Tag Archives: music

…..news letter #868 – vile…..

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

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…..pick of the week…..

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

File Under: Krautrock, Rock, Psych
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…..new arrivals…..

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

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

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

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

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

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

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

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

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

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

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

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

File Under: Country
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…..Restocks…..

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

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…..news letter #867 – nuts…..

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

Also…. in case you missed it… WE ARE HIRING! If you’ve dreamed of slinging records and have a great grasp on alphabetizing things please drop off or email your resume along with your top 10 albums of 2018 and of all time by October 14th! But sooner is better!

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…..picks of the week…..

beak

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

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

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

blood orange

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

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

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

File Under: Folk, Indie Rock
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deathgrips

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

File Under: Hip Hop
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jlin

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

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

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

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

File Under: Indie Rock
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mudhoney

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

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

File Under: OST
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phosphorescent

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

File Under: Indie Rock
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sumac

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

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

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

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

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

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

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

File Under: Reggae

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

File Under: Electronic, New Age, DIY
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two niles

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

File Under: World, Africa
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…..Restocks…..

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

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

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…..news letter #866 – lates…..

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

Also…. in case you missed it… WE ARE HIRING! If you’ve dreamed of slinging records and have a great grasp on alphabetizing things please drop off or email your resume along with your top 10 albums of 2018 and of all time by October 14th! But sooner is better!

CHECK OUT OUR WEBSTORE!!! 

….pick of the week…..

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

File Under: Ambient, Drone, Classical, Minimalism
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…..new arrivals…..

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

File Under: Psych, Experimental, French
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ARCLP053LP_CU - Copy

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

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

File Under: Psych, Experimental, French
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sakata - Copy

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

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

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

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

File Under: Ambient, Experimental, Percussion
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SUBL127LP_CU

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

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

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

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

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

File Under: Punk

RMLP005LP_CU - Copy

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

File Under: World, Jazz, Exotica
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…..Restocks…..

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

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…..news letter #865 – hiring…..

Well, good news for one of you…. we almost never do it. But the rarest of rare occurrences has come….. WE ARE HIRING! If you’ve dreamed of slinging records and have a great grasp on alphabetizing things please drop off or email your resume along with your top 10 albums of 2018 and of all time by October 14th!

CHECK OUT OUR WEBSTORE! 

…..pick of the week…..

haack

Bruce Haack: Preservation Tapes (Telephone Explosion) LP
“In 2016, after reissuing two Bruce Haack albums, Haackula and Electric Lucifer Book II, Telephone Explosion began speaking with Ted Pandel (Bruce’s lifelong friend and business partner) about working on the 1970 masterpiece The Electric Lucifer. It turned out there was another matter that he wanted to discuss: finding a final resting place for the Bruce Haack archive. We were shown test-pressings of The Electric Lucifer board mixes from his Columbia studio sessions, countless pieces of written music, a large number of personal photos, an invitation from Raymond Scott inviting Bruce to play his newly created Electronium instrument (now owned by Devo’s Mark Mothersbaugh), poems, press clippings, and, most importantly, a heavy-duty shelf containing 213 reel-to-reel tapes. All of the chosen material on The Preservation Tapes is unreleased, has only been heard by a handful of people and showcases a relatively unknown period in Bruce’s musical career where Bruce was recording for Sparrow Records (who billed themselves as ‘America’s best Christian music record label’). Bruce’s signature Farad vocoder continues to feature prominently, but the lyrical content is decidedly more religious. The Bruce Haack archive is now resting in the Provincial Archives of Alberta, in Edmonton, Alberta, Canada.”

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

aphex

Aphex Twin: Collapse (Warp) LP
In tomorrow… Mythical electronic producer Richard D James aka Aphex Twin returns on Warp Records with the new 4-track EP Collapse which follows-up his 2016 Cheetah EP and 2014 full-length Syro. The cryptic release is introduced by the pummeling lead cut, “T69 Collapse” whose mind-bending video premiere was pulled from Adult Swim at the last minute for failing the Harding epilepsy test. This 12″ vinyl edition’s accompanying download includes the bonus track “pthex.”

File Under: Electronic
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lips

Flaming Lips: In A Priest Driven Ambulance (Warner) LP
The Flaming Lips have pushed the envelope and bent boundaries for more than two decades with the band’s Grammy-winning music and ground-breaking concerts. In 2018, Rhino and Warner Bros. Records will celebrate Oklahoma’s most famous freaks with an ambitious reissue program, kicking off with remastered editions of the joyous weirdness the band recorded for Restless Records between 1984 and 1990 before signing with Warner Bros. in 1991 including Hear It Is (1986), Oh My Gawd!!!…The Flaming Lips (1987), Telepathic Surgery (1989) and In A Priest Driven Ambulance (With Silver Sunshine Stares) (1990). The final pre-major label album from the Flaming Lips brought a huge shift in sound that would define their work over the greater part of the next decade. The first album to feature Mercury Rev’s Jonathan Donahue on guitar, In A Priest Driven Ambulance features more structured songwriting and tighter production. Singer Wayne Coyne’s lyrical wit and insight had never been better, as his obsession with religious imagery moved to the forefront. Remastered from the original 1/4″ analog tape masters by the band’s longtime musical foil and producer, David Fridmann, with help from the Flaming Lips’ Wayne Coyne and Michael Ivins.

