…. While Montego Bay natives Jackie Bernard, his brother Footy Bernard and cousin Lloyd Kerr recorded under various guises in the early ’60s, their collective arrival as The Kingstonians in 1967 marked a sea change not only in the vocal trio’s productivity and popularity, but also in the emerging Reggae sound. The Kingstonians made several chart-topping singles between 1968 and 1970, including the massive hit “Singer Man” whose success ultimately led to the release of their sole LP, Sufferer. Originally issued on Trojan, Sufferer collects a dozen of The Kingstonians’ best-known songs. Produced by Derrick Harriott, these truly boss sounds would pack dancehalls on the island as well as become the soundtrack for working-class youth across ’70s Britain. The title track remains a classic of the early Reggae era with impeccable arrangements, stuttering organ and soul-steeped lyrics. The Kingstonians’ shift away from Rocksteady modes is perhaps most apparent on the aforementioned “Singer Man”—an irresistible forward groove, prompting a deeper danceability that is rightly centered on real feeling. Antarctica Starts Here presents the first-time domestic release of Sufferer. Reproducing the original sleeve design, this reissue is part of an archival series that focuses on Trojan’s essential ’60s and ’70s catalogue. Liner notes by Laurence Cane-Honeysett.

File Under: Folk
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5bd8a0efcbb38_mainLorelle Meets the Obsolete: De Facto (Registros El Derrumbe) LP
In tomorrow…. Mexican duo Lorelle Meets the Obsolete return with a new album on their own Registros El Derrumbe imprint. The album, their fifth, was recorded at their home studio in Ensenada, Baja California, mixed by Cooper Crain (of Cave and Bitchin Bajas) and mastered by Mikey Young Y (of Eddy Current Suppression Ring and Total Control). The end result is brave experimentation and avant-pop put through a heavy psych filter. There are pure pop songs that come across like lost ’60s nuggets (‘Líneas En Hojas’), blistering white noise jams (‘Unificado’) and meditative incantations (‘La Maga’)—all of which will make heads go ‘POW!’.

File Under: Psych
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LDM55797_Curtis Mayfield: Keep On Keeping On (Rhino) Box
Curtis Mayfield recorded a string of hits with The Impressions before leaving the influential soul-gospel group to embark upon a solo career that began 50 years ago and produced some of his greatest work. Known as the “Gentle Genius,” Mayfield has been inducted into the Rock and Roll Hall of Fame twice – first as a member of The Impressions and later as a solo artist. Rhino spotlights Mayfield’s early solo career withe the 180g 4LP box set, Keep On Keeping On: Curtis Mayfield Studio Albums 1970-1974, a collection that includes newly remastered versions of his first four studio albums: Curtis (1970), Roots (1971), Back to the World (1973) and Sweet Exorcist (1974). Mayfield left the Impressions in 1970 and launched his solo career with his debut album, Curtis. The album reached the Billboard Pop Albums Chart Top 20 and was certified gold. It features “(Don’t Worry) If There’s A Hell Below, We’re All Going To Go,” a hit in the U.S., and “Move On Up,” which charted in the U.K. In terms of cultural significance, the album’s potent combination of socially conscious lyrics and soul/funk music helped blaze a trail for later albums like Marvin Gaye’s What’s Going On and Stevie Wonder’s Innervisions. Mayfield returned in 1971 with Roots. His second solo album peaked at No. 6 on the R&B Albums chart thanks to memorable tracks like “Get Down,” “Beautiful Brother Of Mine” and “We Got To Have Peace.” Keep On Keeping On is named for a song on that album. Following the enormous success of the Super Fly soundtrack in 1972, Mayfield released his third solo record, Back to the World in 1973. It topped the R&B Albums chart and introduced fans to great tracks like “Future Shock,” “Can’t Say Nothin'” and “If I Were Only A Child Again.”The final album in this new set is Sweet Exorcist (1974), which reached No. 2 on the Top R&B Albums chart. It produced two singles with the title track and “Kung Fu.”

File Under: Funk, Soul
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mccombsCass McCombs: Tip of the Sphere (Anti) LP
Tip of the Sphere follows 2016’s Mangy Love, which was named a “Best Rock Album of the Year” by Pitchfork, was featured in the Washington Post’s “Best Music of 2016,” plus many other best of 2016 lists, and was Cass McCombs’ overall most critically praised release. While most of McCombs albums have been pieced together in different studios over an extended period of time, Tip of the Sphere was recorded quickly and with a strong sense of purpose at Shahzad Ismaily’s Figure 8 Studios in Brooklyn. This new approach for McCombs brought his songs a raw immediacy and a special balance of compassion and experimentation with the intent of making a more consistent statement. The rock songs have more fervor, the ballads are more beautiful, the explorations more confident; the sounds of jazz and Latin music creep in through the back window. Engineered by Sam Owens (aka Sam Evian), Tip of the Sphere features the core band of McCombs (guitar, vocals), Dan Horne (bass), Otto Hauser (drums) and Frank LoCrasto (piano, organ, and more), plus a range of guests. The LP recounts what has unfolded in the wake of Mangy Love’s pre-inaugural prophetic themes. It presents an artist trying to make sense of it all through a relentless, ever searching creative process. Throughout, McCombs floats through a suite of songs driven by a journeying mysticism and dark grace. The thematic centerpiece, “Sleeping Volcanoes,” is a rousing, rock and roll number that uses a distinct lyrical approach to intensify the narrative. On the main refrain, a key phrase of the song is repeated continuously and taken through its possible meanings, almost like a jazz musician repeating a musical phrase through key and chord changes. As described by McCombs, “Sleeping Volcanoes” is about “people passing each other on the sidewalk unaware of the emotional volatility they are brushing past, like a sleeping volcano that could erupt at any moment.”

File Under: Indie Rock
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857661008643_mainJoe McPhee: Nation Time (Superior Viaduct) LP
In tomorrow…. “It’s been nearly five decades since Joe McPhee assembled a group of musicians to perform the weekend concerts that would become Nation Time. It was December 1970, thirty-one-year-old McPhee was inspired by Amiri Baraka’s poem ‘It’s Nation Time,’ and the students at Vassar College didn’t know what hit them. ‘What time is it?’ shouted the bandleader. ‘C’mon, you can do better than that. What time is it?!’ “The music on Nation Time came out of the fertile, but little-known creative jazz scene in Poughkeepsie, New York, McPhee’s home base. Two bands were deployed, one with a funky free foundation featuring guitar and organ, the other consisting of a more standard jazz formation with two drummers and the brilliant Mike Kull at the piano. Across the concert and the next afternoon’s audience-less recording session, the band was ignited by McPhee’s passion and his gorgeous post-Coltrane / post-Pharoah tenor. On ‘Shakey Jake,’ they hit a James Brown groove filtered through Archie Shepp, while the sidelong title track is as searching and poignant today as it was during its heyday. “Originally released in 1971 on CjR, an imprint started expressly to document McPhee’s music, Nation Time has a sense of urgency and inspiration. Additional material from those December days would later appear on Black Magic Man, Hat Hut’s first release. In fact, the first four records on this seminal Swiss label all featured McPhee. “Nation Time was largely unknown a quarter century or so later, when it was first issued on CD through Atavistic’s Unheard Music Series. On Corbett vs. Dempsey, we reissued the album along with all known tapes leading up to and around it as a deluxe box set, but the standalone LP has long remained incredibly rare. Now is the time for a new generation of freaks to lose their shit when settling into the cushy beat of ‘Shakey Jake’ and answer McPhee’s call with the only appropriate response: It’s NATION TIME.” —John Corbett

