Tag Archives: jazz

…..news letter #920 – stranded…..

Well, in a dramatic turn of events, we got stuck in Japan for a third, unexpected week due to Typhoon Hagibis! We are safe and fine, our area in Tokyo didn’t get hit hardly at all, however our flight was cancelled and rescheduled from Sunday to the following Saturday! Oh well, there’s much worse places to get stranded. But aside from a few mornings the store should more or less be open as usual all week thanks to our top notch staff. Stop in and buy some records from them! Bring them a coffee or a snack. If there’s anything on this list you want, hit up the shop as the emailed/messaging me could result in disappointment as there’s pretty big time difference.

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…..picks of the week….

FKR101LP_CUVarious: Strain, Crack & Break: Music from the Nurse With Wound List Volume One (Finders Keepers) LP
After years of mythology, misinterpretation, and procrastination Nurse With Wound’s Steven Stapleton finally chooses Finders Keepers as the ideal collaborators to release “the right tracks” from his über-legendary psych/prog/punk peculiarity shopping list known as The Nurse With Wound List, commencing with a French specific Volume One of this authentically titled Strain Crack Break series. Featuring some Finders Keepers’ regulars amongst galactic Gallic rarities, this double-vinyl dossier demystifies some of the essential French free jazz and Parisian prog inclusions from the alphabetical “dedication” inventory as printed the anti-bands 1979 industrial milestone debut. When Steven Stapleton, Heman Pathak, and John Fothergill’s anti-band Nurse With Wound decided to include an alphabetical dedication to all their favorite bands on the back of their inaugural LP the notion of creating a future record dealers’ trophy list couldn’t have been further from their minds. By adding a list of untraveled European mythical musicians and noise makers to their own debut release of unchartered industrial art rock they were merely providing a suggestive support system of existing potential like-minded bands. Many of the rare, obscure and unpronounceable genre-free records on The Nurse With Wound List have slowly found their own feet and stumbled in to the homes of open-minded outer-national vinyl junkies, mostly without consultation of the enigmatic NWW map. Via vinyl vacations, on cheap flights and interrail tickets, buying bargain bin LPs on a shoestring while oblivious to the pending pension worthy price tags after their 40-year vintage, Stapleton and Fothergill, even if you’ve never heard of them, were at the bottom of the pit before “digging” became pay dirt. The List has been mythologized, misunderstood, and misconstrued. It’s also been overlooked, overestimated, and under-appreciated in equal measures. Bolstered by the sub-title “Categories strain, crack and sometimes break, under their burden,” all bands on the inventory (many chosen on the strength of just one track alone) were chosen for their genre-defying qualities. Forty years after Nurse With Wound’s first record, Finders Keepers, in close collaboration with Steve Stapleton remind fans of this kind of “lost” music, that there once existed a feint path which was worn away decades before major label pop property developers built over this psychedelic underground. A collaborative attempt to officially, authentically, and legally compile the best tracks from the list, succeeding where many overzealous nerds have deferred. The first volume of the series focuses exclusively on individual tracks of French origin, the country that unsurprisingly hosted the highest content of bands on the list. Comprising of musique concrète, free jazz, Rock In Opposition, Zeuhl School space rock, macabre ballet music, lo-fi sci-fi, and classic horror literature inspired prog.

Features Jacques ThollotPhilippe BesombesIgor WakhévitchMahjunLard FreeEtron Fou LeloublanJean Cohen-SolalZ. N. R.Red NoisePierre HenryHorrific ChildDashiell Hedayat, and Jean Guérin.

File Under: Prog, Psych, Avant Garde
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lkmnso3wjua9cgc72p07Two Daughters: Recordings 1979-1981 (Vinyl on Demand) LP
Anthony & Paul was Anthony Burke and a mysterious Paul. Two Daughters were recording in Brixton around 1980-1982 and were closely connected to the Industrial Records and Throbbing Gristle gang. They recorded a debut tape called, Ladder of Souls released on their own Methane Music in 1980. Their one-and-only LP Kiss The Cloth / Gloria was released in 1981 on Anthony & Paul Records, a sub-division of United Dairies Records the label run by Stephen Stapleton of Nurse with Wound. The LP then also got reissued on United Dairies in 1987. A substantially edited version of “Return Calls – We Are” can be found on the Cherry Red compilation, Perspectives and Distortion (1982). The music and unique percussion-driven style of ambient and experimental sounds are in the vein of bands like O Yuki Conjugate — they still hold the test of time. Anthony passed away in 2004.

File Under: Electronic, Ambient, Minimal
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large_550_tmp_2F1565210654047-ua1x0wcjb5-b1e6e67676108c8d73b6e951b7c2df92_2FEOS03_COVER_1_high-resInoyama Land: Commissions: 1977-2000
(Empire of Signs) LP

Makoto Inoue and Yasushi Yamashita’s Inoyama Land project spans nearly four decades, still active to this day. A portmanteau of their family names, the “Land” of Inoyama hovers between imagined mythical space and concrete reality, extending beyond physical releases into installations, site-specific sound design and theatre scores. After their famed Haruomi Hosono-produced 1983 release Danzindan-Pojidon, the duo became involved in the budding environmental music business that was taking shape in Tokyo during the development boom of the asset bubble – working directly with figures like Hiroshi Yoshimura (with whom they developed sound design for the International Stadium in Yokohama) and Takashi Sekiguchi (Bamboo from Asia). This collection expands upon their sound heard on Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990 (LITA 167) to illuminate material that is even lesser known outside of Japan – some of it presented publicly for the first time. Working initially with Munetaka Tanaka’s Sound Process Design (an acoustic consulting company formed by Tanaka with Satoshi Ashikawa, before Ashikawa’s tragic death in 1983), their commissioned work mirrors the sound world first fleshed out on Danzindan: chiming synthesizers, pastoral hues, childhood memory – all pulsing with a distant, emotional resonance. This material – culled from limited CD issues of the material on Tanaka’s Crescent label, Kazunao Nagata’s Transonic Records and self-released CDRs – presents a window into this process, illustrating how Inoue and Yamashita’s idiosyncratic musical identity gelled perfectly with all of the disparate environments of their commissions. Included is music written for the Kankaku (Sense) Museum in Miyagi, an exhibit on slime molds at the National Museum of Nature and Science in Ueno park, the 1977 stage performance Collecting Net (which also included music that would later become Danzindan-Pojidon) and their score for a Tokyo re-staging of New York avant-theatre pioneer Richard Foreman’s post-modern stage piece Egyptology.

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

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Kath Bloom & Loren Connors: Moonlight (Chapter) LP
The extraordinary creative partnership of New Haven, CT duo Kath Bloom and Loren Connors has haunted fans of fragile folk and blues since the early 80s. Kath taught herself guitar during shifts as a janitor at a New Haven cemetery, while Loren’s free-form idiosyncratic style had been developing since the late 60s. Between 1981 and 1984, the duo recorded two live and four studio albums, mostly self-released in tiny quantities. Early on, their music mixed folk and blues traditionals with a handful of Kath’s vulnerable, moving originals. By the later albums the songs were all Kath’s – her fragile voice and subdued finger- picking set against Loren’s abstract but always supportive playing. Together the duo created a sound almost impossibly emotional and haunting. Moonlight emerged as the duo’s final album in 1984, in an edition of 200-300 copies. As her creativity accelerated, Kath’s songs became looser and more intuitive, but Moonlight contains an early version of one of Kath’s most beloved songs, “Come Here.” Loren’s longterm collaborator Robert Crotty contributes electric guitar to a couple of tracks. After reissuing four of Kath & Loren’s landmark albums on CD in the late 2000s, Chapter has now embarked on the first ever vinyl reissues for these remarkable records. Another 1984 album Restless Faithful Desperate was reissued in 2018, while 1983’s Sand In My Shoe will be released alongside Moonlight in October 2019.
File Under: Blues, Experimental, Folk
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Kath Bloom & Loren Connors: Sand In My Shoe (Chapter) LP
The extraordinary creative partnership of New Haven, CT duo Kath Bloom and Loren Connors has haunted fans of fragile folk and blues since the early 80s. Kath taught herself guitar during shifts as a janitor at a New Haven cemetery, while Loren’s free-form idiosyncratic style had been developing since the late 60s. Between 1981 and 1984, the duo recorded two live and four studio albums, mostly self-released in tiny quantities. Early on, their music mixed folk and blues traditionals with a handful of Kath’s vulnerable, moving originals. By the later albums the songs were all Kath’s – her fragile voice and subdued finger- picking set against Loren’s abstract but always supportive playing. Together the duo created a sound almost impossibly emotional and haunting. Kath & Loren’s first two albums in 1981-82 were live recordings, released via Loren’s Daggett Records label. Next came 1982’s Sing The Children Over on Massachusetts label Ambiguous Records. Then Sand In My Shoe emerged in 1983 as the first release on Loren’s new St. Joan label, in an edition of 200-300 copies with handmade sleeves. Restless Faithful Desperate and Moonlight followed in 1983-84, before the prodigious duo parted ways. After reissuing Kath & Loren’s four landmark studio albums on CD in the late 2000s, Chapter has now embarked on the first ever vinyl reissues for these remarkable records. Restless Faithful Desperate was reissued in 2018, while Moonlight will be released alongside Sand In My Shoe in October 2019.
File Under: Blues, Folk, Experimental
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Delia Derbyshire: The Dreams (Fantome Phonographique) LP
Delia Derbyshire is one of the most innovative electronic musicians of the 20th Century. She is best known for her pioneering work for the BBC Radiophonic Workshop, and for composing the classic theme song for the original Doctor Who, believed to be the earliest “electronic” theme song in television history. A brilliant composer and one of the few women operating in the early era of electronic music, In the early ’60s she collaborated with the British artist and playwright Barry Bermange for the BBC’s Third Programme to produce four Inventions for Radio, a collage of people describing their dreams, set to a background of electronic sound. This is the first, simply titled Dreams, an attempt to represent, in sound, the sensation of dreaming. Derbyshire’s electronic and musique concrete soundbed is the perfect underscore to the narration, simultaneously jarring, dissonant, and terrifying. An amazing piece of work from one of the legendary pioneers of electronic music.
File Under: Early Electronic, Experimental
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large_550_tmp_2F1568136412535-nl456ftyx8-51521835f0002e22d76fccc19613b2c3_2Fgreg-foat-james-thorpe-photosynthesis

Greg Foat & James Thorpe: Photosynthesis (Athens of the North) LP
Athens of the North is very pleased to introduce part two of our nod to the world of library. This time round Greg Foat journeys into the world of synthesis with good friend James Thorpe. This new LP was recorded in the old Bees Studio on the Isle of Wight earlier this year, a special, different piece of work which I was delighted to receive on ¼ inch tape without warning. Greg’s output continues to be prolific without ever tiring, he never plays it safe and is always looking forward whilst having an ear for our musical heritage.