File Under: Indie Rock
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lanegan

Mark Lanegan & Duke Garwood: With Animals (Heavenly) LP
In tomorrow… Over the last decade, Mark Lanegan and Duke Garwood have worked in tangent on 2013’s Black Pudding as well as on Lanegan’s solo records (Garwood contributed to 2012’s Blues Funeral and 2017’s Gargoyle after which he toured as part of Lanegan’s band). The Summer of 2018 sees the duo releasing their second official album together entitled With Animals. Its 12 songs are spectral and sinewy, often defined by the spaces in between the sounds. A ghost’s whistle weaves itself around a pulsing single note on “Lonesome Infidel”; “Feast to Famine’s” hard luck story floats above a guitar part so strung out and washed with distortion it’s become barely recognizable. It’s soul music for anyone who’s long since left the crossroads. The writing and recording of With Animals was split between studio collaboration and sharing music between Garwood’s home in London and Los Angeles where Lanegan resides. Technology made the duo’s transatlantic working relationship relatively easy. While Black Pudding put Garwood’s mercurial guitar center stage, With Animals is constructed from a different set of tools. Analogue and dust flecked, it sounds like Lanegan and Garwood have been holed up in a ’60s recording studio while the apocalypse rages outside. Tracks sit on loops that sound like they’re straight out of There’s A Riot Goin’ On while sparse melodies nod in the direction of British electronic producers like Burial or Boards of Canada. Which is not to say it sounds like any of those things – this is a weird world all of their own design.

File Under: Indie Rock
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metric

Metric: Art of Doubt (BMG) LP
In tomorrow… Toronto rockers Metric emphasize guitars on Art Of Doubt, a collection of 12 new songs packed with massive riffs, driving rhythms and raw/smooth vocals – all elements of the band’s instantly identifiable signature sound. Produced by Justin Meldal-Johnsen (M83, Beck, Nine Inch Nails), Metric’s seventh LP addresses a climate of cultural and political anxiety while refusing to give despair the upper hand. In many ways, it’s the most Metric album the band has ever made as Emily Haines, Jimmy Shaw, Joshua Winstead and Joules Scott-Key rediscover their shared love of music and how good they are at making it together. “This felt like the culmination of a lifetime spent playing together and trusting each other and going for it,” Shaw says.

File Under: Indie Rock
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prince

Prince: Piano & A Microphone (Warner) LP
Prince’s Piano & a Microphone 1983 Captures Previously Unreleased Solo, Intimate Recording Session from His Home Studio: 180g LP Includes an Early Version of “Purple Rain”. The Prince Estate in partnership with Warner Bros. Records present Piano & A Microphone 1983, a brand-new Prince collection that features a previously unreleased 35-minute, 9-track home studio recording of the artist alone at the piano. The private rehearsal offers a rare glimpse into Prince’s creative process as he works through songs like “17 Days” (1984 B-side), “Purple Rain” (title track from the Grammy and Oscar winning 1984 soundtrack), and a cover of Joni Mitchell’s “A Case Of You, Strange Relationship” (released on 1987’s Sign O’ The Times) among others. “This raw, intimate recording, which took place at the start of Prince’s career right before he achieved international stardom, is similar in format to the Piano & A Microphone Tour that he ended his career with in 2016,” said Prince Estate entertainment adviser Troy Carter. “The Estate is excited to be able to give fans a glimpse of his evolution and show how his career ultimately came full circle with just him and his piano.”

File Under: Rock, Pop
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siousxie

Siouxsie & the Banshees: A Kiss in the Dreamhouse (Geffen) LP
In tomorrow… Siouxsie & The Banshees began life as a punk outfit (with Sid Vicious on drums) before mutating into post-punkers on their way to becoming one of the most influential goth rock bands of all time. To this day, decades after their disintegration, the group’s fanatical fan base and influence continues to grow. 1982’s lush and atmospheric A Kiss in the Dreamhouse finds the band as experimental as ever in the studio, with Siouxsie’s more melodic vocals fleshed out with strings and imaginative arrangements on mesmerizing cuts like “Cascade,” “Obsession,” “Melt!” and “Slowdive.” Remastered from the original ¼” tapes and cut at half speed at Abbey Road studios, London. Both artwork and audio have personally been overseen and orchestrated by Siouxsie Sioux and Steven Severin.