File Under: Free Jazz
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855985006765_mainRichard Pinhas: Iceland (Superior Viaduct) LP
In tomorrow…. Originally released in 1979, Iceland is Richard Pinhas’ third solo album and his first following the breakup of Heldon. While moving away from the maximalism of his old band, paring down Heldon’s hybrid of otherworldly sci-fi imagery and pummeling psych-prog riffs, the journey through Iceland is decidedly more inward. Consisting of longer, brooding synth-based pieces as well as short proto-industrial études and interstitial sketches, Iceland features Pinhas’ delay-ridden electric guitar, pulsating machine rhythms and analog synthesizer washes—all vivid in texture and timbre, notwithstanding an undeniably chilling ambience. This first-time vinyl reissue includes “Wintermusic,” an immersive 25-minute bonus track recorded in 1983 and appearing here on vinyl for the first time. Pinhas’ excursions channel the season’s stillness and sublimity, its majesty and its threat. Without a doubt, one his finest moments. Recommended for fans of Cluster, Mica Levi and Fripp & Eno.

File Under: Electronic, Prog
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5bd0a5cdb9ef2_mainJessica Pratt: Quiet Signs (Mexican Summer) LP
Jessica Pratt is not a loud performer. She does not have to be. In a club of a few hundred, even the bar staff are known to go quiet while she’s on stage. Her third album, Quiet Signs, feels like a distillation of this power. The album leads off with “Opening Night,” a nod to Gena Rowlands’ harrowing, brilliant performance in the John Cassavetes film of the same name. It’s also an emblem of where this spare, mysterious collection of songs falls in the course of Pratt’s career. After a collection of demos and early studio recordings (Jessica Pratt, Birth Records, 2012) earned her a small, dedicated audience, Pratt moved from San Francisco to Los Angeles and recorded her first intentional album in her bedroom in a matter of months. That album, On Your Own Love Again (Drag City, 2015), would bring her around the world many times, leading many to fall under the spell of Jessica Pratt the performer, the songwriter, the singer with the heavy-lidded voice that feels alien and familiar at the same time.

File Under: Indie Rock
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LDR35226__Michael Rother: Solo (Groenland) Box
Berlin label Groenland is pleased to present a box set of Neu!/Harmonia/Kraftwerk guitarist Michael Rother’s first four solo albums. Titled Solo, the 6LP-set encompasses Flammende Herzen (1977), Sterntaler (1978), Katzenmusik (1979) and Fernwärme (1982), as well as unreleased soundtracks for the films Die Raeuber and Houston and an album of live tracks and remixes. The box set also includes liner notes penned with the help of the Jam’s Paul Weller and U.K. group Boxed In. Speaking about the release, Rother said: “I’m incredibly excited to announce my new boxset ‘Solo’. The opportunity to release my first four solo albums, as well as some new music in one package is amazing. This is a body of work that I’m very proud of.”

File Under: Electronic, Krautrock
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LDR41411_Rustin Man: Drift Code (Domino) LP
Rustin Man aka Paul Webb, formerly the bass player in Talk Talk, releases his new album Drift Code via Domino. Webb has released one record under the moniker Rustin Man so far, the superb Out Of Season in 2002 – a collaboration with Beth Gibbons of Portishead. He has been working on the follow-up ever since, recording it in his home, a converted barn, in an Essex field three miles from the nearest village, an extraordinary building as much Old Curiosity Shop as modern living space. Creating that, and raising two daughters with his wife Sam, was happening alongside the making of Drift Code. The long-awaited album has a warm, wise kind of euphoria to it, coupled with an acute sense of storytelling and surreality. As you might expect from someone of Webb’s pedigree, Drift Code is a deep, detailed work. The passage of time, the living space full of art, treasured objects and junk, the years spent listening to film music and ‘40s standards are all audible. But there’s a surprising spontaneity to it too. Though he did much of it alone, Webb’s recording technique made the music feel as if it has been recorded by a group of musicians playing in the same room. Raw demos written on a Dictaphone provided the basis for tracks begun with drums played by Webb’s former Talk Talk and O’rang colleague Lee Harris. Then, one instrument at a time, Webb created arrangements from multiple takes, each one recorded with six microphones positioned at different distances from the instrument. This way he could place each instrument in a different part of an imagined room. When he had finished all the guitars, he picked up a bass and went back to song number one. When he’d got all the bass lines, he moved on to keyboards. This approach means that Drift Code’s songs have matured, in a unique way. 180 gram heavyweight LP housed in a single LP jacket that includes a four page booklet and a download card.

File Under: Rock, Talk Talk
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LDT96938_Teeth of the Sea: Wraith (Rocket) LP
Who can say when, or how, the Wraiths began to make their presence felt. Yet when Teeth Of The Sea entered their base of operations The Facility to begin work in Autumn 2017 on their fifth album – the follow-up to 2015’s Highly Deadly Black Tarantula – it seemed hard to deny that these ghostly interruptions were at play. By November, all three members were in agreement that the disturbances were tangible and impossible to ignore. It wasn’t just the more familiar spectres of the band’s collective and overactive imagination – the unruly morass of ‘80s horror and sci-fi movies, industrial ballast, 2000AD terror, ‘70s-damaged experimental brinksmanship and atmospheric grandeur that they’d somehow conspire to sculpt into coherent structures. For as much as the band were determined to create a vivid and maximalist work that threw all of the wildest imagination into sharp relief, what resulted summarily went beyond anything they could have expected. Moving down to Soup Studios, located in the liminal zone of East India Dock on the Thames, these spectres contributed to influence a collection of tracks that soon began to represent a fearsome and transporting marriage of the ferocious and the melancholic. Alchemized trash, kitchen-sink surrealism, out-of-order intensity and ritualistic overtones collides and colluded into a monstrous hybrid – this was a world where Tetsuo-The Iron Man would happily share space with Judee Sill, and where the acid guitars of Helios Creed would happily conspire with the Acid Rock of Rhythm Device. “Hiraeth” – its title deriving from a Welsh word meaning a longing for home – may be the most richly cinematic track the band has ever created. Building from a bleak and beatific Morricone-esque soundscape haunted by melancholic brass, it builds to a furious and dramatic crescendo underpinned by a merciless electronic pulse and dub-tinged disorientation alike. “I’d Rather, Jack” sees Erol Alkan using all the tools at his Phantasy Sound studio to manifest its strains into an angular banger equal parts mariachi elegy and electro euphoria. Percussionist Valentina Magaletti (Tomaga/Raime/Vanishing Twin) brought her unique talents to the Reichian (Steve/Wilhelm) epiphany of “Visitor.” Chlöe Herington (Chrome Hoof/Knifeworld/Valve) and Katharine Gifford (The Wargs/Snowpony/Stereolab) were also on board to assist this unholy assemblage of inspiration, irreverence and otherworldly infiltration. Teeth Of The Sea are frankly none the wiser as to what these disturbances meant and what caused them – a fissure in the astral plane, psychic disturbances brought on by societal collapse, or just a collective hallucination. Whichever, they can’t help but be grateful that these voices and visions made their mark on this record, and can only hope the music has allowed them safe passage to the beyond. Ladies and Gentlemen, pray silence for the Wraith.