File Under: Jazz, Library
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large_550_tmp_2F1564599055050-7986rwz8ja9-f23445539048dfc476176db02631505b_2FFunkproof+frontcoverFunkproof: The Revival (Tidal Waves) LP

George Semper needs little introduction to soul and funk fans. The Trinidadian-American multi-instrumentalist, composer, producer, publisher and label owner from San Diego is known as an innovator of the jazz organ, wielding major influence on funk and hip-hop. Notably sampled by Cypress Hill on their classic ‘Insane In The Brain’, Semper’s talent led him to collaborate with literally hundreds of artists, including Jimmy Smith, Merry Clayton, Isaac Hayes, Joe Tex, Johnny Taylor and Donny Hathaway. His 1966 LP Makin’ Waves is considered a Hammond organ essential and his 1977 production The Perfect Circle a cornerstone of Bay Area Funk. George Semper’s career began in the late 1950’s as a leader of several R&B soul groups like the Kingsmen, Imperialites and Chessmen. He ran two successful San Diego nightclubs, and his abilities as a musician, writer, and arranger led to a varied performance and studio career throughout the 1960s and all the way through the 2000s. He worked with legendary acts from the likes of Brenton Wood, Mary Love and Johnny Taylor & he collaborated with venues such as Carnegie Hall, The Monterey Jazz Festival and Wattstax. George Semper was AR and musical director for clubs, artists and labels…he produced his own records, those of others and those for his own Inner City Records & Inner City Attractions labels. Many of these are now considered highly collectable gems. Lesser known are Semper’s numerous band concepts and unreleased studio projects…all cut with top LA session players at recording studios in Hollywood, Compton and Watts. One such is … FUNKPROOF. FUNKPROOF was formed in 1972 and was comprised of players from Brenton Wood’s United Soul Association and The Merry Clayton band. Semper produced the recordings himself and he’s handling the Hammond B3, keys, Sax and lead vocals. Original members Al McKay (Earth Wind & Fire) and Robert Roselle were later replaced by Richard Cavasos on guitar, Nathaniel “Basey” Johnson (Charles Wright & The Watts 103rd St Rhythm Band) on bass and Ernest Ray “Brother Puff” Johnson (The Ghetto, Hot Ice) completing the lineup on drums. FUNKPROOF completed a full-length album (slated for release by MGM) that was never issued (because MGM was acquired by Polydor) until now! Today we present to you this unreleased hidden funk gem, completely remastered and its history revived, straight from The George Semper Music Archives vaults. Every track on this remarkable album delivers a consistently funky and soulful groove! Pitched between Chitlin’ circuit grit and electronic exploration, FUNKPROOF conveys a timeless message of love, life, and happiness through urban music culture This unreleased 1972 Funk-bomb is now available as a deluxe 180g vinyl edition (limited to 500 copies), and also comes with an insert containing exclusive liner notes and pictures. Also included with this release is a digital download card (w/extra tracks).
File Under: Funk
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large_550_tmp_2F1568138739028-51bsv2kdx7l-a923bf8e620e1c95f75be37674e68460_2Fhampshire-foat-the-honeybearHampshire & Foat: The Honey Bear (Athens of the North) LP

After the success of ‘Galaxies Like Grains of Sand’, Warren and Greg retreated back to the Isle of Wight to start work on long discussed concept album based on a fictional children’s book The Honey Bear. Each track a chapter of the book, hypnotic folk pieces mixed with ambient field recordings that Warren and Greg collected around the beaches, cliffs and gardens of the island. They brought everything together at home, organically forming this beautiful ambient folk tale during the island’s idyllic summer evenings. After finishing the initial mixes on the island they brought the tapes up to Scotland and overdubbed with Strings, Oboe and Flute. Whether your 5 or 50, the charm and beauty of The Honeybear is undeniable.
File Under: Jazz, Library
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LDH27727_Herbie Hancock: Inventions & Dimensions (Blue Note) LP

In honor of Blue Note Records’ 80th Anniversary, the legendary jazz label is launching the Blue Note 80 Vinyl Reissue Series. Distinct from the Tone Poet Audiophile Vinyl Reissue Series, this second series curated by Don Was and Cem Kurosman features 180g vinyl LP releases in standard packaging with albums spanning the many eras of the label’s history presented by themes: Blue Note Debuts, Blue Grooves, Great Reid Miles Covers, Blue Note Live, and Blue Note Drummer Leaders. The series resumes in October 2019 with Part 2 of the Great Reid Miles Covers theme – Jutta Hipp – Jutta Hipp with Zoot Sims (1956), Herbie Hancock – Inventions & Dimensions (1964) and Joe Henderson – In ‘n Out (1964) – and will continue with three albums released each month for the coming year. For his third Blue Note album Inventions & Dimensions (1964), pianist Herbie Hancock began moving away from the modernist hard bop sound that defined his first two albums Takin’ Off and My Point Of View. Inspired by explorers like Eric Dolphy and Tony Williams, Hancock went in search of greater musical freedom by composing a set of ingenious originals each with their own unique inner logic that did away with what he considered the established jazz “assumptions” of the time. Hancock also pared the instrumentation down to feature his piano with Paul Chambers’ bass and a nuanced rhythmic bed laid down by percussionists Willie Bobo and Osvaldo “Chihuahua” Martinez. On the album’s unforgettable cover the designer Reid Miles lets Francis Wolff’s imposing photo of Hancock on an NYC street do all the talking. This Blue Note 80 Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.
File Under: Jazz
large_550_tmp_2F1556745633251-7lkhjx45cly-8fed12e99d3e2c0ebceed9f35bed43e6_2FLITA176_LeeHazlewood_400Miles_300DPI_Cover

Lee Hazlewood: 400 Miles from L.A. (Light in the Attic) LP
Phoenix, Arizona 1955…a twenty-five year old disc jockey and fledgling songwriter, Lee Hazlewood, is trying to break into the music industry. He takes Greyhound bus trips to Los Angeles to pitch songs, only to be rejected each time. Undeterred, Lee starts a record label called Viv Records. Running the label out of his house, Lee finds the artists, writes the songs, produces the sessions, arranges the pressings of the records and handles distribution. Recently discovered tapes in the Viv Records archive yielded an unbelievable find, the earliest known recordings of Hazlewood singing his songs…Lee’s first demo! The mysterious and bountiful tapes featured Lee singing early unheard compositions and a complete first draft of his Trouble Is A Lonesome Town song cycle that would become his first official solo album in 1963. Light in the Attic Records is proud to continue it’s Lee Hazlewood archival series with 400 Miles From L.A. 1955-56, a collection of previously unknown intimate recordings, never intended for release. Lee sings, plays guitar and even presses the record button on the tape machine. These are rural sketches and small town dreams, captured in an innocent time before the path ahead was clear. These songs rewrite Lee’s recorded history, adding a new first chapter to his saga. For Hazlewood addicts, hearing these early tracks and the embryonic version of Trouble Is A Lonesome Town is akin to finding an early draft of the Old Testament. “That’s beauty of Lee’s songwriting. It lives on. People will hear it for the first time, even though it’s fifty years old or whatever, if it’s good enough and strong enough, they’ll accept and like it as much as if it was just created. That’s the wonderful legacy that Lee has. It’s wonderful to look back and make all this early work available. To put “Boots” and all those other LHI songs into perspective. That it all started somewhere and this is where.” – Arizona Music Historian and record producer, John Dixon.
File Under: Country
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Joe Henderson: In ‘n Out (Blue Note) LP
In honor of Blue Note Records’ 80th Anniversary, the legendary jazz label is launching the Blue Note 80 Vinyl Reissue Series. Distinct from the Tone Poet Audiophile Vinyl Reissue Series, this second series curated by Don Was and Cem Kurosman features 180g vinyl LP releases in standard packaging with albums spanning the many eras of the label’s history presented by themes: Blue Note Debuts, Blue Grooves, Great Reid Miles Covers, Blue Note Live, and Blue Note Drummer Leaders. The series resumes in October 2019 with Part 2 of the Great Reid Miles Covers theme – Jutta Hipp – Jutta Hipp with Zoot Sims (1956), Herbie Hancock – Inventions & Dimensions (1964) and Joe Henderson – In ‘n Out (1964) – and will continue with three albums released each month for the coming year. From the moment that Kenny Dorham picked a 25-year old Joe Henderson out of obscurity in 1962 and had him join his band, it was obvious that Henderson was a very powerful force, a young giant who sent shock waves through the jazz world. Henderson, who had a very distinctive sound from the start along with the ability to play both “inside” and “outside,” sounded very much at home whether playing bebop or free improvisations. He also proved to be a perfect musical brother for Dorham. Henderson’s In ‘N Out album finds the two horns expressing similar ideas, blending together perfectly, and creating memorable music that is beyond description. Every note that Dorham and Henderson play on this classic LP is passionate, intense and meaningful. While most young musicians would be in awe if teamed with Dorham, McCoy Tyner, Richard Davis and Elvin Jones, Henderson not only had no difficulty playing with those masters, but he raised the intensity level and forced them to keep up with him. The brilliant album cover design by Reid Miles is a quintessential example of the bold typography that made his style so influential. This Blue Note 80 Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.
File Under: Jazz
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Loleatta Holloway: Loleatta (Tidal Waves) LP
Loleatta Holloway (born in Chicago,1946) was an American R&B-Disco singer known for her massive hit songs such as “Hit and Run”, “Love Sensation” and “Relight My Fire”, all of which have been sampled extensively worldwide. Billboard magazine ranked her as the 95th most successful dance artist of all-time. Holloway first began her career singing gospel music, then in the early 70s, she met her future producer, manager (and husband) Floyd Smith which kick-started her impressive recording career. Shortly after Holloway signed with the Atlanta-based soul music label ‘Aware’ where she recorded two albums: Loleatta (1973) and Cry to Me (1975). Later, in the mid 70s she signed with top Philadelphia arranger and producer Norman Harris’ Gold Mind/Salsoul Records, where she recorded many more top charting hit singles and launched her career as a disco act. From then on (and until this day) Holloway’s songs (which became DJ favorites) were heavily remixed and sampled on a multitude of tracks from renowned acts such as Black Box, Whitney Houston, Bobby Byrd, Raekwon, Flo Rida, Pitbull, Ice Cube…and MANY others. Loleatta Holloway passed away at the age of 64 on March 21, 2011 leading to a wave of tributes and condolences from across the globe (Holloway also had a huge following in Europe and Japan). Her debut album (Loleatta from 1973), which we are presenting you here today, is a total classic … it is here that Holloway developed her throaty, full-bodied vocal style and dramatic presentation we all came to enjoy and admire. The album features the hit singles “Mother of Shame” & “Our Love”. Also included is a beautiful rendition of the Syl Johnson track “We Did it”. Fast & slow-paced grooves, blazing horns accompanying the driving rhythm section, female backing vocalists soaring in unison, chiming guitars … and of course Loleatta’s explosively powerful and joyful vocals make this a fantastic (and dance-floor friendly) album. Holloway really brings the tracks & arrangements (penned by a number of hugely talented songwriters) to life using a combination of emotion, passion and power. Originally released in 1973, Tidal Waves Music now proudly presents the first official reissue of Loleatta’s classic debut album. Remastered from the original master tapes by Ginn Music Group-Aware Records and available as a deluxe 180g vinyl edition (limited to 500 copies).
File Under: R&B, Disco
LDH27710_Jutta Hipp: with Zoot Zims (Blue Note) LP
In honor of Blue Note Records’ 80th Anniversary, the legendary jazz label is launching the Blue Note 80 Vinyl Reissue Series. Distinct from the Tone Poet Audiophile Vinyl Reissue Series, this second series curated by Don Was and Cem Kurosman features 180g vinyl LP releases in standard packaging with albums spanning the many eras of the label’s history presented by themes: Blue Note Debuts, Blue Grooves, Great Reid Miles Covers, Blue Note Live, and Blue Note Drummer Leaders. The series resumes in October 2019 with Part 2 of the Great Reid Miles Covers theme – Jutta Hipp – Jutta Hipp with Zoot Sims (1956), Herbie Hancock – Inventions & Dimensions (1964) and Joe Henderson – In ‘n Out (1964) – and will continue with three albums released each month for the coming year. German Jazz pianist Jutta Hipp remains one of the most intriguing yet little-known figures in Blue Note history. A unique and short-lived presence on the NYC jazz scene in the mid-1950s, Hipp moved to the U.S. with the aid of critic Leonard Feather and recorded a series of Blue Note releases that culminated with Jutta Hipp with Zoot Sims, a sublime date with the feeling of high-level blowing session featuring tenor saxophonist Zoot Sims, trumpeter Jerry Lloyd, bassist Ahmed Abdul-Malik, and drummer Ed Thigpen. Highlights of the set including the up-tempo opener “Just Blues” and the gorgeous ballad “Violets for Your Furs,” and the album – which features a seminal graphic cover design by Reid Miles – turned out to be her final recording as Hipp left the music scene shortly thereafter. This Blue Note 80 Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