File Under: Goth, Post Punk
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siousxie1

Siouxsie & the Banshees: Superstition (Geffen) LP
In tomorrow… Siouxsie & The Banshees began life as a punk outfit (with Sid Vicious on drums no less) before mutating into post-punkers on their way to becoming one of the most influential goth rock bands of all time. To this day, decades after their disintegration, the group’s fanatical fan base and influence continues to grow. In 1991 the Banshees performed on the inaugural Lollapalooza tour; their concurrent LP, Superstition (produced by Stephen Hague) was their most commercially successful, spawning their lone U.S. Top 40 hit, “Kiss Them for Me.” 180g 2LP pressing with D-side etching remastered from the original ¼” tapes and cut at half speed at Abbey Road studios, London. Both artwork and audio have personally been overseen and orchestrated by Siouxsie Sioux and Steven Severin.

File Under: Goth, Post Punk
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sleep

Sleep: Leagues Beneath (Third Man) LP
“Leagues Beneath” is the first release immediately following Sleep’s long-prophesied, critically-acclaimed opus The Sciences. Recorded as a part of a series of songs for Adult Swim, the song is a testament to what has made The Sciences such a success: bottomless tone, spacetime-melting riffs and a unparalleled aural experience from start to finish. “Leagues Beneath,” features the full 17-minute hadal plunge on the A-side, with a tentacled aquanaut nightmare etching on the B-side.

File Under: Metal, Stoner
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spiritualized

Spiritualized: And Nothing Hurt (Fat Possum) LP
In tomorrow… From the opening lullaby of “A Perfect Miracle” through to the Morse Code fadeout at the close of “Sail on Through,” on And Nothing Hurt, Spiritualized wrap layer upon layer of gloriously transcendent sound together to create a mesmerizing and cinematic collection of songs. There are points where the waves of blissful noise are almost overwhelming – the thunderous climax of “On the Sunshine”; the spectral waltz of “The Prize”; the towering guitar solo on “I’m Your Man” – where one can imagine the studio’s speakers vibrating themselves off of the walls. Which is an incredible feat when you discover that the album was conceived and recorded almost entirely by one man – Jason Pierce aka J.Spaceman – in an upstairs room in his east London home. Whereas bedroom recording is commonplace for a generation of musicians who’ve grown up with horizon-expanding tech, Spiritualized have long used the studio as they would an extra member of the band – as a vital building block in the construction of some of the most cherished records of the modern era. This time would be very different. With no grounding in digital recording, Jason had to learn everything from scratch. For the listener, the nine tracks on And Nothing Hurt effortlessly replicate the scale and power of Spiritualized’s previous releases, whether it’s the sonic blowback of “On the Sunshine,” the last dime in the jukebox love letter of “Let’s Dance” or the swell of an imaginary orchestra that seems to lift “Damaged” towards the heavens as it plays out. Lyrically, And Nothing Hurt touches on thoughts of passing time and acceptance of one’s age – never more beautifully than on “Let’s Dance.”

File Under: Indie Rock
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waits1

Tom Waits: Heartattack & Vine (Anti) LP
After signing with Asylum Records in the early 1970s, Tom Waits recorded a series of acclaimed albums whose noir tales about the after-midnight underworld transformed the seedy into the sublime in songs laced with both dark humor and profound longing. Decades and several musical evolutions later, Waits’ Asylum years still hold a special place in the hearts of many fans. Waits’ first seven albums on Asylum have been remastered and will be re-released via Anti-Records. Released in 1980, Heartattack and Vine was Waits’ final album on Elektra Asylum and it built on the raw blues approach of Blue Valentine with the incendiary title track, the funky, organ driven “Downtown” and the stomping NOLA blues of “Mr. Siegal.” This album also contains some of Waits’ most popular ballads, including “Jersey Girl” which was famously a hit for Bruce Springsteen. “On the Nickle” is a moving song about the homeless people who lived on 5th street in downtown LA, and “Ruby’s Arms” is a beautiful song with a lovely Bach-like melody.

File Under: Rock
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waxahatchee

Waxahatchee: Great Thunder (Merge) LP
Katie Crutchfield’s ever-shifting musical project Waxahatchee returns with the Great Thunder EP. Featuring a collection of songs written with now-dormant experimental recording group Great Thunder while Crutchfield was also writing the Waxahatchee albums Cerulean Salt and Ivy Tripp, the original recordings have mostly faded into obscurity. Unearthing and reimagining them with producer Brad Cook at Justin Vernon’s April Base studio in Wisconsin was a cathartic experience, she says. On the heels of last year’s critically acclaimed Out in the Storm, Crutchfield found herself looking to take a sharp turn away from the more rock-oriented influences of her recent records towards her more folk and country roots. “I would say that it is a complete 180 from the last record: super stripped-down, quiet, and with me performing solo, it’s a throwback to how I started,” writes Crutchfield. “Overall, the EP is a warm, kind of vibey recording.” Some of the songs on Great Thunder, like “Chapel of Pines” and “Singer’s No Star,” stayed the same and will be recognizable to those intensely familiar with Crutchfield’s catalog to date, while closer “Takes So Much” was built back up on piano from the bones of the original version, surprising even the songwriter: “Until then, I didn’t realize how beautiful this song was.” As Crutchfield entered April Base to record, she became ill but opted to forge on, beautifully stretching her voice to its emotional limits.