File Under: Psych, Prog, Electronic
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5c3fae6df163b_mainTelekinesis: Effluxion (Merge) LP
If Michael Benjamin Lerner has given us nothing more than an opportunity to nudge the word “effluxion” into the common vernacular, it is still a crowning cultural achievement. But he has given us much more than that. The fifth full-length album he’s recorded as Telekinesis is perfect, unfussy power pop—romantic and hopeful and skittish and fresh and familiar, with hooks in all the right places. He called the album Effluxion because he too found the word a little alien when he first heard it in passing, but it also captured the spirit in which the album was made. After Lerner largely traded guitars and drums for moodier synthesizers and drum machines on 2015’s Ad Infinitum—more OMD than GBV—Scottish indie-pop gods Teenage Fanclub invited Lerner on board as a touring member in 2017. In addition to this being genie-lamp wish fulfillment for a devoted acolyte, playing those songs every night with his heroes brought him back to known pleasures. Effluxion is a back-to-basics album—not just in its reaffirmation of the sound and style that made Lerner an indie wunderkind a decade ago at age 22, but in the way it was created. Using the same now-discontinued MacBook microphone he used to record his earliest tracks, he holed up in the basement of his West Seattle home and put the album together piece by piece over the past two years, playing every instrument. While previous albums had former Death Cab For Cutie guitarist CHRIS WALLA—who discovered and championed Telekinesis’ demos—and Spoon’s JIM ENO serving as producers and sounding boards and sidemen and general voices of authority and experience, Lerner wanted to do this one entirely on his own.

File Under: Indie Rock
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600197014721_mainTiny Ruins: Olympic Girls (Ba Da Bing) LP
In tomorrow…. A rare blend of eloquent lyrical craft and explorative musicianship, the songs of Tiny Ruins are etched into the memories of crowds and critics worldwide. Traversing influences that cross genre and era, the artistry of Hollie Fullbrook and her band spans delicate folk, lustrous dream pop and ebullient psychedelia. Building on the sparse arrangements and “a novelist’s eye for detail” (Uncut) cultivated over the past several years, the group’s greatly anticipated third album Olympic Girls is replete with vital lyricism and galvanizing rhythms. Sparkling electric guitar jangles pull against the unique thrum of Fullbrook’s acoustic as the cryptic poetry she is known for rings out. Hollie Fullbrook is no stranger to acclaim. Debut album Some Were Meant For Sea (2011) saw her name on billboards, playlists and blogs worldwide. The album’s clutch of “gorgeous vignettes” (BBC) put the artist on the map. Second album Brightly Painted One earned more accolades, championed by The New York Times, NPR and David Lynch, and winning Best Alternative Album at the New Zealand Music Awards in 2014. “An album of quiet, devastating beauty,” wrote Pop Matters. The album saw Fullbrook join forces with producer Tom Healy, whom, alongside long-time tour-mate bassist Cass Basil and drummer Alex Freer, Fullbrook has worked and toured with ever since.  While spanning continents, the band won fans in critics, crowds and became a sought after collaborator. A New York recording session culminated in the EP Hurtling Through (2015) with indie-rock legend Hamish Kilgour (The Clean), while 2016 single “Dream Wave” was recorded and produced by award-winning cult filmmaker and musician David Lynch. Headhunted by Lorde for the Hunger Games soundtrack blueprint she curated, Fullbrook teamed up with legendary filmmaker Lynch for the collaboration.  This album was made over a drawn out period of spontaneity and experimentation, stridently reaching beyond Fullbrook’s formerly minimalist domain. Production from Tom Healy and Fullbrook is exercised with muscular aplomb; marrying the intricately woven poetics of Leonard Cohen, the shimmering dream-pop landscapes of Beach House or Mazzy Star, and the off-kilter experimental pop of Broadcast or John Cale.

File Under: Indie Rock
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5c6b4a276a9f9_mainTraffik Island: Nature Strip (Flightless) LP
In tomorrow…. “One of the standout tracks on the Anti-Fade compilation, New Center of the Universe Vol. 3, this year was a track from Traffik Island. The band is largely the solo output of Zak Olsen from Orb, The Frowning Clouds and Hierophants. While he’s had a handful of singles scattered over the last few years, news today comes of a debut album on Flightless. The pairing makes sense, given Orb’s standing at the label, and first track ’17’ is a delightfully sunny swath of psych-pop that’s a far cry from Orb’s windpipe crushers. Instead the track, like previous outings from Traffik Island, is a sparkling jangler full of bright harmonies that bring to mind The Free Design, Euphoria, Sapphire Thinkers, or any other manner of the bittersweet brand of sunshine psych. The LP, Nature Strip is out next year and this track gives it a glow of promise. Definitely excited for this.”—Raven Sings The Blues

File Under: Rock, Psych
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5c3907efb6c71_mainX: Los Angeles (Fat Possum) LP
In tomorrow…. A reissue of X’s essential debut album originally released by Slash in 1980, and the first in a series of X reissues on Fat Possum. Ranked # 286 on Rolling Stone’s list of the 500 greatest albums of all time.

File Under: Punk
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…..Restocks….