File Under: Jazz

large_550_tmp_2F1561579812737-nsd07qzk15e-52ae4754281a23580c9595c1fa783bdd_2FMajeure+-+Mass+Flashback+CoverMajeure: Mass Flashback (Holodeck) LP
Reviving the essence of Krautrock and classic horror soundtracks, veteran composer and multi-instrumentalist AE Paterra is back with his latest cinematic full-length as Majeure entitled Mass Flashback out September 27, 2019. Known best as one half of highly influential prog duo Zombi, the Pittsburgh area native has been performing and recording experimental music in a multitude of projects for over two decades. Majeure’s arrangements of analog synthesizers, live drums and delicate sound design sculpt a fantastic array of gripping instrumental music that sparks the imagination. From epic to abstract, Majeure’s waves of triumph and despair are orchestrated to guide Mass Flashback through a compelling journey into the cosmic recesses of the sound library and beyond. Born and raised in rural Pennsylvania, Paterra learned piano as a child and started playing drums in high school. Naturally gravitating towards the creativity and virtuoso style of 70’s and 80’s prog, metal and classic rock, Paterra excelled at percussion and developed a high level of musicianship by the time he moved to Pittsburgh to attend college. After stints drumming with various collaborative projects and touring bands, Paterra met bass and synth player Steve Moore in 1999 and bonded over their mutual love for Italian horror scores and bands like Goblin. The duo released their first album as Zombi in 2001 and have since become widely regarded as one of the best prog bands of the modern era, organically honing a distinct sound and dedicated fanbase over the course of their lengthy discography. After several successful albums and years of touring with Moore, Paterra established his solo identity as Majeure in 2009 to explore nuanced interests outside of the scope of the band. Since then, Paterra has continued his prolific career with both Zombi and as a solo artist in addition to numerous side projects including film scores, gallery residencies, founding his own tape label, and in 2017 he became the synth player in experimental rock band Grails. Throughout his extensive portfolio of work, Paterra continues to return to his self-reflective base as Majeure, adding new innovative chapters to his remarkable and ever-growing legacy. Mass Flashback marks the return of Majeure in top form, embracing the role of world builder and storyteller through the use of tone and rhythm. Paterra’s signature mood is conveyed through a special union of traditional composition with the seemingly limitless expansion possible with the use of electronic instruments. The slow rising intro of “Face Dancer” and title track “Mass Flashback” are built on layers of warm synthesizers that morph, intensify and eventually burst into methodically pulsing drums and bass. Every peak is carefully balanced with moments of cavernous darkness that seamlessly oscillate between each determined extreme. The euphoric lead melodies of opening track “Longing, Love and Loss” are countered by the ominous drones on closing track “Universal Out,” showcasing the polar sonic spectrum of Paterra’s unique range. On Mass Flashback, propulsive arpeggiations and sequences provide the foundation for chord progressions to gather and ascend into movements of pure harmonic climax. By meticulously shaping every rich and expressive song element, Majeure keeps the audience suspended on each consecutive beat as Mass Flashback progresses through a rewarding odyssey of high drama in electronics. Harnessing years of experience and crafted methodology, Majeure delivers a sharp and impressive addition to his extensive catalog on the timeless and incomparable Mass Flashback.

File Under: Electronic, Krautrock, Prog, Zombi
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large_550_tmp_2F1558130999108-l6na1ir7ob-1531e236f8788ba25240080899e6888b_2FCJS9029Cal Massey: Blues to Coltrane (Pure Pleasure) LP
Cal Massey, a track title from the Clifford Jordan album “Glass Bead Games”. And this album, the only one recorded under his name. There was much more to his musical life than this title. Born January 11th 1928 in Philadelphia, Pennsylvania, Massey studied trumpet under Freddie Webster, and following this played in the big bands of Jay McShann, Jimmy Heath, and Billie Holiday. After that he mainly worked as a composer. In the late 1950s he led an ensemble with Jimmy Garrison, McCoy Tyner, and Tootie Heath; John Coltrane and Donald Byrd occasionally played with them. In the 1950s he gradually receded from active performance and concentrated on composition; his works were recorded by Coltrane, Tyner, Freddie Hubbard, Jackie McLean, Lee Morgan, Philly Joe Jones, Horace Tapscott and Archie Shepp. Massey played and toured with Shepp from 1969 until 1972. He also performed in The Romas Orchestra with Romulus Franceschini. In examining Massey’s life and music, three names continually emerge. One is that of the great tenor saxophonist John Coltrane, whom Massey met as a teenager in Philadelphia and who remained a close friend until his death in 1967. After Coltrane’s passing, Massey frequently joined forces with saxophonist, poet, and playwright Archie Shepp; though Shepp was about ten years Massey’s junior, the two developed a bond that remained close for the rest of the older man’s life. Massey, Coltrane, and Shepp are all linked by the prolific but obscure composer and arranger Romulus Franceschini, who lent his hand to many important jazz projects, such as Coltrane’s Africa/Brass and Shepp’s Attica Blues. He maintained with Massey a symbiotic relationship not unlike that of Billy Strayhorn and Duke Ellington. On the whole, as in the case of Ellington and Strayhorn, it was difficult to tell where one musician’s contribution ended and the other’s began. Massey also shared a radical political stance with Shepp and Franceschini. It is impossible to separate his work from the militant arm of the Civil Rights Movement that took shape in the 1960s and 1970s. As Fred Ho has noted, “Titles such as ‘[Hey Goddamn It], Things Have Got to Change,’ ‘The Damned Don’t Cry,’ and ‘The Cry of My People’ spoke directly to a consciousness of oppression and a politics of liberation.” In fact, the Black Panthers were a driving force behind Massey’s creation (with Franceschini) of The Black Liberation Movement Suite. At the first Pan-African Arts Festival in Algiers in 1969 Massey met exiled Panthers leader Eldridge Cleaver who commissioned the Suite primarily as a fundraising venture. The work would be performed at Black Panther benefits three times during Massey’s lifetime. Massey paid heavy dues for his adventurous music and ideology, as did many of his contemporaries. According to his widow, an altercation with an executive at Blue Note Records resulted in his being blacklisted (or, as Fred Ho put it, “whitelist-ed”) from major recording companies. As a result, only one album was recorded under his name, Blues to Coltrane (Candid, recorded 1961, released 1987). Massey died from a heart attack at the age of 44 in New York City, New York. October 25, 1972.

File Under: Jazz

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Fumio Miashita: Wave – Sounds of the Universe (Personal Affair) LP
Musician, music therapist and founder of Healing Music in Japan. Fumio Miyashita began his musical career in 1966. In 1969, he was an original member of the rock musical, ‘Hair’, in Tokyo. He formed the progressive rock groups Far Out and Far East Family Band, releasing ground-breaking albums and touring internationally. Always interested in oriental philosophy since studying karate at a young age (he became a black belt in high school), he became interested in oriental medicine after an injury on stage that only healed after undergoing acupuncture. In 1977, he immigrated to the United States, where he continued to study oriental medicine, philosophy, the Chinese Five Elements and also began, in earnest, to research music therapy. In 1981, he decided to return to Japan, moved to Shinshu Iizuna Highlands and established Biwa Studio. One reason for choosing Iizuna Highlands was because it’s altitude is 1,250 meters and during his studies he learned that this is a very positive and healthy altitude for the human body to reside in. There he created numerous works, including music CD’s and image videos. His passion was for creating music that was helpful to people and his recurring theme in his works was relaxation and healing for the mind and body. He named his music ‘Healing Music’ and he established his own unique style of music therapy.

File Under: Ambient
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Hamlet Minassian: Armenian Pop Music (Numero) LP
A winsome and dizzying spin on disco pop, recorded in westernized Iran during last moments before the 1979 revolution. All but criminalized in the wake of Ayatollah Khomeni’s theocratic repression, Hamlet Minassian’s solo masterpiece is a testament to the Middle East’s forgotten dance music culture. This six-song, 44-minute LP hybridizes Euro attitude and Armenian traditional songs to create long, hypnotic proto-house, seemingly beamed in from another dimension.