File Under: Indie Rock
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…..restocks…..

Black Keys: El Camino (Nonesuch) LP
Kenny Burrell: Midnight Blue (Blue Note) LP
Destroyer: Rubies (Merge) LP
Fugazi: End Hits (Dischord) LP
Fugazi: In on the Killtaker (Dischord) LP
Fugazi: Steady Diet of Nothing (Dischord) LP
Herbie Hancock: Headhunters (Music on Vinyl) LP
Kacy & Clayton: Siren’s Song (New West) LP
Hank Mobley: Soul Station (Blue Note) LP
Mos Def & Talib Kweli: Black Star (Universal) LP
Queens of the Stone Age: Era Vulgaris (Ipecac) 3×10″
Sonny Rollins: Saxophone Colossus (Analogue Productions) LP
Sam Gopal: Escalator (Morgan Town) LP
Sonic Youth: Riot in Melbourne (Big Car) LP
Raymond Scott: Soothing Sounds for Baby 1-3 (Music on Vinyl) 3LP
Yasuaki Shimizu: Kakashi (Plato Flats) LP
Wire: Pink Flag (Pink Flag) LP
Neil Young: Harvest (Reprise) LP

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…..news letter #864 – long…..

Well, that wasn’t much of an autumn. Hopefully we see a little (ok, a lot) more warm weather. Anyway, last week was light, but this week is killer. Lots of great stuff in and clogging up my counter right now. Also, we’ve been pricing up a storm of used goodies, so come have a dig.

CHECK OUT OUR WEBSTORE!!! 

…..picks of the week…..

davachi

Sarah Davachi: Gave In Rest (Ba Da Bing) LP
Sarah Davachi has quickly risen in prominence since her first release five years ago, and Gave In Rest represents her highest artistic achievement. By infusing her compositional style within a predilection for medieval and Renaissance music, Davachi unearths a new realm of musical reverence, creating works both contemplative and beatific, eerie yet essentially human. Gave In Rest is a modern reading of early music, reforming sacred and secular sentiments to fit her purview and provide an exciting new way to hear the sounds that exist around us. Between January and September of 2017, Sarah Davachi lived in flux; storing her belongings in Vancouver, she spent the summer in Europe, occasionally performing in churches and lapidariums and seeking respite from her transitional state while surrounded by such storied history. This latest album echoes that emotional state of solitude and ephemerality, reaching towards familiar musical landscapes but from oblique perspectives. “I named each track after a particular time of day as a way of expressing my experiencing different moments of quietude, how morning and night are both independent and interconnected entities in this regard,” she says. Her titles evoke canonical phrases referring to morning or evening prayers, as well as Latin and German phrasings for metaphors about the time of day. “From my perspective, there is a lot of loneliness on this record, and I think it is as much about beginnings as endings,” she continues. “In a way, it’s about the prospect of the unknown as it manifests alongside a very inward form of grieving—really the essence of what constitutes a period of transition. Davachi has mined a bottomless landscape where listeners can witness music’s participation in their solitudes. Gave In Rest lends a voice to her personal exploration with a firm, intuitive stance.

File Under: Ambient, Drone, Classical, Minimalism
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lovisoni

Raul Lovisoni/Francesco Messina: Prati Bagnati Del Monte Analogo (Superior Viaduct) LP
Of all the releases on Italy’s legendary Cramps Records, Raul Lovisoni and Francesco Messina’s seminal LP from 1979 has long remained among the most beloved. Prati Bagnati Del Monte Analogo not only introduced the world to the work of two gifted composers, but also is notable for being produced by electronic pioneer Franco Battiato. A sister album to Prati Bagnati would be Giusto Pio’s breathtaking Motore Immobile, likewise graced with the maestro’s gentle hand around the same time. Lovisoni and Messina are both central figures within the Italian avant-garde. Part of a generation of artists who contributed to a radical rethinking of musical practices and composition, they reveal Minimalism as it’s rarely known: delicate melodies, subtle harmonic interplay, incorporating diverse creative traditions and slowly giving way to an ever-expanding open space. Prati Bagnati Del Monte Analogo’s meditative title track, inspired by René Daumal’s surrealist novel Le Mont Analogue, features Messina on synthesizer and Michele Fedrigotti’s impressionistic piano, while on Lovisoni’s “Hula Om” and “Amon Ra,” solo harp, crystal glasses and Juri Camisasca’s radiant vocal drones further ascend into the stratosphere. Skirting the outer edges of ambient, new age and experimental music, Prati Bagnati has a transformative beauty unlike anything else. Superior Viaduct’s edition reproduces the original sleeve design and is recommended for fans of Jon Hassell, Luciano Cilio and Popol Vuh.