Bell Witch: Mirror Reaper (Profound Lore) LP
Charles Bradley: Victim of Love (Daptone) LP
C.I.A.: s/t (In the Red)LP
Alvin Curran: Canti E Vedute Del (Superior Viaduct) LP
Daktaris: Soul Explosion (Daptone) LP
Death Grips: No Love Deep Web (Harvest) LP
Elder: Lore (Armageddon) LP
The Fall: Live at the Witch Trials (Superior Viaduct) LP
Nils Frahm: Encores 2 (Erased Tapes) LP
Nils Frahm: All Melody (Erased Tapes) LP
Jacco Gardner: Somnium (Polyvinyl) LP
Harmonia: Musik Von Harmonia (Gronland) LP
Tim Hecker: Ravedeath 1972 (Kranky) LP
Tim Hecker: Virgins (Kranky) LP
King Gizzard & The Lizard Wizard: I’m In Your Mind Fuzz (Castleface) LP
King Gizzard & The Lizard Wizard: Quarters (Castleface) LP
Curtis Mayfield: Curtis/Live (Antarctica Starts Here) LP
Drew McDowall: The Third Helix (Dais) LP
Meters: Look-Ka Py Py (Josie) LP
Kelly Moran: Ultraviolet (Warp) LP
Ennio Morricone: Un Uomo Da Rispettare (Superior Viaduct) LP
Oh Sees: Castlemania (Castleface) LP
Oh Sees: Orc (Castleface) LP
Oh Sees: Smote Reverser (Castleface) LP
Om: Advaitic Songs (Drag City) LP
Pharoah Sanders: Thembi (Impulse) LP
Scientist: In The Kingdom of Dub (Superior Viaduct) LP
Ty Segall: Fudge Sandwich (In the Red) LP
Siouxsie & The Banshees: Juju (Universal) LP
Sonic Youth: Daydream Nation (Goofin) LP
Sonic Youth: Evol (Goofin) LP
Sons of Kemet: Your Queen is a Reptile (Impulse) LP
Stars of the Lid: And Their Refinement of the Decline (Kranky) LP
Stars of the Lid: Avec Laudanum (Kranky) LP
Stars of the Lid: Ballasted Orchestra (Kranky) LP
Supersilent: 14 (Smalltown Supersound) LP
Talking Drums: Courage (Dark Entries) LP
Upsetters: Double Seven (Antarctica Starts Here) LP
Weakerthans: Left & Leaving (Anti) LP
Ween: 12 Golden Country Greats (Plain) LP
Ween: Chocolate & Cheese (Plain) LP
Ween: God Ween Satan (Plain) LP
White Stripes: Destijl (Third Man) LP
White Stripes: Elephant (Third Man) LP
White Stripes: Get Behind Me Satan (Third Man) LP
White Stripes: s/t (Third Man) LP
White Stripes: White Blood Cells (Third Man) LP
Wipers: Youth of America (Jackpot) LP

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…..news letter #886 – hoth 2.0…..

Alright, killer new arrivals this week! And it’s, sort of, starting to warm up a little bit. Anyway, it’s a long weekend, so come down for dig and get some new wax. The Kankyo Ongaku box is perfect music for watching the snow fall.

Oh ya… if you don’t follow us on Instagram, WHY NOT?! And now you know.

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

…..picks of the week…..

tmp_2F1541533951722-c1stczdun2-b1ea949005efac16451a91856fdbb62c_2FVinyl_Blue_BookVarious: Kankyo Ongaku (Light in the Attic) LP
Light In The Attic’s Japan Archival Series continues with Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990, an unprecedented overview of the country’s vital minimal, ambient, avant-garde, and New Age music – what can collectively be described as kankyō ongaku, or environmental music. The collection features internationally acclaimed artists such as Haruomi Hosono, Ryuichi Sakamoto and Joe Hisaishi, as well as other pioneers like Hiroshi Yoshimura, Yoshio Ojima and Satoshi Ashikawa, who deserve a place alongside the indisputable giants of these genres. In the 1970s, the concepts of Brian Eno’s “ambient” and Erik Satie’s “furniture music” began to take hold in the minds of artists and musicians around Tokyo. Emerging fields like soundscape design and architectural acoustics opened up new ways in which sound and music could be consumed. For artists like Yoshimura, Ojima and Ashikawa, these ideas became the foundation for their musical works, which were heard not only on records and in live performances, but also within public and private spaces where they intermingled with the sounds and environments of everyday life. The bubble economy of 1980s Japan also had a hand in the advancement of kankyō ongaku. In an attempt to cultivate an image of sophisticated lifestyle, corporations with expendable income bankrolled various art and music initiatives, which opened up new and unorthodox ways in which artists could integrate their avant-garde musical forms into everyday life: in-store music for Muji, promo LP for a Sanyo AC unit, a Seiko watch advert, among others that can be heard in this collection. Kankyō Ongaku is expertly compiled by Spencer Doran (Visible Cloaks) who, with a series of revelatory mixtapes as well as his label Empire of Signs (Music For Nine Postcards), has been instrumental in shepherding interest in this music outside of Japan. Together with Light In The Attic’s celebrated anthologies I Am The Center and The Microcosm, Kankyō Ongaku helps to broaden our understanding of this quietly profound music, regardless of the environment in which it’s heard.

File Under: Ambient, Electronic, New Age
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pcaPye Corner Audio: Hollow Earth (Ghost Box) LP
Hollow Earth is the new album from Pye Corner Audio aka Martin Jenkins, his third for Ghost Box. It’s conceived as a sequel to 2016’s Stasis. Where Stasis played with notions of outward cosmic exploration and the idea of suspended animation and sleep, Hollow Earth takes subterranean exploration and submerged psychologies as its theme. It draws on Berlin school synth improvisations, New Age reveries and the ghosts of 90s house euphoria to summon up images of vast, awe inspiring spaces and claustrophobic chambers. It sustains an atmosphere of wonder and adventure throughout, and like its companion piece, Stasis, it works equally as a soundtrack to physical as well as mental exploration. Pye Corner Audio specialise in majestic, cinematic electronica that evokes sci-fi soundtracks, dystopian futures and the sound of haunted dance floors. The discography to date includes eight full length albums and many more singles and EPs across several labels. There are also remixes for John Foxx, Mogwai, Mark Lanegan, Stealing Sheep, Knightstown, Not Waving and most recently Dolphin Midwives. Pye Corner’s Martin Jenkins (aka The Head Technician) is a veteran live performer, and has played shows and festivals all over Europe, Canada and the USA. Most notably he has supported Mogwai on several tour dates, played the Mutek festival in Montreal, the Mugako Festival in Spain and Barcelona’s Primavera Club. Pye Corner Audio pieces appear in the soundtrack to Adam Curtis’s 2016 film HyperNormalisation and the 2018 Shudder TV series, Deadwax. More TV soundtrack appearances are due to appear in 2019.