File Under: Disco, Middle Eastern

LDR14513_Matana Roberts: Coin Coin Chapter Four: Memphis (Constellation) LP
Matana Roberts returns with the much-anticipated fourth installment of her hugely innovative, profoundly iconoclastic and rightly acclaimed Coin Coin project. Roberts deftly weaves a sonic tapestry of African-American ethnography and history with strands of jazz, blues, free improv, Afro-futurism, traditionals, spoken word and avant-garde composition – always guided by her powerfully personal/universal narratives and wholehearted, singular artistic spirit. “Roberts isn’t just a storyteller, musician, ethnographer, historian, bandleader, arranger, improviser, or activist. She plays all of those roles, yes; collectively, they power one of the most provocative ongoing bodies of work by any American musician.” – Pitchfork “Throughout the [Coin Coin] project thus far, Roberts has used her music as a medium through which to explore the liminal zones between lore and history that define the ways in which we understand ourselves in the present. Primarily interrogating her own sense of identity as an African American woman, Roberts calls upon numerous other voices – from her family’s history, her culture’s mythology – to create not historical documents but living artifacts of collective cultural memory: simultaneously disorienting and exhilarating in their chaotic multiplicity.” – The Quietus

File Under: Jazz

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Pharoah Sanders: Moon Child (Tidal Waves) LP
Pharoah ‘Farrell’ Sanders (born 1940) is a leading figure in the world of jazz and one of the last living legends with connections to players like Sun Ra and John Coltrane. His tenor saxophone playing has earned him royal status amongst free jazz players, critics and collectors. Originally Sanders was interested in urban blues music, but his high school teacher exposed him to jazz and this took Farrell in an entirely new direction. Once completing high school Sanders quickly packed his belongings and headed to Oakland, where he got a chance to work with musicians of high caliber such as saxophone players Sonny Simmons and Dewey Redman (who were both later to be major forces in new jazz and free jazz). Soon the young Pharoah would meet John Coltrane and would feel being attracted to the life as a professional musician. By the early sixties Sanders moved to New York where the major jazz scene was happening. Here he’d spent most his time honing his skills at rehearsals with Sun Ra….sadly he was not making much money with the Arkestra and soon found himself living on the streets, trying to stay up all night playing and then scrounging for money during the day, often selling blood to eat. Sanders recorded his debut album for ESP soon after, but it wasn’t until he started playing with his old friend John Coltrane that he would fully unleash the fury of his saxophone on the world of free jazz. The records Pharoah Sanders played on for Coltrane laid the foundation of what was to come for both the world of free jazz and for Sanders as a musician. After Coltrane’s tragic death Sanders would record further with Alice Coltrane, John’s widow, on the album Karma (1969 – Impulse!), which is universally accepted as Sanders’ masterpiece. Along with musicians Alice Coltrane and singer Leon Thomas, Sanders helped to create the genre of spiritual jazz. By this point in his career & on the album we are presenting you today (Moon Child, recorded in 1989), Sanders had largely withdrawn from the kind of screeching avant-gardism on which he at first staked his reputation. Here Sanders plays with an all-star line-up consisting of Stafford James (Sun Ra) on bass, William Henderson (Roy Ayers) on piano, & Eddie Moore (Sonny Rollins) on drums. Moon Child, with its attractively spacy vocals, is reminiscent of the days of “The Creator Has a Master Plan,” and this mood is kept throughout the album and in the choice of cosmic tunes represented on it. On this album the legendary saxophonist clearly reinvented himself as a more traditional improviser, capable of thoughtful and pensive deliberations. Catchy mystical New Age vocals, astrological references… Pharoah may remain an acquired taste, but few jazzmen can equal his unique formula of mastering the ‘groove’. Tidal Waves Music now proudly presents: the official reissue of this fantastic album containing these rare 1989 French sessions, back available on vinyl for the first time since 1990. This edition comes packaged as a deluxe 180g LP and is limited to 500 copies worldwide (with obi strip).

File Under: Jazz
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large_550_tmp_2F1565808942327-wnyl3chcyfp-d5e4c5485c1849b07b5759c3c095e842_2FEOS02_COVER_highresMasahiro Sugaya: Horizon, Volume 1 (Empire of Signs) LP
Almost completely unknown in the west, Masahiro Sugaya has been composing and producing music since the 1980s in an exceptionally wide range of fields and practices. From arrangements for musical acts like the acoustic guitar duo Gontiti to acousmatic diffusion at spaces like Paris’s Groupe de Recherches Musicales (GRM), Sugaya’s reach is almost exhaustive in its breadth, but it was in the 80s bubble-era kankyō ongaku scene that he first found his musical voice. Horizon, Volume 1 presents a window into these works, culled from Sugaya’s early scores for experimental Tokyo theatre group Pappa Tarahumura. As a teenager, Sugaya would visit the avant garde hub of record/book shop Art Vivant run by Satoshi Ashikawa of Sound Process, guided by Ashikawa’s recommendations into the worlds of experimental composition, jazz and ethnographic music. It was there he also met musician Yoshio Ojima—the two would become close friends and contemporaries, working within a circle of Tokyo musicians that also included Midori Takada, Hiroshi Yoshimura and Satsuki Shibano. Ojima, an early adopter of new musical technology, would introduce Sugaya to the possibilities of composing with computers, synthesizers and samplers, which would become a trademark in Sugaya’s early works. Surprisingly, the sound sources on Horizon are entirely digital, showcasing Sugaya’s ability to organically recreate complex musicianship approaches via keyboard using hyper-realistic samples. Much like Ojima and Yoshimura’s work, the results eschew electronic music’s usual coldness for something more warm and inviting, the feeling of a human in deep conversation with technology. Flourishing within the boom of experimental theatre subsidized by corporations during the bubble economy, Pappa Tarahumura forged a unique dream-like style that merged performance art, modern dance and fantastical installation-like stage sets. Sugaya fashioned multiple soundtracks for their productions in collaboration with director Hiroshi Koike, the first two of which, The Pocket Of Fever_ (熱の風景) and Music From Alejo_ (アレッホ – 風を讃えるために), he self-released in 1987 on cassette, handing them out at Tarahumara performances. The third, The Long Living Things (Zoo Of The Sea) (海の動物園) followed in 1988 as a CD on Yukio Kojima’s ALM records. Aside from his brief inclusion on Light in the Attic’s Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990 (compiled by Empire of Signs’ Spencer Doran), Horizon presents this work outside of Japan for the first time.

File Under: Ambient, Japanese
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large_550_tmp_2F1564694845029-r0k7znewzge-0ba4270f90ef56c3e5d245245ae9d8af_2Fpasted+image+0Hans Zimmer & Benjamin Wallfisch: Blade Runner 2049 (Mondo) LP
Hans Zimmer and Benjamin Wallfisch were given the near impossible task of scoring the sequel to one of the greatest and most beloved science-fiction films of all time. The original BLADE RUNNER had an incredible score by Vangelis that has gone on to be one of the most iconic pieces of music in film history, so it’s to their credit that they absolutely knock it out of the park with 2049. What they do with the music in 2049 is astonishing. It makes you feel like you’re in the same universe as the original film, but it’s also apparent that things have changed. There are hints at the past but also strange and beautiful new sounds to explore and get lost in. Expansive, dreamy yet forceful, and propulsive when it needs to be, the score to 2049 is a little more downbeat than the original. The sonics throughout are incredible, and it really feels like you’re wandering strange neon-lit alleyways with no clue where you are. It’s a truly beautiful (and beguiling) listen that captures real human emotion alongside more artificial replicant soundscapes. BLADE RUNNER 2049 features Viktor Kalvachev’s art with a spot Varnish Cover and layout by Chris Bilheimer.

File Under: OST
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Zoviet France: A Flock of Rotations (Vinyl on Demand) LP
A Flock of Rotations was originally released in 1987. Having willfully obscured themselves in Newcastle upon Tyne since their inception in 1980, Zoviet France developed a radical relationship with cheap technologies, homemade acoustic instruments, primitive looping and sampling techniques, and basic dub trickery from which the group has crafted a distinctly unique vocabulary of sonic hypnosis.

File Under: Electronic, Industrial, Ambient, Tribal
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g5bnwndv3ftinezfrkqnZoviet France: Assault & Mirage (Vinyl on Demand) LP
Assault And Mirage was originally released in 1987. Having willfully obscured themselves in Newcastle upon Tyne since their inception in 1980, Zoviet France developed a radical relationship with cheap technologies, homemade acoustic instruments, primitive looping and sampling techniques, and basic dub trickery from which the group has crafted a distinctly unique vocabulary of sonic hypnosis.

File Under: Electronic, Industrial, Ambient, Tribal
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vomqwncbbxcqgg6wht1jZoviet France: Eostre (Vinyl on Demand) LP
Eostre was originally released in 1984. Having willfully obscured themselves in Newcastle upon Tyne since their inception in 1980, Zoviet France developed a radical relationship with cheap technologies, homemade acoustic instruments, primitive looping and sampling techniques, and basic dub trickery from which the group has crafted a distinctly unique vocabulary of sonic hypnosis.

File Under: Electronic, Industrial, Ambient, Tribal
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envwdsrd0xl3bpfa4zazZoviet France: Garista (Vinyl on Demand) LP
Garista was originally released on cassette in 1982. Having willfully obscured themselves in Newcastle upon Tyne since their inception in 1980, Zoviet France developed a radical relationship with cheap technologies, homemade acoustic instruments, primitive looping and sampling techniques, and basic dub trickery from which the group has crafted a distinctly unique vocabulary of sonic hypnosis.

File Under: Electronic, Industrial, Ambient, Tribal
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b9mya7sabz6iwjdxp55rZoviet France: Gris (Vinyl on Demand) LP
Gris was originally released in 1985. Having willfully obscured themselves in Newcastle upon Tyne since their inception in 1980, Zoviet France developed a radical relationship with cheap technologies, homemade acoustic instruments, primitive looping and sampling techniques, and basic dub trickery from which the group has crafted a distinctly unique vocabulary of sonic hypnosis.

File Under: Electronic, Industrial, Ambient, Tribal
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romamzbugqlvsaebrsd4Zoviet France: Loh Land (Vinyl on Demand) LP
Loh Land was originally released in 1987. Having willfully obscured themselves in Newcastle upon Tyne since their inception in 1980, Zoviet France developed a radical relationship with cheap technologies, homemade acoustic instruments, primitive looping and sampling techniques, and basic dub trickery from which the group has crafted a distinctly unique vocabulary of sonic hypnosis.

File Under: Electronic, Industrial, Ambient, Tribal
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xnplesg26yszh9vgvszyZoviet France: Misfits, Loony Tunes and Squalid Criminals (Vinyl on Demand) LP
Misfits, Loony Tunes And Squalid Criminals was originally released in 1986. Having willfully obscured themselves in Newcastle upon Tyne since their inception in 1980, Zoviet France developed a radical relationship with cheap technologies, homemade acoustic instruments, primitive looping and sampling techniques, and basic dub trickery from which the group has crafted a distinctly unique vocabulary of sonic hypnosis.

File Under: Electronic, Industrial, Ambient, Tribal
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envwdsrd0xl3bpfa4zazZoviet France: Mohnomishe
(Vinyl on Demand) LP

Mohnomishe was originally released in 1983. Having willfully obscured themselves in Newcastle upon Tyne since their inception in 1980, Zoviet France developed a radical relationship with cheap technologies, homemade acoustic instruments, primitive looping and sampling techniques, and basic dub trickery from which the group has crafted a distinctly unique vocabulary of sonic hypnosis

File Under: Electronic, Industrial, Ambient,Tribal
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sovietZoviet France: Popular Soviet Songs and Youth Music (Vinyl on Demand) LP
Triple-LP + 7″ from Vinyl On Demand’s boxset, Chasse Recordings 1982-87. Popular Soviet Songs And Youth Music was originally released in 1985. Having willfully obscured themselves in Newcastle upon Tyne since their inception in 1980, Zoviet France developed a radical relationship with cheap technologies, homemade acoustic instruments, primitive looping and sampling techniques, and basic dub trickery from which the group has crafted a distinctly unique vocabulary of sonic hypnosis.

File Under: Electronic, Industrial, Ambient, Tribal
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odk1njbqkilqcugtf985Zoviet France: s/t / Norsch (Vinyl on Demand) LP
Zoviet France was originally released in 1982 and Norsch was originally released in 1983. Having willfully obscured themselves in Newcastle upon Tyne since their inception in 1980, Zoviet France developed a radical relationship with cheap technologies, homemade acoustic instruments, primitive looping and sampling techniques, and basic dub trickery from which the group has crafted a distinctly unique vocabulary of sonic hypnosis.