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

bender

John Bender: Pop Surgery (Superior Viaduct) LP
Following the release of lo-fi electronic masterpiece I Don’t Remember Now / I Don’t Want To Talk About It and his brilliant follow-up Plaster Falling, Cincinnati-based artist John Bender began assembling his third and last album, Pop Surgery, in late 1982. While all of Bender’s work draws from intimate home recordings—featuring the artist alone with various keyboards, analogue sequencers and tape delays—Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the “pop” concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics. Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia’s classic ’70s style. “I pressed a single run of 500 copies,” Bender recounts. “The only review I remember railed at the poor production quality. The DIY era had clearly come to an end.” This first-time standalone reissue is recommended for fans of Suicide, TG’s 20 Jazz Funk Greats and early Cabaret Voltaire. Liner notes by John Bender.

File Under: Electronic, DIY, Minimal Wave
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betaband

Beta Band: The Three Eps (Because) 4LP
Because Music presents a 20th anniversary remaster and reissue of The Three EPs, a compilation of The Beta Band’s early music, dating from 1997-1998. Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs that they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. After acquiring the Beta Band’s catalog in 2017, Because Music reissue the first in a series of releases, starting with The Three EPs. A deluxe vinyl edition gathering the EPs: Champion Versions (1997) on red vinyl, The Patty Patty Sound (1998) on two yellow vinyl, and Los Amigos Del Beta Bandidos (1998) on blue vinyl. Remastered tracks; Includes CD; Slipcase box set; Hand-numbered edition; Limited to 5,000.

File Under: Rock, Pop
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blitzen

Blitzen Trapper: Furr (Sub Pop) LP
Deluxe 10th Anniversary Reissue Expanded with 12 Rare & Previously Unreleased Tracks. Portland, OR-based experimental country/folk rock band Blitzen Trapper offers up a deluxe edition of their breakthrough 2008 album and Sub Pop label debut Furr. For this expanded release, the band has compiled over two LPs worth of material: the original album and 12 rare and previously unreleased tunes. The added songs are from the same recordings that become Furr, with the exception of the “Live at KCRW” tracks, which were recorded during the Furr tour. The songs “War is Placebo,” “Booksmart Baby,” and “Maybe Baby” appeared as limited-edition singles in 2009 and 2011. This reissue also features new liner notes from frontman Eric Earley reflecting on the record, as well as a track-by-track description of the bonus songs, and a Q&A with the stage and screen actor Rainn Wilson (of The Office fame). “With Furr I was attempting to create my own tiny sonic world of freak folk in order to tell the tale of the Northwest as I remembered it growing up: a misty, empty, bedraggled place of mystery and violence, logging ghost towns and glutted rivers, dark creatures glimpsed from the corner of the eye in the endless evergreen forests where we’d go as teenagers hunting dark spirits, looking for trouble or trying to dodge our troubles back home,” explains Earley. “That even a few people have found beauty and solace in the stories and sounds on this record over the years is rewarding and astounding, humbling and affirming.” There are glimpses of God – and of American Christianity – throughout, not least in the mournful folk narrative of “Black River Killer” and “God & Suicide.” The former is a made-up tale about an anonymous murderer on a killing spree which Earley cites as being about “the mindless violence that Americans consume every single day – in film and books and everything – and what does it mean for us to consume that content and make it a part of us?” The latter is a shimmering, more upbeat track that’s an attempt to commit to tape an ineffable feeling that Earley felt within him but which, after all these years, he’s still unable to pinpoint exactly. The soft acoustic jangle of the title track is full of wistful longing, while the plaintive, poignant piano of “Not Your Lover” is a forlorn love – or loss of love – song full of tender sadness. Around three albums’ worth of material was recorded during the sessions for Furr, and it’s a selection of those that comprise the bonus material for this anniversary edition of the record. From the dulcet, chugging tones of “War Is Placebo” to the carefree, summer whimsy of “Ballad Of Bird Love” – a song driven by that same piano – and the melancholy folk tale waltz of “On My Way To The Bay,” the 10 outtakes included here offer even further insight into Earley’s creative mindset and the feeling that sits at the center of these songs. Written largely between the hours of 11pm and the morning – something that was possible because, in between tours, Earley was living in the studio building – Furr is a very nocturnal album, full of the wonder and the mystery of the night.

File Under: Indie Rock
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capital

Capital Punishment: Roadkill (Captured Tracks) LP
If you were told that a band of NYC teenagers who met in 1979 decided to form a band influenced by Cabaret Voltaire, Throbbing Gristle, Brian Eno, Chrome and released a privately pressed record, it would be enough to pique your interest. When you find out the band consisted of a future Supreme Court Justice for Arizona, a Professor of Slavic Studies, a musician/documentarian whose family built the Brooklyn Bridge, and an A-list world-famous actor the story goes from being about another rare, privately pressed recording that’s been re-discovered, into something that’s pretty incredible. Captured Tracks is thrilled to reissue Capital Punishment’s sole 1982 LP Roadkill on vinyl. For a band of high school weirdos who actually got their shit together enough to make a completely uncommercial album with no means to sell it shows a lot of determination, persistence and perhaps insanity. But it’s always those kinds of weirdos who go on to do great things – just ask Judge Peter Swann, Professor Peter Zusi, Kriss Roebling and Ben Stiller. The band has been rehearsing and hopes to play some special shows in 2018-19. “I was in a band in high school – it was called Capital Punishment, and it was sort of a post punk-neo-goth-urban-experimental band…I was sort of the Ringo of the band.”- Ben Stiller