File Under: Electronic, Synth, Berlin School, Ambient
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…..new arrivals…..

noto

Alva Noto & Ryuichi Sakamoto: Glass (Noton) LP
GLASS is a recording of an inspired live improvisation by Ryuichi Sakamoto and Alva Noto at the architect Philip Johnson’s hallowed Glass House, in the bucolic setting of New Canaan, Connecticut. The structure’s transparency and seamless continuity with nature was given another dimension by the addition of this performance, whereby the building, location and audio coalesced into one perfect, harmonious whole. Stylish, stunning and elegantly minimal, the duo’s architectural sound design evokes and synergizes with the space creatively, acoustically and literally – by using the building’s fabric as an instrument. This is the sound of glass and of glistening condensation. Pristinely fresh audio stratus float amorphously by, unfurling from a meditative calm into an evocation of sparkling wonder, like a baby observing raindrops on a nocturnal window for the first time. Although the work is largely tonal, textural and spatial, fleeting moments of melody appear towards the end, which despite their scarceness, achieve a profoundly moving effect. Built between 1949 and 1995 by feted architect Philip Johnson and exemplifying modern architecture and the International Style, The Glass House hosted this site-specific event. It was commissioned by Curator and Collections Manager Irene Shum, who recalls the experience: “The emotional drama of the forty-five minute performance was echoed in the natural environment. A sudden rain storm forced the evening’s guests into The Glass House at the start. During the performance, the storm cleared into a dramatic red and pink sunset and concluded in nightfall.” This intimate evening brought Ryuichi and Carsten back together for their first live collaboration since Sakamoto’s cancer diagnosis and treatment in 2014. Prior to that, Nicolai and Sakamoto had worked together on and off since 2002, releasing 6 albums as a duo.

File Under: Ambient, Minimalism
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large_550_tmp_2F1525713958425-8a9vmx35bqi-db1db8413bb4af888b0db7112387588d_2FDonald+Austin+frontcover

Donald Austin: Crazy Legs (Tidal Wave) LP
There are musicians who have done little in their career, but the little they have done has left their mark. One of these examples is Donald Austin’s ‘Crazy Legs’ album. Originally from Memphis, there is little known about Donald Austin.. he worked as an arranger and sessionist for Junie Morrison of the Ohio Players & for Fuzzy Haskins of Funkadelic….and then there are the rumours: ‘he played on some of the very last ‘ Motown Detroit sessions’, ‘he wrote the song Angel for Aretha Franklin at age 14’… All we know and all we have are these thirteen FUNK tracks represented here on the ‘Crazy Legs’ album. The album was produced by Funk veteran ‘Bernie Mendelson’ (Funkadelic, Ceasar Frazier, Melvin Sparks) and mastering duties were handled by ‘Howard Craft’ who worked with legends such as ‘Al Green’, ‘Syl Johnson’, ‘Isaac Hayes’ and many other top artists. Also worth mentioning is the fantastic cover art designed by Neil Terk (known for his work with Cymande, Muddy Waters, Dire Straits, Funkadelic, Grace Jones etc). It’s no surprise that the album-art was featured in Joaquim Paulo’s book ‘Funk & Soul Covers’. ‘Crazy Legs’ is a collection of psychedelic funk instrumentals every bit as physical and wild as its title portends. The muscular grooves that galvanize all 13 of the album’s brief but memorable tracks are relatively unique within the Westbound catalog, they are relentless and the playing is top-notch. Also included on this amazing record are two Funkadelic covers, perfectly performed in Donald Austin’s unique style. Donald Austin’s first (and only) album was originally released in 1973 on Eastbound Records, super rare and fetching large sums on the collectors market, now finally back available as a limited (500 copies) deluxe vinyl edition.

File Under: Funk
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large_550_tmp_2F1542824501652-fgwiw64fxu9-cdf94ac6239545af3a7ca597c9b913f7_2FCosmic+eye

Cosmic Eye: Dream Sequence (Roundtable) LP
Recorded in 1972 at the legendary Lansdowne Studios in London, Cosmic Eye is an extraordinary piece of recorded music. Led by Indian born guitarist Amancio D’Silva, Cosmic Eye was a highly innovative studio experiment in which ‘Jazz Meets World’. A meld of British modernist jazz and traditional Indian instrumentation cross-pollinating in the aftermath of swinging London, yielding a hypnotic, psychedelic jazz excursion. Constructed with two conceptual pieces (Dream Sequences), Cosmic Eye is two side-long jazz ragas showcasing D’Silva’s soulful virtuosic guitar playing reminiscent of his 1960s recordings, Hum Dono and Integration, as well as his earlier session work for the Bollywood film industry under the musical directors Laxmikant-Pyarelal. Following in the footsteps of other pioneering Lansdowne jazz recordings such as the Joe Harriott & John Mayer Indo Jazz albums as well as sessions from Neil Ardley and the Don Rendell-Ian Carr Quintet, Cosmic Eye is a singular recording from a fervently rich period of British modern jazz which features a host of renowned UK and Indian musicians. Finally this phenomenal jazz recording sees a legitimate reissue.

File Under: Jazz, Psych
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SIL007LP_CU

Czarface & Ghostface: Czarface Meets Ghostface (Silver Age) LP
“Fresh off 2018’s collaborative LP with the enigmatic MF Doom, Czarface Meets Metal Face,” the adventure continues as Czarface now faces off with Wu-Tang Clan’s Ghostface Killah. Czarface Meets Ghostface brings strictly mind melting beats and bars as three emcees clash like villains & heroes in the Savage Land. Czarface, a hip-hop & comics force comprised of Wu-Tang Clan General Inspectah Deck, Esoteric (who recently penned an X-Men comic for Marvel) and super producer 7L team up with Ghostface aka Iron-Man aka Tony Starks for murderous mayhem! Czar commando’s Rebel INS & Esoteric trade lines such as ‘follow in my footsteps might tear your Achilles,’ & ‘flow customized got that Dapper Dan touch’ with Ghost on the assist ‘chain is off the cooler, charm look like a shrunken head’. With track titles like ‘The King Heard Voices’, ‘Mongolian Beef’, ‘Czarrcade ’87’, ‘Masked Superstars’ & ‘Powers and Stuff’ expect nothing short of a super charged collaboration! 12 brand new tracks produced entirely by The Czar-Keys (7L & Jeremy Page)”

File Under: Hip Hop
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large_550_tmp_2F1530119504622-rna4b93yj9e-7ae18597c9d47b500c013115ca07d23c_2FDeep+Red+1

Goblin: Profondo Rosso (Death Waltz) LP
Next to Suspiria, Profondo Rosso has to be the jewel in the Goblin crown. Recorded in 1975, the score finds the band at the height of their creativity and features the incredible lineup of Simonetti, Morante, Pignatelli & Martino. Bass & drums are so tight on this record and provide the foundations for the entire score. Jazz, Prog and Rock signatures all fight for center stage yet always manage to be precise, clear and perfectly executed. Synths and organs tinkle, wail and moan and more than provide the requisite chills and atmospherics. In addition, the album’s prog wig-outs are legendary. It’s impossible to overstate the importance of this score, it really set the stage for prog-infused synth scores and has influenced a generation. We are super proud to not only be re-issuing the full original soundtrack as it originally appeared in 1975 (and pressed by the same original pressing plant!), but we also have an entire disc of alternate tracks and takes on vinyl for the first time ever, pulled from the Cinevox archives and compiled by Fabio Capuzzo! Once again the whole package is rounded out by absolutely jaw dropping artwork from Randy Ortiz.