File Under: Electronic, Industrial, Ambient, Tribal
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mq7jfymzwtwjjpn9suluZoviet France: Signal Gesture Threat (Vinyl on Demand) LP
Gesture Signal Threat was originally released in 1986. Having willfully obscured themselves in Newcastle upon Tyne since their inception in 1980, Zoviet France developed a radical relationship with cheap technologies, homemade acoustic instruments, primitive looping and sampling techniques, and basic dub trickery from which the group has crafted a distinctly unique vocabulary of sonic hypnosis

File Under: Electronic, Industrial, Ambient, Tribal
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Various: Electronic Voyages: Early Moog Recordings 1964-1969 (Waveshaper) LP
In support of their forthcoming Bob Moog documentary Electronic Voyager, Waveshaper Media have produced a compilation LP of Moog recordings from the 1960s. The first compilation of its kind, Electronic Voyages: Early Moog recordings 1964-1969 contains tracks by Robert Arthur Moog, Herbert Deutsch, Joel Chadabe, Lothar and the Hand People, Intersystems, Ruth White, Max Brand, and Paul Earls. All of these tracks, released here on vinyl in an edition of 1000 copies, have been scarcely heard and difficult to track down, with all but three of them previously unreleased on vinyl. Bypassing the Moog synthesizer’s backseat appearance on key pop recordings by the likes of the Beatles, the Doors, and the Beach Boys, Electronic Voyages aims to highlight the diverse approach of 1960s musicians and composers who adopted the Moog as their primary instrument; these recordings all feature the Moog synthesizer front and centre. Beginning with an “audio letter” (The Abominatron) from Bob Moog to his musician-muse Herbert Deutsch, demonstrating some of the first Moog synthesizer prototype’s capabilities, Electronic Voyages veers from avant-garde and electronic soundscapes, to psychedelic madness and summer-of-love pop. In the 1960s, the Moog synthesizer was a new, groundbreaking instrument, and its use was completely uncharted territory. The pioneering use of the Moog on all of these recordings sounds fresh today – you can sense the wide-eyed exploratory delight unfolding, and the disparate results range from endearingly naive (Lothar and the Hand People, Paul Earls) to downright eerie (Ruth White, Intersystems). The musicians and composers behind these Electronic Voyages may have been among the first to adopt Moog synthesizers, but the fact that they so readily found within them expressivity, heart, and a means to translate their wondrous sense of discovery, speaks far more to Bob Moog’s visionary invention and enduring legacy.
File Under: Early Electronic
large_550_tmp_2F1561672661573-k52xe86cuso-2f07cc7aa7b07f9a324539a174929c6c_2FIMAR+119+HIH+V9+cover+1Various: Hillbillies in Hell Volume 9 (Iron Mountain) LP
Behold… the River of Earthly Torments, the Cavern of Hypocrites and the Lake of Fools. This Hell-Bound collection of weathered Nashville legends and battered backwoods-poets features tales of Sinful Lusts, Barroom Executions, Gospel Redemptions and Problematic Parenting. Often originally waxed on marginal labels and distributed in minuscule amounts, these Troubled Troubadours sing of the King of Lies, His Eternal Web, dismal, tortured Ghostly Inebriates and smouldering, tearful Abandonment. Years in the making – ‘Hillbillies In Hell’ (Volume 9) presents 16 timeless tribulations – Luciferian Trysts, Satanic Temptations, grisly Masonic Assassinations and Heathen Cosmologies. A daemonic stash of forgotten 45s – some of these sides are impossibly rare and are reissued here for the very first time. All for your breathless listening pleasure.

File Under: Country
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Various: The World is a Monster (Iron Mountain) LP
From the people who brought you Hillbillies In Hell… Out of the ashes of World War II, post-war Corporate U.S.A would sully its hands with anything in search of a buck. Even Hillbilly music… Here, reissued for the first time, are 18 of the grimiest, most delicious slabs of Hillbilly misery, debauchery and mayhem to grace the Columbia Records imprint. From the dusty Rhinestone Noir of Rocky Porter’s “The World Is A Monster” and Johnny Bond’s “All I Can Do Is Cry” to the strident defiance of Polly Possum’s “Don’t Talk To Me About Men” and the feral cowpoke racket of The Maddox Brothers “Ugly And Slouchy.” Years in the making – ‘The World Is A Monster’ presents 18 timeless paeans to dissolution, absolution and wanderlust – swinging, celebratory Honky Tonk odes and maudlin tear-in-your-beer-jerkers. Remastered with love and care from the original tapes in a deluxe collector’s edition with rare photos and memorabilia. A forgotten cache of subterranean 78s and marginal 45s – some of these sides are impossibly rare and are reissued here for the very first time. All for your guilty listening pleasure.
File Under: Country
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…..Restocks…. 
Amyl & The Sniffers: s/t (ATO) LP
Boards of Canada: Campfire Headphase (Warp) LP
Boards of Canada: Tomorrow’s Harvest (Warp) LP
D’Angelo: Voodoo (Modern Classics) LP
Digable Planets: Blowout Comb (Modern Classics) LP
Francoise Hardy: Tous Les Garcons et Les Filles (Future Days) LP
Shin Joong Hyun: Beautiful Rivers & Mountains (Light in the Attic) LP
Sachiko Kanenobu: Misora (Light in the Attic) LP
Khruangbin: Con Todo El Mundo (Dead Oceans) LP
Kids See Ghosts: s/t (Universal) LP
Kikagaku Moyo: Masana Temples (Guruguru Brain) LP
King Gizzard & The Lizard Wizard: Flying Microtonal Banana (ATO) LP
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) LP
Hank Mobley: No Room For Squares (Blue Note) LP
Angel Olsen: All Mirrors (Jagjaguwar) LP
Shaggs: Philosophy of the World (Light in the Attic) LP
Nina Simone: Pastel Blues (Universal) LP
Timber Timbre: Creep On Creepin’ On (Arts & Crafts) LP
Tragically Hip: Fully Completely (Universal) LP
Tropical Fuck Storm: Laughing Death in Meatspace (Joyful Noise) LP
Marcos Valle: Previsio Do Tempo (Light in the Attic) LP
Melvin Van Peebles: Sweet Sweetback’s Baadassss Song (Stax) LP
Hiroshi Yoshimura: Music from Nine Post Cards (Empire of Signs) LP
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…..news letter #918 – ueno…..

OOOOF. Go figure, I’m working remotely and THIS MUCH stuff comes in this week. Not the most complete news letter ever but pretty thorough. I had to skip the links to listen, but no one uses those anyway, do they? Anyway, loads of great stuff in this week. Go say hi to Bailey, Ian, Kalie & James and grab some new wax. I THINK there’s a fresh crate of used treats going out tomorrow too.

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…..

PBREDD757LP_CUDinosaur Jr: Where You Been (Cherry Red) LP
Gatefold; Blue vinyl. “Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and early 1990s, issuing a number of highly influential albums in the process before finding a home with Sire Records. Where You Been, their fifth record, emerged in 1993, at the height of enthusiasm for grunge and the alternative American rock scene the band had long been part of. Produced by a new line-up of the group (longtime drummer Murph and new bassist Mike Johnson completing the three-piece), the album became the band’s most successful up to that point, reaching #50 in the US (where it sold over a quarter of a million copies) and #10 in the UK album charts, and spawning the hit single ‘Start Choppin’. Released to unanimously positive reviews, and containing many tracks that would become staples and fan favourites, Where You Been continued Dinosaur Jr’s global ascent, being issued simultaneously across the US, Europe, Australasia, Asia and South America. Collected together here on vinyl for the first time with related singles, B-sides and John Peel session recordings, and accompanied by in-depth sleevenotes from Mojo’s Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a glimpse of a band in rampant form riding a hard-earned wave of popularity and credibility.”

File Under: Indie Rock

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Boris: Feedbacker (Third Man) LP
Boris was formed in 1992, culminating in the current lineup of Takeshi, Wata, and Atsuo just three years later. Even in their infancy, the members of Boris boldly explored their own vision of heavy music, where words like “explosive” and “thunderous” barely do justice. Using overpowering soundscapes embellished with copious amounts of lighting and billowing smoke, Boris has shared with audiences across the planet an experience for all five senses in their concerts, earning legions of zealous fans along the way. First-ever US issue of this key 2003 release from Japan’s shapeshifting heavy lords. The album title says it all. Immerse yourself in 43 minutes of sonic waves of slow-building fuzz, feedback and layered dimensions where lysergic solos and unintelligible vocals compete for their place deep inside your id.

File Under: Drone, Metal

…..new arrivals…..