File Under: Post Punk, Noise Rock
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escovedo

Alejandro Escovedo: The Crossing (Yep Roc) LP
Alejandro Escovedo’s scorching and cinematic The Crossing follows the story of two young immigrants, one from Mexico and one from Italy, as they come to the U.S. to pursue the American dream and search out their punk rock idols. Not only is it Alejandro’s first album with Yep Roc it’s his first recorded in Europe. He co-wrote and performed it with Italian band Don Antonio from Mogdilana led by guitarist and composer Antonio Gramentieri who has a rich musical history of his own in Italy with his cult band Sacri Cuori. The album was recorded in a month in Villafranca, Italy with Brian Deck co-producing. The Crossing also features a host of guest musicians, including The Stooges’ James Williamson on “Teenage Luggage” and Wayne Kramer from the MC5 on “Sonica USA” (both bands are also name checked in the album’s lyrics). “Waiting For Me” features Peter Perrett and John Perry from The Only Ones, recording together for the first time since 1980. Joe Ely appears on his own track, “Silver City.” “Rio Navidad,” a spoken word song about a Texas ranger, was written by novelist and Richmond Fontaine/The Delines’ bandleader Willy Vlautin and read by his bandmate Freddy Trujillo.

File Under: Rock, Folk
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fausttapes

Faust: The Faust Tapes (Superior Viaduct) LP
Faust stand among the most influential creative forces to have emerged from Germany in the late ’60s and early ’70s. Along with Can, Agitation Free, Neu! and others, Faust rejected the Anglo-American norms of rock ’n’ roll to start a back-to-basics and uniquely Teutonic revolution in sound—later dubbed by the UK press with the semi-derogatory term “krautrock.” Faust would reach near-mythical status through a series of classic albums recorded between 1970 and 1973 at their secluded Wümme studio. As Dave Segal writes in the liner notes, “There’s no consensus about which Faust album represents their zenith. But a survey of the group’s fans would likely find the collage-heavy messterpiece The Faust Tapes triumphing. Its freewheeling, jump-cut nature and unlikely earworm moments conspire for more what-the-fuck epiphanies per minute than just about any other record about which Krautrocksampler author Julian Cope has raved.” Comprised of twenty odd tape-manipulation experiments and freak-out jams, The Faust Tapes stashes away some of the band’s best-known songs. “Flashback Caruso,” with its delicate acoustic guitar and Rudolf Sosna’s airy vocals, could easily have appeared on So Far or Faust IV, while on “J’ai Mal Aux Dents,” Jean-Hervé Peron’s playful lyrics and this ecstatic, era-defining riff perfectly represent Faust’s magical mischievousness. This first-time domestic release of The Faust Tapes on vinyl reproduces the original sleeve design, featuring artwork by Bridget Riley.

File Under: Krautrock, Prog, Experimental
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gilmour

David Gilmour: On An Island (Columbia) LP
2006’s On An Island is the third David Gilmour solo album and his first studio recording since Pink Floyd’s 1994 multi-platinum The Division Bell. From the first moments of the sound collage that begins On An Island, you know it’s a special experience that not only bears comparison with the best of Pink Floyd, but also confirms their lead guitarist and singer as an outstanding solo artist. Here he reveals a personal vision and a breadth of styles – folk, jazz, orchestral and rock – brought together as a unified piece by his lyrical guitar playing and instantly recognizable voice. With orchestrations by the renowned Polish composer Zbigniew Preisner and a luminous production (assisted by Roxy Music’s Phil Manzanera), there is virtuosity a plenty. David Crosby and Graham Nash sing harmonies, Robert Wyatt plays the cornet, Caroline Dale the cello and Alasdair Molloy the glass harmonica. Pink Floyd’s Richard Wright guests on Hammond organ, while Gilmour sweeps and soars with his often soul-piercing guitar and vocals. Yet the album never becomes grandiose. At its heart, it remains a reflective piece, not least because of the lyrics. Although Gilmour takes some writing credits, most go to writer Polly Samson, continuing a collaborative partnership that began with The Division Bell. The songs tell of shared experiences that evoke a breadth of moods, from the hauntingly beautiful title track “On An Island” (with a guitar performance on par with Gilmour’s canon of classics) to the meditative “The Blue and A Pocketful of Stones,” as well as the heavier rock and blues numbers “Take A Breath” and “This Heaven.” In the spirit of intimacy, the album also sees Gilmour’s debut on the saxophone, as well as contributions by contemporaries from his pre-Floyd days. On An Island is a collection of songs and instrumentals that had its genus in the critically acclaimed 2002 London Festival Hall concerts. Gilmour stepped out of his super-group to discover he was still at his peak – and he was rightly pleased. “It’s my best and most personal work,” he exclaimed. “Making it with my musician friends has been a positive experience on so many levels.”