File Under: OST, Horror, Prog
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large_550_tmp_2F1539035944477-n9x3r0ut6dr-121cf91aad38c5d9a3ef0f1ed093d681_2FCover+_281_29

Khana Bierbood: Strangers from the Far East (Guruguru Brain) LP
Khana Bierbood (translated as Strange Brew in Thai), formed in 2012, in Bangsaen Beach in Thailand. After hours of jamming together they started create their unique sound influenced by 60’s surf music, 70’s garage rock with Thai traditional music. Current line up is: GOB Yutthana Vox,Guitar, JAY Rathchanon-Bass, Backing vocal, OHMChanutpong – Drums, Peep Sirimit -Percussions, Keys, and MO kittinan Guitar. ‘Strangers From The Far East’ is their first full length LP. Produced by Go Kurosawa (Kikagaku Moyo) in Tsubame studio in Tokyo. Starting track Rustic Song, from the jet sound at beginning, you will realize that you arrived in Thailand. Followed by Track 2 Starshine, you can find surf vibe but it’s different than the West coast surf music. The topnotch is the B1 track Badtrip where you can hear lo-fi garage with heavy doomy fuzz jam part. For fans of Oh Sees, La Luz, or Thai’s molam music.

File Under: Psych, Fuzz, Garage
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LDM25616_

Malibu Ken: s/t (Rhymesayers) LP
Aesop Rock has been credited as one of the most verbose MC’s in hip-hop today. Known for his dense and abstract wordplay, he manipulates language to illustrate elaborate stories and difficult concepts with sharp clarity. Tobacco is a member of psych-electronic band Black Moth Super Rainbow. Known for working with pre-digital electronic instruments like analog synths and tape machines, he crafts distorted, experimentalist beats that intertwine feelings of tension and anxiety with sensations of bemusement and pleasure. Together, Aesop Rock and Tobacco are… Malibu Ken. Die cut gatefold jacket with colored vinyl, 2-panel wearable perforated pop out mask with elastic string, 4-panel full color insert with full album lyrics and download card.

File Under: Hip Hop
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large_550_tmp_2F1527701281454-gd4yxostu7t-578bec21297cf1077d2b38dfe2036073_2FBill+Mason+frontcover_preview

Bill Mason: Getting’ Off (Tidal Wave) LP
Originally hailing from Columbus, Ohio, where he was born in July 1948, Bill Mason, the son of a Baptist minister, had first learnt music in church. Starting out on piano he switched to organ in his late teens. Mason had come to Bob Porter’s attention when as part of the Bryant group he recorded at Prestige on two sessions in 1971. Bill Mason proves himself a formidable leader with his solo album, the aptly titled jazz-funk outing “Gettin’ Off”. The album’s physicality is astounding; Mason is an extraordinary soulful Hammond organist, conjuring spiraling, spellbinding grooves that seem to grow deeper and more relentless with each successive track. He also proves his talent as a composer with originals like “Mister Jay” and the scorching title cut standing tall alongside covers highlighted by Al Green’s immortal “Let’s Stay Together”. Gettin’ Off features Idris Muhammad on drums, which means a frenzy of funky JB-influenced over-the-top soul-jazz drumming. Featured on bass is the legendary Gordon Edwards (known for his work with James Brown, Weldon Irvine, Funk Inc., Aretha Franklin, etc.) and saxophone duties are handled by Hubert Laws (Quincy Jones, Gil Scott Heron, Moondog). All of the above is carefully overseen by engineer Rudy Van Gelder & producer Bob Porter (known for their work with Herbie Hancock, Coltrane, Thelonious Monk, Miles Davis…and many others). Bill Mason’s first (and only) album was originally released in 1972 on Eastbound Records, super rare and fetching large sums on the collectors market, now finally back available as a limited deluxe vinyl edition (500 copies). This album also comes with the original 1972 art by Prestige Records photographer Al Johnson.

 File Under: Funk
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Mono: Nowhere Now Here (Temporary Residence) LP
The conflict and correlation between dark and light is a universal theme with a historically rich history. Musically, perhaps no band in the 21st Century has mined that relationship more consistently or effectively than Japan’s Mono. Across 10 albums in 20 years, Mono have convincingly reflected the quietest and most chaotic parts of life through their music. Their ever-expanding instrumental palette – which began in earnest in 1999 with the traditional guitar-bass-drums rock band setup – has evolved to include as many as 30 orchestral instruments. Now, on Nowhere Now Here, the band add electronics to their repertoire – partially inspired by guitarist/composer Takaakira ‘Taka’ Goto’s recent collaboration with John McEntire, the beguiling Behind the Shadow Drops. Nowhere Now Here also sees Mono’s first-ever lineup change, adding new drummer Dahm Majuri Cipolla (The Phantom Family Halo) to the core trio of Goto, Tamaki, and Yoda. Tamaki also makes her vocal debut here, singing into the shadows of vintage Nico on the poetically hazy “Breathe.” The unlikely career of Mono has taken them to virtually every corner of the planet, several times over. Those corners have all left indelible marks on their music, as it drills deeper towards the sound of feeling not quite human and all too human – often at the same time.

File Under: Post Rock
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large_550_tmp_2F1544208238243-rqe7iy9pu8e-864f3ba4c78b2c4ef130af3c75288ad2_2FBEETLEJUICE_Cover+previewOST: Beetlejuice (Waxworks) LP
Waxwork Records is proud to present the 30th Anniversary release of Beetlejuice Original Motion Picture Soundtrack by Danny Elfman. Released in 1988, Beetlejuice is a horror comedy directed by Tim Burton starring Michael Keaton, Winona Ryder, Geena Davis, and Alec Baldwin. The plot revolves around a recently deceased young couple who become ghosts haunting their former home. Upon meeting a mischievous ghost named Beetlejuice that claims he can rid the couple of their home’s new inhabitants, a series of hysterical and spooky events occur that take the audience through afterlife limbos, orchestrated dances, and the meeting of lovable ghouls. The film has gone on to become a comedy classic.The soundtrack by composer Danny Elfman and featuring two tracks by Harry Belafonte is instantly recognizable. Waxwork Records is excited to present the complete soundtrack, remastered, and pressed to 180 gram colored vinyl with deluxe packaging for the 30th Anniversary of the film.

File Under: OST
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BTiLC_12in_GATEFOLDOST: Big Trouble in Little China (Mondo) LP
Mondo are proud to present the original score to John Carpenter’s cult classic Big Trouble in Little China. Featuring the complete score by John Carpenter in association with Alan Howarth – available in its entirety on vinyl for the first time, and featuring artwork by Phantom City Creative. The score to Big Trouble in Little China, composed by Carpenter in association with Alan Howarth, is an outlier in Carpenter’s filmography. It’s a heavy pulsing synth score that is simultaneously upbeat and haunting. A true genre mashup, both the film and the score are difficult to pin down, which makes their singularity all the more apparent.