LDB07446

Beatles: Abbey Road (Apple) LP/3LP
This 50th Anniversary Edition 180g vinyl 3LP box set of Abbey Road is, to quote a famous Beatles song, something. Featuring the original album’s 17 tracks newly mixed by producer Giles Martin and mix engineer Sam Okell in stereo plus 23 session recordings and demos, most of which are previously unreleased, it presents the group’s penultimate record and key bonus material in audiophile-quality sound. To create Abbey Road’s new mixes, Martin and Okell worked with an expert team of engineers and audio restoration specialists at Abbey Road Studios. All the new Abbey Road releases feature the new stereo album mix, sourced directly from the original eight-track session tapes. To produce the mix, Giles was guided by the album’s original stereo mix supervised by his father, George Martin. “The magic comes from the hands playing the instruments, the blend of The Beatles’ voices, the beauty of the arrangements,” Giles explains. “Our quest is simply to ensure everything sounds as fresh and hits you as hard as it would have on the day it was recorded.” Abbey Road’s 23 session and demo recordings are presented in chronological order of their first recording dates. “I Want You (She’s So Heavy)” leads the charge. For an overnight session on February 22, 1969, The Beatles were joined at London’s Trident Studios by producer George Martin and engineer Glyn Johns to record “I Want You (She’s So Heavy).” Abbey Road’s new edition combines a take from that session with the concluding part of the Trident master’s eight-track reduction mix made later at the EMI studios, revealing for the first time Billy Preston’s thrilling overdubbed organ solo. With their amps turned up high, The Beatles received a noise complaint from one of the studio’s neighbors in the Soho area of the city. The take starts with Lennon exclaiming, “My boys are ready to go!,” before the band is told about the complaint. Lennon replies, “What are they doing here at this time of night?,” then lays it down: “Well, we’ll try it once more very loud. And then if we don’t get it, we’ll try it quiet, like it might do it the other way. OK. The loud one, last go. Last chance to be loud!” In the same month that the raucous Trident session took place, McCartney recorded a home demo of “Goodbye” for the Apple-signed singer Mary Hopkin and Harrison recorded a solo demo of “Something” at EMI Recording Studios. Both demos are featured on Abbey Road’s new edition. “Goodbye” makes its release debut. Although previously released on Anthology 3 in a version featuring guitar and vocal, the new anniversary mix of George’s “Something” demo features for the first time vocal, guitar and piano. The Beatles reconvened at EMI’s studios and Olympic Sound Studios for sessions spanning mid-April to early May. On April 14, Lennon and McCartney recorded the single “The Ballad Of John And Yoko” in EMI’s Studio Three, with Geoff Emerick as the balance engineer. Two days later, the single’s B-side, “Old Brown Shoe” was recorded. Session recordings for these tracks, as well as three more songs started during this period, “Oh! Darling,” “Octopus’s Garden,” and “You Never Give Me Your Money,” are featured in Abbey Road’s anniversary edition. The remainder of Abbey Road’s sessions took place in July and in August with George Martin producing, and with principal engineers Geoff Emerick and Phil McDonald taking turns at EMI’s groundbreaking new mixing console, the TG12345. On July 2, 3, and 4, McCartney, Harrison, and Starr recorded “Golden Slumbers”/“Carry That Weight” as a medley (Lennon was hospitalized in Scotland, recuperating after a car accident). A sequence of Takes 1-3 from the first day’s session is featured in the anniversary edition. Take 9 from McCartney, Harrison, and Starr’s backing track session for “Here Comes The Sun” on Starr’s July 7 birthday is also included. On July 21, 22, and 23, The Beatles were in-studio to record “Come Together,” followed by additional sessions on July 25, 29, and 30. The anniversary edition features Take 5. On July 23, The Beatles began recording “The End,” which, along with McCartney’s timeless couplet – “And in the end, the love you take / Is equal to the love you make” – features Starr’s only drum solo on a Beatles recording. Take 3 is included in Abbey Road’s new edition. The next day, just before the band’s 34-take session for “Sun King” and “Mean Mr Mustard,” McCartney cut a quick studio demo for “Come And Get It” – later a hit for the Apple-signed band Badfinger. The demo’s original 1969 stereo mix, made with McCartney and Lennon present in the control room, is released for the first time in the new edition, as is Take 20 from The Beatles’ “Sun King” and “Mean Mr Mustard” session. On July 25, two more songs, “Polythene Pam” and “She Came In Through The Bathroom Window,” were recorded as one for inclusion in the album’s epic medley. Take 27 from that session is featured on the new edition. After Harrison had transported his rare and cumbersome Moog synthesizer to the studios, four songs received Beatle-played synthesizer parts: “I Want You (She’s So Heavy)” (Lennon), “Maxwell’s Silver Hammer” (McCartney), and “Here Comes The Sun” and “Because” (Harrison). This was a very early use of the newly-invented instrument on a pop record. George Martin wrote arrangements for several tracks that were recorded in Studio One toward the end of the sessions in August 1969. The original overdubbed recordings of Martin’s scores for “Something” and “Golden Slumbers”/“Carry That Weight” are included in Abbey Road’s anniversary edition. August 20, 1969 was the last time The Beatles were together as a band at the EMI studios, for an evening session to compile Abbey Road’s master tapes. The album’s sides were sequenced, with “Come Together” opening Side 1, and with the medley of “You Never Give Me Your Money,” “Sun King,” “Mean Mr Mustard,” “Polythene Pam,” “She Came In Through The Bathroom Window,” “Golden Slumbers,” “Carry That Weight,” and “The End” placed on Side 2. “The Long One,” a different trial edit and mix of the medley, including “Her Majesty” (ultimately placed 14 seconds after “The End” as an unlisted, hidden track) is included in Abbey Road’s new edition. A few weeks before Abbey Road’s release on September 26, 1969, Apple’s press officer Derek Taylor revealed that the album was “recorded at nice, workmanlike sessions which usually began at 2pm and continued until the end of the evening.” Millions of Abbey Road LPs were pressed at manufacturing plants around the world. The album was another blockbuster release for The Beatles, holding the No. 1 spot on the U.K. albums chart for a total of 17 weeks and topping Billboard’s U.S. albums chart for 11 weeks. For their work on Abbey Road, Geoff Emerick and Phil McDonald won the year’s GRAMMY Award for Best Engineered Recording, Non-Classical. In 1995, Abbey Road was inducted into the Recording Academy’s GRAMMY Hall of Fame, recognizing “recordings of lasting qualitative or historical significance.” The Beatles’ best-selling studio album, Abbey Road’s universal popularity and influence have continued to grow since its debut. Fifty years ago, the world’s most famous band stepped out from London’s EMI Recording Studios to stride, single-file, across the black and white stripes of Abbey Road’s nearby zebra crossing. With photographer Iain Macmillan balanced on a stepladder and one policeman stopping the street’s light traffic, The Beatles crossed back and forth three times, led by John Lennon, followed by Ringo Starr, Paul McCartney, and George Harrison. Just six photos were taken, with the fifth selected as the cover shot for Abbey Road, named after the tree-lined street in which the studios are located. Released September 26, 1969, Abbey Road was not The Beatles’ final album, as Let It Be followed in 1970, but it was the last one John, Paul, George, and Ringo recorded together as a band. Abbey Road was another blockbuster release for The Beatles, holding the No. 1 spot on the U.K. albums chart for a total of 17 weeks and topping Billboard’s U.S. albums chart for 11 weeks. For their work on Abbey Road, Geoff Emerick and Phil McDonald won the year’s Grammy Award for Best Engineered Recording, Non-Classical. In 1995, Abbey Road was inducted into the Recording Academy’s Grammy Hall of Fame, recognizing “recordings of lasting qualitative or historical significance.” The Beatles’ best-selling studio album, Abbey Road’s universal popularity and influence have continued to grow since its debut. The album’s new stereo mix LP is packaged in a faithfully replicated sleeve, with the two Sessions LPs paired in their own jacket, presented with a four-page insert in a lift-top box.
File Under: Rock, Pop
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Boris: Akuma No Uta (Third Man) LP
Boris was formed in 1992, culminating in the current lineup of Takeshi, Wata, and Atsuo just three years later. Even in their infancy, the members of Boris boldly explored their own vision of heavy music, where words like “explosive” and “thunderous” barely do justice. Using overpowering soundscapes embellished with copious amounts of lighting and billowing smoke, Boris has shared with audiences across the planet an experience for all five senses in their concerts, earning legions of zealous fans along the way. Official vinyl LP reissue of Boris’ flawless 2003 release Akuma No Uta. Drone waves meet heavy guitar heroics in a satanic pinky violence gang fight at the schoolyard. This ones for the Heads.
File Under: Metal, Drone
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Boris: Love & Evol (Third Man) LP
The next chapter in Japanese rock legends Boris’ story has arrived; their new double LP LφVE & EVφL is set for release in October 2019 via Third Man Records. This double vinyl LP exists as two independent works, encapsulating conflicting connotations that interweave and become intricately entangled with one another, gradually eroding before becoming utterly singular. Continuing to tinker and toil with their sound since the 2017 release of Dear, Boris have pivoted onward a more organic, non-grid literary style that LφVE & EVφL showcases. The album’s first single, “Love,” is one of the most musically diverse in their career and showcases a snippet of what is to come on LφVE & EVφL.
File Under: Metal, Drone
LDC26517_John Coltrane: Blue World (Impulse) LP

In 1964, John Coltrane and his Classic Quartet went into Van Gelder Studios and, in an unprecedented move for the saxophone giant/composer, recorded new versions of some of his most famous works. Those never-before-heard recordings are presented here as Blue World pressed on 180g vinyl LP mastered from the original analog tape by Kevin Reeves at Universal Music Mastering in New York with lacquers cut by Ron McMaster at Capitol Studios. Early in 1964, the year he recorded A Love Supreme, Coltrane was approached by a Quebecois filmmaker, Gilles Groulx. Groulx was planning his film Le chat dans le sac, a love story set in Montreal with political undertones. A die-hard Coltrane fan, Groulx was fixated on having Coltrane record a soundtrack for his film. Groulx approached Coltrane via a personal connection with bassist Jimmy Garrison, and amazingly, Coltrane agreed. So right between the recording sessions for Crescent and A Love Supreme in June of ’64, Coltrane brought Garrison, Elvin Jones and McCoy Tyner into Van Gelder Studios to do something virtually unprecedented in Coltrane world: revisit and record earlier works. Groulx was at Van Gelder, watching the session, listening. It’s unclear how much creative input the filmmaker had, and how much conversation happened between him and Coltrane, that yielded this rare kind of session. Recorded on 1/4″ analog mono tape, the session was mixed by Rudy Van Gelder at Van Gelder Studios on June 24, 1964. Groulx took the master to Canada to use in his film, although he only included ten minutes of the 37-minute recording. Blue World reveals Coltrane’s personal progress, as well as the interactive consistency and sonic details the Classic Quartet had firmly established as their collective signature by 1964. This signature was so assured and dramatic, so buoyant and different from the sound Coltrane had delivered before. And it is significant that this recording session – whatever the ultimate driving force was – happened in between two of Coltrane’s most expansive, spiritually transcendent records that would set the tone for the rest of his musical career. Blue World follows on the heels of the global success of 2018’s Both Directions At Once: The Lost Album, a studio album recorded in 1963 that revealed new compositions from Coltrane and the Classic Quartet at their peak.
File Under: Jazz
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Cosmic Dead: Scottish Space Race (Riot Season) LP
Heavy psych experimentalists The Cosmic Dead’s eighth album – Scottish Space Race – is set to be released in September via Riot Season Records on Gatefold 2xLP / CD and has been mastered by John McBain (Monster Magnet, Wellwater Conspiracy). The album was recorded in their Glasgow HQ with cosmic sound guru Luigi Pasquini, four sprawling chunks of music recorded live amongst a run of momentous late night festival appearances in the summer of 2018. Scottish Space Race is the first Cosmic Dead release to feature the drumming of Tommy Duffin (Headless Kross) and the lap-steel synthesizer yowls of Russell Andrew Gray (Girl Sweat) alongside long-time cosmicians Omar Aborida and James T Mckay.