File Under: Rock, Pink Floyd
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gogg

GØGGS: Pre Strike Sweep (In The Red) LP
With their second album Pre Strike Sweep, GØGGS add a new level of primordial anxiety to their already catastrophic symphony. Recorded and mixed in 2017 by GØGGS guitarist and co-founder Ty Segall, the album explores the damaging affects of modern life before blowing them up one by one. Singer Chris Shaw uses terms like “space rinse” and “roadside surgery” to inform the listener that this is a strange and different trip, far and away from the “Glendale Junkyard” he romanticized in 2016 on their self-titled album. In fact, all expectations brought on by that acclaimed debut are crushed into dust, revealing a new standard by which the GØGGS march thumps.

File Under: Punk, Rock, Ty Segall
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honeyhahs

Honey Hahs: Dear Someone, Happy Something (Rough Trade) LP
Dear Someone, Happy Something is the debut album by London based sister act Rowan, Robin and Sylvie Siddall. The three siblings from Honor Oak Park in South London, with an average age of only 13 and a ½ years old, write songs that reflect a disarmingly frank child’s-eye view of the world. Honey Hahs have been championed by, and played shows with, Goat Girl, Fat White Family, Insecure Men, Shame, Micachu and The Moonlandingz amongst others. Dear Someone, Happy Something was recorded in London with Pulp’s Steve Mackey. Rowan plays guitar and piano, Robin plays bass and Sylvie plays drums, and they all sing and harmonize. Album design by Jonny Lu Studio with images shot by Oliver Hadlee Pearch.

File Under: Indie Rock
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jungle

Jungle: For Ever (XL) LP
Towards the end of 2013 Jungle burst onto the scene with their first two singles: “The Heat” and “Platoon.” Appearing out of nowhere and propelled by feverish word of mouth online and IRL, Jungle would transform over the next few years from an anonymous production duo to a kaleidoscopic, personality-filled seven-piece live band built around the core duo of Josh Lloyd-Watson and Tom McFarland, whose debut album (2014’s self-titled Jungle) was one of the year’s defining debut records; one that would end up nominated for the UK’s Mercury Music Prize and go on to sell over half a million copies. Josh and Tom describe their long awaited second album For Ever as “a post-apocalyptic radio station playing break up songs.” If Jungle’s first effort was their imaginary soundtrack to the places they had never been, their new record captures the landscapes they had so often dreamed of. To write and record the record, Josh and Tom swapped Shepherds Bush for the Hollywood Hills. Their romanticization of The California Dream clashed with the reality of living it – although the experience led them back home to London to finish the album, the journey itself ultimately defining the music it produced. Includes the singles “Happy Man” and “House In LA.”

File Under: Electronic, Funk/Soul
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krocker

Jon Krocker: Monolog (Dark Entries) LP
We are proud to present the first ever vinyl issue of Jon Krocker’s debut album ‘Monolog’ originally released on cassette in 1983. Jon is from Winnipeg, Canada and got his start as half of the synth noise duo Dialog. In 1981-82, while studying for a BA in Film Studies, he would go to the studio and practice. No writing or patch memories, composing on the fly. His set up consisted of a Minimoog, Oberheim Two Voice, Roland RS-202, Roland Space Echo, EML 400, Roland DR 55, Roland System 100 mixer. After playing some of the songs to Impulse Records store owner Roman Panchyshsyn, he agreed release the album on cassette on Contagious Records. Primarily influenced by the German school typified by artists such as Conrad Schnitzler and Kraftwerk, Jon’s music exhibits the cold machine ethic of the neumusik. The 12 instrumental tracks are stark and minimal, at times anxious but overall space orientated and flexible. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each copy includes an 8-page newsprint zine featuring ephemera, press clippings, photos and liner notes by Jon.

File Under: Electronic, Minimal
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oneida

Oneida: Each One, Teach One (Jagjaguwar) LP
In 2000-2001, when this album was written, recorded, and conceptualized, Oneida was a pretty hectic organization, committed to confrontation and tragipsych and Wu-Tang and electro relentlessness. The record was made by the original quartet lineup of the band, founded in 1997; and the tour that followed the completion of the album in late 2001 was the final 35-date hurrah of this lineup. When the record finally saw the light of day in early 2002, the band hadn’t broken up but was in a process of irrevocable transformation. Oneida began as a project, then became a gang. Come On Everybody Let’s Rock (2000) and Anthem of the Moon (2001) were absolutely gang work, and Each One Teach One was a logical final blow. In some respects this record is a baring of scars. The band’s original label, Turnbuckle Records, had closed its doors with no warning in 1999, giving rise to the oldest tune on the album, “No Label”; and both extended pieces on the record, “Sheets of Easter” and “Antibiotics,” conjoin pain and possibility in some more metaphysical or metaphorical ways that absolutely reflect their collective state of disorientation at the time. The music on Each One Teach One was recorded in several different locations, under different circumstances, and using different compositional techniques. Some of the songs were built piece by piece through the recording and editing process; some were conceptualized ahead of time and approached with some science; and some were pure instinct. All four members of the band worked on composing and the final result is an accurate document of Oneida following the turn of the century.