File Under: OST
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large_550_tmp_2F1535581706751-43zeugq75aj-7abafaabb2b8ba01170bf304f4a6af18_2Fdeathwaltz008ROST: Halloween III: Season of the Witch (Death Waltz) LP
Death Waltz Recording Co. is delighted to revisit not only one of our favorite Halloween sequels, but one of our favorite sequels period. It’s been a long, hard road for Halloween III: The Season of the Witch to be accepted within the Halloween franchise, but it is now widely considered to be one of the best horror movies of the ‘80s. The packaging for this release is also completely singular and jaw-dropping; designed by Alan Hynes (the wizard behind our Fight Club and Anomalisa releases) it’s unlike all of our other re-issues in this series. It’s still designed to fit in the collectors box and really helps solidify what an outlier Halloween III is in the overall series. The film is unique not only due to it lacking Michael Myers (save for a brief appearance on a TV screen) but also for its score. John Carpenter and Alan Howarth completely jettisoned their previous work and deliver nothing short of an electronic masterpiece. The lead track ‘Chariots Of Pumpkins’ is an epic 4/4 beat-driven synth-banger that has regularly been played by DJs over the last 10 years. The rest of the score features lush pads, Linn drums aplenty and veers from beautiful blissed-out ambient drones to sinister stinger-driven mood pieces. Absolutely outstanding stuff.

File Under: OST, Horror
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large_550_tmp_2F1441407154734-82ca6aqmmquxr-577cf660a96172ed4f047dfa101aed09_2FCINE806OST: Jodorowsky’s Dune (Cinewax) LP
Available again! This is the soundtrack to the story about the greatest film that never was. Jodorowsky’s Dune tells the tale of cult filmmaker Alejandro Jodorowsky’s unsuccessful attempt to adapt Frank Herbert’s classic sci-fi novel, Dune, to the big screen. Composer Kurt Stenzel gives life to a retro-futuristic universe as fantastic as Jodorowsky’s own vision for his Dune–a film whose A-list cast would have included Salvador Dalí, Orson Welles, and Mick Jagger in starring roles and music by psychedelic prog-rockers Pink Floyd. Building upon director Frank Pavich’s idea for a score with a “Tangerine Dream-type feel,” Stenzel lays out a cosmic arsenal of analog synthesizers that would make any collector green at the gills: among other gems are a rare Moog Source, CZ-101s, and a Roland Juno 6, as well as unorthodox instruments like a toy Concertmate organ and a Nintendo DS. “I also played guitar and did vocals,” says Stenzel, “some chanting… and some screaming, which comes naturally to me.” The score also features narration by Jodorowsky himself. As Stenzel notes, “Jodo’s voice is actually the soundtrack’s main musical instrument–listening to him was almost like hypnosis, like going to the guru every night.” This highly-anticipated soundtrack LP was sequenced and mixed by Stenzel with the listener in mind and flows through a “four-sides” LP approach. “I wanted it to play like the records I grew up with, where every side was a journey.”

File Under: OST, Synth, Ambient
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large_550_tmp_2F1546889925778-45bzk3f3k7x-b0590bb4ed21e5ee259d22de12d0ddbb_2FTLOU_FC_1024x1024OST: Last of Us (Mondo) LP
Mondo is proud to present Volume One of the long awaited reissue of the original soundtrack Naughty Dog’s 2013 masterpiece The Last of Us. Included on over 240 Game Of The Year lists, Naughty Dog’s survival horror masterpiece features a soundtrack that rivals some of greatest film scores of the last ten years. Fact Magazine has listed the soundtrack as the #3 Best Video Game soundtrack of all time.

File Under: OST, Video Games
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large_550_tmp_2F1547499169930-v1dp29d1no-ac966394e8dd0606531a818814e89e7d_2F8016158021141Sensation’s Fix: Portable Madness (Vinyl Magic) LP
Listening today to the music produced by Sensations’ Fix, a project founded and directed by Franco Falsini in ‘70s, can’t just leave anyone indifferent. Already in the mid-‘60s, Falsini was full-time involved in musical activities: a tireless traveler and experimenter, an artist with uncommon curiosity and intuition, after having lived for some time in the United States and England, he finally established again in Italy where he gave shape to Sensations’ Fix and signed a contract with Polydor for the release of six records in five years. Often associated with the sound of Tangerine Dream and the so-called German ‘cosmic couriers’, Sensations’ Fix were much more than mere clones of something already existing. “Portable Madness” is – along with an eponymous LP and “Fragments of Light” – one of the three titles published in 1974 alone, and can be considered the first true result of a group work. A fully instrumental record, conceived as the sum of two long suites (one on each side), dominated by keyboards and synthesizers, and also characterized by an energetic and pulsating rhythm section. If it were released today, with an adequate production, an album like this would stand among the leading ones inside the psychedelic scene, and probably more. Back in 1974, in addition to not receiving adequate support from the record label, it wasn’t welcomed for what it actually was: avant-garde and ahead of its time. compared to the context in which it was created. Sensations’ Fix albums are generally difficult to find; almost none of them has been reprinted in over forty years, but thanks to this series of reissues on the VM label it is now possible to rediscover them all.

File Under: Prog
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large_550_tmp_2F1518987638390-j4zm33axpok-b1a6375c3528a30a7c117bd9716a736c_2Fa3021476556_16Sundays & Cybele: Gypsy House (Guruguru Brain) LP
Sundays & Cybele (Cybele no Nichiyobi) , four piece psychedelic band formed in Hokkaido, Japan in 2004. Their name is taken from the notorious French movie. Tsubouchi is the main guy who writes all the music derived from 60’s/70’s Japanese psych rock. Listen to this music and feel the beauty of Sundays & Cybele!!

File Under: Electronic, Techno, Ambient
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LDT64512_William Tyler: Goes West (Merge) LP
“William Tyler’s new record, Goes West, is the best music that he’s ever made. I’m sure of this because I know and love all of his music intimately, and this album moves me the most, and the most consistently. The first time I heard it was in the late spring in the Texas Hill Country, rolling between limestone and scrub. I was on a cleanse then – no alcohol, no drugs, no evil thoughts – and was astonished at the emotional clarity that the album held. It offered up a model for what I wanted my head to feel like. Goes West marks a sort of narrowing of focus for William’s music; it sounds as though he found a way to point himself directly towards the rich and bittersweet emotional center of his music without being distracted by side trips. Perhaps this is down to the fact that William only plays acoustic guitar on the album, a clear and conscious decision considering that he is one of Nashville’s great electric guitarists. The band – including guitarists Meg Duffy and Bill Frisell, bassist/producer Brad Cook, keyboardist James Wallace, drummer Griffin Goldsmith, and engineer Tucker Martine – is the best and most sympathetic group of players that William could have assembled to play these songs.” – M.C. Taylor of Hiss Golden Messenger