File Under: Psych
PBREDD756LP_CUDinosaur Jr: Green Mind (Cherry Red) LP

Gatefold; green vinyl. “Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s, issuing three highly influential albums in the process before finding a home with Sire Records, who issued Green Mind in 1991 as the alternative American rock scene the band had long been part of exploded globally. Produced by a stripped down line-up of the group (in fact, J Mascis himself plays almost everything), the album and Sire’s international reach took Dinosaur Jr’s reputation to a new level, aided by the singles ‘The Wagon’ and ‘Whatever’s Cool With Me’, a non-album EP of new material and live recordings, all of which are included here. Critically lauded on release, Green Mind remains one of the band’s strongest collections, and a firm fan favorite. Collected together here for the first time with related singles, B-sides and live recordings, and accompanied by in-depth sleevenotes from Mojo’s Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a thorough snapshot of the band at a period when all eyes were on American guitar groups, many of whom owed their existence to Dinosaur Jr.”.
File Under: Indie Rock
PBREDD758LP_CUDinosaur Jr: Without a Sound (Cherry Red) LP

Gatefold; Yellow vinyl. “Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and early 1990s, issuing a number of highly influential albums in the process before finding a home with Sire Records. Without A Sound, their sixth record, emerged in the summer of 1994, in the wake of personal bereavement and the departure of longtime drummer and founder member Murph. Performed primarily by J Mascis, Without A Sound continued the band’s growth in popularity and commercial achievement, reaching #44 in the US (their highest ever album placing there) and featuring the hit singles ‘Feel The Pain’ and ‘I Don’t Think So’. Released to positive reviews, Without A Sound also took Dinosaur Jr around the world, including dates in Australia, New Zealand and Japan, and into the mainstream as the group contributed Blah to the hit US TV show Melrose Place. Collected together here on vinyl for the first time with related singles and B-sides, and accompanied by in-depth sleevenotes from Mojo’s Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a glimpse of a band at the height of their international appeal and accessibility.”
File Under: Indie Rock
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Dinosaur Jr: Hand it Over (Cherry Red) LP
Gatefold; Purple vinyl. “Formed in 1984, Dinosaur Jr carved a singular path through the latter half of the 1980s and first half of the 1990s, issuing a number of highly influential albums in the process. Hand It Over, their seventh record, appeared in the spring of 1997 following a lengthy absence, and would prove to be the band’s final album-length offering for a decade. Performed primarily by J Mascis, Hand It Over appeared at a time of declining international interest in American alternative rock, but nevertheless received widespread approval and appreciation amongst critics and reviewers. The album was accompanied, unusually, by an EP of non-album songs recorded for the Matt Dillon movie Grace Of My Heart and, later, a vinyl only I’m Insane 7″ single, all of which are collected here alongside previously unreleased recordings made on stage in Stockholm and on TV in Australia. Presented here on purple vinyl, and accompanied by in-depth sleevenotes from Mojo’s Keith Cameron (based on recent and exclusive interviews with J Mascis), this edition provides a final view of a band about to disappear from the limelight but still as engaging and powerful as ever.”
File Under: Indie Rock
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DIIV: Deceiver (Captured Tracks) LP
Rebirth takes place when everything falls apart. On DIIV’s third full-length album, Deceiver, they craft the soundtrack to personal resurrection under the heavy weight of metallic catharsis, upheld by robust guitars and vocal tension that almost snaps, but never quite. Lead single “Skin Game,” gallops forth on a clean guitar riff before unfolding into a hypnotic hook offset by an off-kilter rhythm and hummable solo. “It’s an imaginary dialogue between two characters, which could either be myself or people I know,” says Cole of “Skin Game.” “I spent six months in several different rehab facilities at the beginning of 2017. I was living with other addicts. Being a recovering addict myself, there are a lot of questions like, ‘Who are we? What is this disease?’ Our last record was about recovery in general, but I truthfully didn’t buy in. I decided to live in my disease instead. ‘Skin Game’ looks at where the pain comes from. I’m looking at the personal, physical, emotional, and broader political experiences feeding into the cycle of addiction for millions of us.” Deceiver was recorded in March, 2019 in Los Angeles. For the first time, the band enlisted an outside producer in the form of Sonny Diperri (Nine Inch Nails, Protomartyr) whose presence dramatically expanded the sonic palette, making it richer and fuller than ever before. Marking a major step forward for DIIV, the new album is preceded by 2012’s Oshin and 2016’s critical and fan favorite Is the Is Are.
File Under: Indie Rock
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Brittany Howard: Jaime (ATO) LP
As the frontwoman and guitarist for Alabama Shakes, Brittany Howard has become one of music’s most celebrated figures. The band has won four Grammy Awards and topped the Billboard 200 with the Gold-certified Sound & Color, the follow-up to their Platinum debut album, Boys & Girls. In between albums and tours with Alabama Shakes, however, Howard grows restless. “To me, there is no time off – I’m a creative person and I need to create, or I just feel weird, not fully human,” she says. She’s channeled that relentless creativity into her solo debut Jaime, her most revelatory work yet. Howard recorded Jaime after a cross country drive that took her from Nashville to a small house in Topanga, CA – a rustic Los Angeles county town wedged between the mountains and the beach. She titled the album after her sister, who taught her to play the piano and write poetry, and who died of cancer when they were still teenagers. “The title is in memoriam, and she definitely did shape me as a human being,” explains Howard. “But, the record is not about her. It’s about me. I’m pretty candid about myself and who I am and what I believe. Which is why I needed to do it on my own.” While Howard admits it was daunting, stepping out alone from her work with Alabama Shakes and revealing so much of herself, it was a necessary step. “I turned 30 and I was like, ‘What do I want the rest of my life to look like?'” she recalls. “Do I want to play the same songs until I’m 50 and then retire, or do I do something that’s scarier for me? Do I want people to understand me and know me, do I want to tell them my story? I’m very private, but my favorite work is when people are being honest and really doing themselves.” Lead track “‘History Repeats’ is as much a personal song as it is a song about us as a human species. Our times of success may propel us forward, but our repeating failures hold us back from evolving into harmony,” notes Howard.
File Under: Rock, Pop
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Johann Johannsson: Vidulegu forsetar (Deutsche Grammophon) LP
2004’s Virðulegu Forsetar is late Icelandic composer Jóhann Jóhannsson’s second album for Touch, after the highly acclaimed Englabörn. Virðulegu Forsetar contains one hour-long piece for 11 brass players, percussion, electronics, organs and piano. The piece had its live debut in Hallgrimskirkja, a large church in Reykjavik and the city’s towering edifice, and was named the most memorable musical event of 2003 in Iceland’s leading newspaper. The piece has Englabörn’s quiet, elegiac beauty, but abandons the brevity of the first album’s exquisite miniatures in favor of an extended form that reveals a long, slow process. A simple theme played by the brass section is repeated throughout the entire piece using different voicings and instrumentation. As the piece goes on, the tempo slows down, until it is extremely slow. Around the middle of the piece, the tempo starts to speed up again, until it reaches the original tempo. Space and the sense of place were very important in the performance and recording of the piece. Players were positioned both in front and at the back of the church and two organs were used, again, one in front and one at the back. This created a sense of immersion and a sound that is powerful without ever being loud. As the piece is written for a specific location, it made sense to record it live in this same space and attempt to re-create it for the listener. This was like creating an audio mold or cast of the inner sonic architecture of the building. In this way, the music engages in a dialogue with the space it’s performed in and the recording process becomes as much a documentation of a place as a documentation of music. Virðulegu Forsetar is performed by the Caput Ensemble, conducted by Gudni Franzson, with Skuli Sverrison on bass and electronics, Matthias M.D. Hemstock on bells, glockenspiel and electronics, Hordur Bragason and Gudmundur Sigurdsson on organs and Johann Johannsson on piano and electronics.
File Under: Ambient, Classical
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Kacy & Clayton: Carrying On (New West) LP
The music Kacy and Clayton make is inextricable from where they grew up. They sing about the kind of people you’d find in Wood Mountain, Saskatchewan (population very few.) The hills, barns and remoteness of the area are in these songs, with a bittersweet acknowledgement that this music has taken them far from home. Carrying On follows the international acclaim for their previous records Strange Country (which Q magazine called, “A beautiful album that nudges a classic past into a brave future.”) and 2017’s The Siren’s Song (described by Uncut as “Ageless and beguiling. A classic record for this or any other time.”) Their sound is equal parts homespun, coming from a family and community where playing music is an ever present part of social gatherings, and the rare country, blues and English folk rock these second cousins obsess over and collect. For Carrying On, Clayton cites as influences: Bobbie Gentry’s Delta Sweete, Hoyt Axton’s My Griffin Is Gone, Cajun fiddle music, and the steel guitar of Ralph Mooney who played on many of the records that defined the Bakersfield country music scene of the 1950s. Sixties psych has also woven its way into these new songs. Having toured almost nonstop for the last two years, Carrying On was conceived and honed on the road and recorded immediately after a jaunt across Western Canada – the songs having been tried and tested before audiences each night. The album was produced once again by Jeff Tweedy of Wilco and Uncle Tupelo fame, at his Loft studio in Chicago.
File Under: Folk, Country
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Lightning Dust: Spectre (Western Vinyl) LP
On Spectre – their fourth album as Lightning Dust – Amber Webber and Josh Wells embrace as their sole-focus what was once a side-project, in turn crafting their most refined and powerful album to date. After co-founding and then touring with Black Mountain for over a decade, the duo departed the band in 2017 to further their own long-term creative partnership. Lightning Dust has evolved noticeably with each release, from the spare, dark folk of their 2007 self-titled debut, to the synth and drum machine-heavy 2013 album, Fantasy. The through-line of their discography, however, has been how Wells’ deft production is tailored perfectly around Webber’s modestly iconic voice, of which The Believer wrote in 2013, “[her] voice…hovers somewhere between life and death. It’s not limbo, it’s a country to explore.” In this sense the tracks on Spectre echo the spirits of quintessential rock vocalists like Grace Slick and Beth Gibbons, throughout a collection of songs that range from expertly sculpted folk-rock ear candy, to sparse Judee Sill-esque ballads that consist of little more than piano and voice.
File Under: Indie Rock
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Monolord: No Comfort (Relapse) LP
Monolord make their Relapse Records debut with the new album, No Comfort. The Swedish power trio channel the most exciting elements of driving rock and crushing stoner sludge to produce one of 2019’s most gripping and heavy albums. Tracks like “The Bastard Son” and “The Last Leaf” showcase undeniable riffs piling over each other, continually evolving alongside heart-pounding drums with a bass attack that will make even the most conditioned ears bleed. No Comfort elevates Monolord from one of the underground’s best bands to true leaders of the genre. Rarely does a band so seamlessly fuse absolutely heavy riffs with undeniable groove.
File Under: Metal
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New Pornographers: In the Morse Code of Brake Lights (Concord) LP
Critically acclaimed Canadian supergroup The New Pornographers’ eighth studio album, In The Morse Code Of Brake Lights follows-up 2017’s Whiteout Conditions and is issued via the band’s own Collected Work Records imprint in partnership with Concord Records. “There are so many songs like ‘the something of love’ – you know, there’s ‘The Book of Love,’ ‘The Freeway of Love’…Then I thought of ‘falling down the stairs of your love,’ and I thought, that kind of works,” explains frontman and songwriter A.C. Newman, who also produced the new album. “I think it has that element of how do you deal with the ideas of love and happiness in this world right now? When current events are stressful, that makes a stress on people’s relationships, and you’re trying to figure out how to be happy in this loving relationship in this world that seems ugly at every turn, which is not as easy as it seems. So I like the metaphor of love as something that you fall down.” “I was about two-thirds of the way through the record when I began to notice that lyrically so much of it was pointing toward car songs,” Newman adds. “The opening track is ‘You’ll Need a Backseat Driver,’ and that was a metaphor that seemed to be running through other songs, too. Next to the love song, I feel like the car song is one of the most iconic kinds of songs in pop music, from Chuck Berry to the present. There was so much of that throughout it that I started thinking: ‘Oh, no, there’s too many references to cars on this record!’ And then I thought, ‘No, that’s good – people might think it’s a concept album.'”
File Under: Indie Rock, Power Pop
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Angel Olsen: All Mirrors (Jagjaguwar) LP
The descent into darkness is a trope we find time again across history, literature and film. But there’s also an abyss above. There’s a winding white staircase that goes ever upward into the great unknown – each step, each turn, requiring a greater boldness and confidence than the one before. This is the journey on which we find Angel Olsen. The singer/songwriter’s artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, new album, All Mirrors, we can see her taking an introspective deep dive towards internal destinations and revelations. In the process of making this album, she found a new sound and voice, a blast of fury mixed with hard won self-acceptance.
File Under: Indie Rock
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Raphael Saadiq: Jimmy Lee (Columbia) LP
Raphael Saadiq – the Grammy Award-winning musician, songwriter, and go-to collaborator/producer for some of the biggest names in R&B – returns with Jimmy Lee, his first album in eight years. Jimmy Lee is a deeply personal, musically ambitious work inspired by his brother’s struggles with addiction that explores the razor’s edge people walk as they pursue pleasure that leads to pain – an incisive and empathetic work from a master at the peak of his art. The follow-up to 2011’s Stone Rollin’, Jimmy Lee is a deeply personal journey of discovery and a rumination on contemporary life. Saadiq takes us on a walk through his elements, from Oakland to Rikers Island, with some of the most captivating music he has ever recorded. Inspired in part by his brother’s addiction, Saadiq explores universal themes of craving that which feels good but is also destructive. Some resist, some relent. There’s pain, there’s pleasure, and of course consequences – all of which inform the songs and stories this brilliant work so richly reveals. Jimmy Lee was self-produced by Raphael Saadiq and recorded at Blakeslee Recording Co. in North Hollywood. All vinyl versions of the album will include a secret track unavailable elsewhere.
File Under: Funk, Soul, Gospel
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Sturgill Simpson: Sound & Fury (Elektra) LP
Country singer-songwriter Sturgill Simpson follows-up his Grammy award-winning 2016 album, A Sailor’s Guide to Earth and 2019 theme song for Jim Jarmusch’s zombie comedy, The Dead Don’t Die with Sound & Fury which accompanies the new anime film of the same name based on a story by Simpson himself and made with writer/director Jumpei Mizusaki and character designer Takashi Okazaki. The 10-track effort was produced by Simpson alongside John Hill and bandmates Bobby Emmett, Chuck Bartels and Miles Miller. “We went in without any preconceived notions and came out with a really sleazy, steamy rock n roll record,” Simpson says. “It’s definitely my most psychedelic. And also my heaviest. I had this idea that it’d be really cool to animate some of these songs, and we ended up with a futuristic, dystopian, post-apocalyptic, samurai film.” The first taste of Sound & Fury comes in the form of the distorted and driving lead single “Sing Along.” As for his inspirations for the album Simpson told Zane Lowe he “….was listening to a lot of hip-hop, and Black Sabbath, and the Cars, and old funk records and things.”
File Under: Country
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Souljazz Orchestra: Chaos Theories (Strut) LP
The Souljazz Orchestra return with a brand new studio album for our troubled times, Chaos Theories. Always known for their uncompromising social and political messages, the Canadian collective hit harder than ever on nine new tracks, outing the hypocrisy of modern day politics, police brutality and the everyday struggle of the working man. Led by chief songwriter and arranger Pierre Chrètien, the band continue to evolve their sound, drawing on a broad palette from their trademark Latin, Afro and Caribbean styles to some of the UK’s political sounds of the early ‘80s, the era of The Clash, The Police, 2-Tone and frontline reggae. “We were basically messing around with the idea of creating our own brand of Afro-punk,” remembers Chrétien, “something with the aggressive, in-your-face energy of punk rock or free jazz, but still backed by the hypnotic, pulsating grooves of tropical music.” The album takes the listener from carefully targeted sonic missiles to more reflective thought-provoking moments. “Police The Police'” starts the offensive: “I wrote this after my neighbour was beaten to death by Ottawa police during an arrest,” explains Chrétien. “The authorities downplayed the incident and the officers were working the next day like nothing had happened.” “House Of Cards” takes a thinly veiled swipe at the current US administration on an infectious disco groove: “lies within lies within lies… like so many Russian dolls”; “Boat Rockers” challenges us all to look beyond accepted norms and “General Strike” documents the frustrations of the working class as the pay gap gets increasingly wider; “Slumlord” shines the spotlight on dodgy landlords while the brilliant closer “Well Runs Dry” laments modern day living, with its confused pace and mundane obsessions, remembering simpler days gone by. Leading their field for 17 years, The Souljazz Orchestra have constantly moved forward and remain an in-demand live band worldwide. Chaos Theories is their ninth album and is mastered by The Carvery.
File Under: Funk, Afrobeat
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Squrl: The Dead Don’t Die (Sacred Bones) LP
The Dead Don’t Die is writer/director Jim Jarmusch’s unique, semi-comic take on the zombie apocalypse genre. As with his recent efforts Only Lovers Left Alive and Paterson, the film’s score was composed and performed by SQÜRL, the band Jarmusch and producer Carter Logan founded in 2009. The score to the The Dead Don’t Die is a true expression of where SQÜRL stand at the center of a decade of sonic exploration. It is the culmination of their passion for analog synths, with guitar violence reverberating from the darker corners of Americana. It is at once a tribute to the classic sounds of horror and sci-fi, as well as a decapitation of traditional film scores. It is naturally supernatural.
File Under: OST
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Third Ear Band: Alchemy (Esoteric) LP
“One of the first releases on EMI’s progressive rock label, Harvest in July 1969, Alchemy was the debut album by Third Ear Band. One of the earliest signings to Harvest, the band was formed in 1968 around a nucleus of Glen Sweeney (percussion), Paul Minns (oboe), Richard Coff (violin, viola) and Mel Davis (cello). Third Ear Band were unique in their exploration of exotic baroque music fused with experimental rock. Signing to Blackhill Enterprises in 1969, the quartet opened for many of the legendary Hyde Park free concerts by Pink Floyd, The Rolling Stones and Blind Faith. Recorded at Abbey Road studios in the early months of 1969, Alchemy is regarded as one of the most striking and original works of the era with its unique gothic improvisational music and this new Esoteric Recordings 180 gram vinyl edition is a faithful reproduction of the original 1969 gatefold LP release. It has been re-mastered from the original Harvest master tapes and has been cut at Abbey Road studios for this definitive edition vinyl reissue.”
File Under: Folk, Rock, Experimental
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Tyler, The Creator: Igor (Columbia) LP
Tyler, the Creator’s fifth full-length is about Tyler, the producer, Tyler, the singer, and Tyler, the rapper, in that order. A meticulously produced project, his ever-experimental approach births a beautiful, messy mix of R&B, funk, jazz, and rap. The attention to detail is on a different level: “the version you hear is the ninth one, kept going back until it was perfect,” Tyler notes. The arching feel of the LP jumps right out from the opening seconds of “Igor’s Theme.” On the surface, Tyler narrates his vision of love over warm synths, understated-but-pristinely-arranged drums, and pitched-up falsetto. Perfect summer listening. On a deeper level, a complex array of samples, ideas, and textures looms about. Still a provocateur, but Tyler’s approach to his craft has shapeshifted tremendously, and Igor is a proper follow-up to 2017’s Grammy-nominated Flower Boy. Kanye West, Palyboi Carti, Solange, Jerrod Carmichael, Frank Ocean and Lil Uzi Vert make guest appearances. Check out “Earfquake,” “New Magic Wand,” “Running Out of Time” and “A Boy Is A Gun,” but Igor is better consumed as a whole!
File Under: Hip Hop
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Wilco: Ode to Joy (DBPM) LP
Jeff Tweedy and Co. follow-up 2016’s Schmilco and the singer/songwriter’s pair of solo albums, Warm and Warmer, with Wilco’s eleventh studio effort, Ode to Joy. Featuring eleven new songs written and produced by Tweedy and recorded by Wilco at The Loft (Chicago, IL) in January 2019, Tweedy and Glenn Kotche were the launching pad from which most of the songs on Ode to Joy materialized – Kotche’s percussion propels the music forward while Tweedy’s measured words flesh out the cleared paths. As a result, the album is comprised of “really big, big folk songs, these monolithic, brutal structures that these delicate feelings are hung on,” notes Tweedy. Across the entire album, drums pound and plod with a steady one – two pulse, meant to mimic the movement of marching – a powerful act utilized on both sides of the authoritarian wall. There’s also a sense of comfort that comes with the rhythmic marching sound. Whether our joy is measured by sparks felt when clutching old sweaters to our chests, by the number of tiny digital hearts earned from a shared photograph, by a guitar solo or a drumbeat or a piece of cotton on a stick in your ear, or by something even greater, Wilco wants to sincerely remind us to wear that feeling loud and proud. This is Ode to Joy: pick it up, hold it tight. Tweedy describes the extrospective lead single “Love is Everywhere (Beware)”: There must be more love than hate. Right?! I’m not always positive we can be so sure. In any case, I’m starting to feel like being confident in that equation isn’t always the best motivation for me to be my best self – it can kind of let me off the hook a little bit when I think I should be striving to contribute more love outside of my comfortable sphere of family and friends. So…I guess the song is sort of a warning to myself that yes, love is everywhere, but also beware! I can’t let that feeling absolve me of my duty to create more.” Engineered and mixed by Tom Schick at The Loft. Mastered by Bob Ludwig at Gateway Mastering (Portland, ME).
File Under: Folk, Alt Country, Rock
…..Restocks….. 