File Under: Folk
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LDV08352_Jozef Van Wissem & Jim Jarmuch: An Attempt to Draw Aside the Veil (Sacred Bones) LP
Experimental lute player Jozef Van Wissem and acclaimed film director and musician Jim Jarmusch have a working relationship that dates back to 2006, when they ran into each other on the street in New York City and quickly struck up a friendship. Van Wissem contributed to the soundtrack for Jarmusch’s 2013 movie Only Lovers Left Alive, and the two have collaborated on three previous studio albums – Apokatastasis, Concerning the Entrance Into Eternity, and The Mystery of Heaven. An Attempt to Draw Aside the Veil is their second release as a duo for Sacred Bones Records, following The Mystery of Heaven, and its narrative picks up where that album left off. Like The Mystery of Heaven, An Attempt to Draw Aside the Veil delves into the theology of William Blake and Emanuel Swedenborg, this time also exploring the work of Russian occultist and philosopher Helena Blavatsky. The album is mostly instrumental, so the dialogue between the esoteric thinkers who inspired it and Van Wissem and Jarmusch is expressed in the song titles – fittingly arcane phrases like “Concerning the White Horse,” “The Two Paths,” “When the Sun Rises Do You Not See A Round Disc of Fire.” Musically, the album finds much of its power in minimalism. Van Wissem’s unadorned lute traces the outlines of subdued electronics and ominous guitar drones laid down by Jarmusch. It’s a subtle album, and repeat listens reveal vast depths in its dark corners. Above all, it’s an album that sees two formidable collaborators complement each other brilliantly.

File Under: Indie Rock
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large_550_tmp_2F1492543685162-vf7gwct79t-96add0cf4ab216068310f08bb90adc15_2FJFRcoverVarious: Even A Tree Can Shed Tears (Light in the Attic) LP
Available again! There was something in the air in the urban corners of late ‘60s Japan. Student protests and a rising youth culture gave way to the angura (short for “underground) movement that thrived on subverting traditions of the post-war years. Rejection of the Beatlemania-inspired Group Sounds and the squeaky clean College Folk movements led the rise of what came to be known in Japan as “New Music,” where authenticity mattered more than replicating the sounds of their idols. Some of the most influential figures in Japanese pop music emerged from this vital period, yet very little of their work has ever been released or heard outside of Japan, until now. Light In The Attic is thrilled to present Even a Tree Can Shed Tears, the inaugural release in the label’s Japan Archival Series. This is the first-ever, fully licensed collection of essential Japanese folk and rock songs from the peak years of the angura movement to reach Western audiences. In mid-to-late 1960s Tokyo, young musicians and college students were drawn to Shibuya’s Dogenzaka district for the jazz and rock kissas, or cafes, that dotted its winding hilly streets. Some of these spaces doubled as performance venues, providing a stage for local regulars like Hachimitsu Pie with their The Band-like ragged Americana, Tetsuo Saito with his spacey philosophical folk, and the influential Happy End, who successfully married the unique cadences of the Japanese language to the rhythms of the American West Coast. For many years Dogenzaka remained a center of the city’s “New Music” scene. Meanwhile a different kind of music subculture was beginning to emerge in the Kansai region around Osaka, Kyoto, and Kobe. Far more political than their eastern counterparts, many of the Kansai-based “underground” artists began in the realm of protest folk music. They include Takashi Nishioka and his progressive folk collective Itsutsu No Akai Fuusen, the “Japanese Joni Mitchell” Sachiko Kanenobu, and The Dylan II, whose members ran The Dylan cafe in Osaka, which became a hub for the scene. Even a Tree Can Shed Tears also includes the bluesy avant-garde stylings of Maki Asakawa, future Sadistic Mika Band founder Kazuhiko Kato with his fuzzy, progressive psychedelia, the beatnik acid folk of Masato Minami, and the intimate living room folk of Kenji Endo. Nearly 50 years on, this “New Music” is born anew.

File Under: Folk, Rock, Japanese
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…..Restocks…. 

Beak: >> (Temporary Residence) LP
Black Angels: Passover (Light in the Attic) LP
Lucy Dacus: Historian (Matador) LP
Betty Davis: s/t (Light in the Attic) LP
Betty Davis: Nasty Gal (Light in the Attic) LP
Betty Davis: Columbia Years (Light in the Attic) LP
Betty Davis: They Say I’m Different (Light in the Attic) LP
Brian Eno: Another Green World (Astralwerks) LP
Brian Eno: Taking Tiger Mountain (Astralwerks) LP
Brian Eno: Ambient 1: Music for Airports (Astralwerks) LP
Brian Eno: Ambient 4: On Land (Astralwerks) LP
Bill Fay: s/t (4 Men With Beards) LP
Serge Gainsbourg: Historie du Melody Nelson (Light in the Attic) LP
Goat: Commune (Sub Pop) LP
Goblin: Susperia (AMS) LP
Lee Hazlewood: Cowboy in Sweden (Light in the Attic) LP
Idles: Joy as an Act of Resistance (Partisan) LP
Iron Maiden: Powerslave (EMI) LP
Iron Maiden: Somewhere in Time (EMI) LP
Kikagaku Moyo: Masana Temples (Guruguru Brain) LP
Led Zeppelin: IV (Swan Song) LP
Charles Mingus: Mingus Ah Um (Music on Vinyl) LP
Mitski: Be the Cowboy (Dead Oceans) LP
Van Morrison: Astral Weeks (Rhino) LP
OST: Castlevania: Rondo of Blood (Mondo) LP
OST: Castlevania: Symphony of Night (Mondo) LP
OST: Halloween (Death Waltz) LP
OST: Halloween 2 (Death Waltz) LP
OST: Halloween 4 (Death Waltz) LP
OST: Halloween 5 (Death Waltz) LP
Pearls Before Swine: Balaklava (Drag City) LP
Pixies: Doolittle (4AD) LP
Porcupine Tree: Lightbulb Sun (Kscope) LP
Siouxsie & The Banshees: Kaleidoscope (Universal) LP
Songs: Ohia: Ghost Tropic (Secretly Canadian) LP
Stereolab: Switched On Vol 1 (Duophonic) LP
Stereolab: Refried Ectoplasm Vol 2 (Duophonic) LP
Stereolab: Aluminum Tunes Vol 3 (Duophonic) LP
Sufjan Stevens: Carrie & Lowell (Asthmatic Kitty) LP
Tangerine Dream: Zeit (Varese Sarabande) LP
This Heat: Deceit (Modern Classics) LP
This Heat: s/t (Modern Classics) LP
Twilight Sad: It Won’t Be Like (Rock Action) LP
Sharon Van Etten: Remind Me Tomorrow (Jagjaguwar) LP
Tom Waits: Mule Variations (Anti) LP
Tom Waits: Closing Time (Anti) LP
Yellow Magic Orchestra: YMO & YMO USA (Music on Vinyl) LP
Yesterday’s New Quintet: Angles Without Edges (Stones Throw) LP
Various: Spider Jazz (Trunk) LP

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