Beak>: Life Goes On (Temporary Residence) LP
Boards of Canada: Campfire Headphase (Warp) LP
Boards of Canada: Tomorrow’s Harvest (Warp) LP
Comet is Coming: Trust the Lifeforce (Impulse) LP
El Michels Affair: Return to the 37th Chamber (Big Crown) LP
Brian Eno: Apollo: Atmospheres & Soundtracks (Astralwerks) LP
Fly Pan Am: C’est ca (Constellation) LP
Funkadelic: Maggot Brain (Westbound) LP
Godspeed You Black Emperor: Asunder (Constellation) LP
Godspeed You Black Emperor: Lift Your Skinny Fists (Constellation) LP
Herbie Hancock: Takin’ Off (Blue Note) LP
Carly Rae Jepsen: Dedicated (Universal) LP
Khruangbin: Con Todo el Mundo (Dead Oceans) LP
Khruangbin: Hasta El Cielo (Dead Oceans) LP
King Gizzard & the Wizard Lizard: Nonagon Infinity (ATO) LP
King Gizzard & the Wizard Lizard: Gumboot Soup (ATO) LP
King Gizzard & the Wizard Lizard: Flying Microtonal Banana (ATO) LP
Kendrick Lamar: Good Kid (Aftermath) LP
Kendrick Lamar: To Pimp a Butterfly (Aftermath) LP
Madlib & Freddie Gibbs: Pinata (MMS) LP
Sandro Perri: Soft Landing (Constellation) LP
Raincoats: s/t (We) LP
Sam Gopal: Escalator (Morgan Blue) LP
Jackie Shane: Any Other Way (Numero) LP
Sons of Kemet: Your Queen is a Reptile (Universal) LP
Stereolab: Dots & Loops (Duophonic) LP
Sure Fire Soul Ensemble: Building Bridges (Colemine) LP
Timber Timbre: Creep On Creepin’ On (Arts & Crafts) LP
Kanye West: 808s & Heartbreak (Universal) LP
Kanye West: My Beautiful Dark Twisted Fantasy (Universal) LP
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