File Under: Indie Rock, Experimental
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pollard

Robert Pollard: Waved Out (GBVI) LP
Robert Pollard’s Waved Out gets the 20th anniversary re-issue treatment with newly re-mastered audio and a beautiful blue vinyl pressing. The Guided By Voices captain’s second solo album from 1998 captures the more eclectic side of his songwriting. Here, he brilliantly compresses prog, psych, and post-punk ideas into magnificent two-minute pop songs. Wire, early Genesis, Nilsson Schmilsson, Lennon’s White Album songs, Blue Öyster Cult, XTC, and Captain Beefheart: it’s all here, condensed into brilliant songs like “Subspace Biographies” and “Whiskey Ships.” A lot’s been made of Pollard’s spontaneous and prolific songwriting methods, and most of that’s true, though he works much harder on his songs than even he likes to admit. With Waved Out, he seemed to grow more comfortable and ambitious in formal studio-type settings, so that anyone who carps about “unfinished arrangements” and “shitty production values” ought to be pretty happy with this record. This doesn’t apply to “Caught Waves Again,” where he sings into a boombox over a tape of GBV guitarist Doug Gillard’s noodling. Nor does it apply to a touching song about tragedies in Pollard’s hometown of Dayton, Ohio, called “People Are Leaving,” where he puts two separate melodies over instruments by collaborator Stephanie Sayers. In addition to Gillard, a few other GBV personalties appear on the record, Jim Pollard, Tobin Sprout and Jim MacPherson, then of The Breeders. But the bulk of the record, including a fair bit of the drumming, is all Robert Pollard.

File Under: Indie Rock
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random

Eric Random: A Boy Alone (Dark Entries) LP
We are honored to release ‘A Boy Alone’, a double LP set from Manchester electronic music pioneer Eric Random. Best known for his early recordings for New Hormones and Les Disques du Crépuscule and collaborations with Pete Shelley (Buzzcocks), Cabaret Voltaire and Nico. As an original member of The Tiller Boys with Shelley, Random injected a healthy dose of Krautrock into the dour Manchester post-punk scene in 1978/79 before going solo the following year. Random’s first 7” “Subliminal”/“23 Skidoo” was released in 1981 via Les Disques du Crépuscule and explored ominous sonic surrounds. That same year also saw the release of a second 7″ single on New Hormones, “Dow Chemical Company”/ “Skin Deep”. Both tracks offered bubbling, rhythmic sound patterns, and were the first to feature other musicians that would become know as The Bedlamites. Consisting of Lynn Walton on vocals, Ian Runacres and Andy Diagram of Dislocation Dance, and bassist Wayne Worm, aka Wayne Sedgeman. Their debut 12” single “Subliminal Seduction”/“Bedlam-a-Go-Go” was released in 1982 through Plurex, mixing arid funk textures and sparse melodies. That same year the group contributed proto chill-out track “6.55” to Plurex compilation ‘Hours’ and the highly filmic track “In Cassette Conference” to the Touch cassette package ‘Feature Mist’. In 1983, Random spent several months in the Himalayas with a group of musicians from the Kulu Valley and studied non-Western instruments such as tabla. On returning to Manchester, Random convened a new group of Belamites including Walton, Sedgeman and drummer Graham Dowdall aka Dids of Ludus. They released the 12” single “Mad As Mankind”/“Dream Web Of Maya” in 1984 on Cabaret Voltaire’s Doublevision, embracing electronic, industrial and dub styles. In 1985 they contributed the soothing “Pure Power” to Food Records’ “Imminent Episode One” compilation. Our reissue also includes 4 unreleased bonus tracks from Eric’s archives recorded between 1981-1984. The whole set adds up to 115 minutes of sinister, somnambulant Random music. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a gatefold jacket designed by Eloise Leigh featuring a spread of ephemera, photos with liner notes by James Nice of LTM

File Under: Electronic
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st paul

St. Paul & the Broken Bones: Young Sick Camellia (Red) LP
With Young Sick Camellia, Paul Janeway has created a space for St. Paul & The Broken Bones to rival any forward-thinking band making music today, based on a concept all-too familiar to him: family, and how we love them despite our differences. Originally envisioning the project as a trio of EP’s, each from the perspective of the three generations of Janeway men, he realized he had enough material in the first volume – written from his own vantage – to make a full-length record. Assigning himself the image of a camellia, the Alabama state flower, Janeway uses his lyrics as a conduit for interpersonal conversation and excision, in addition to pieces of an actual conversation with his grandfather he recorded months before his unexpected death. Janeway leaned more heavily than ever before on his band to help with the songwriting. In the past, he and co-band leader Jesse Phillips served as a “two-headed monster” who ultimately called all the shots; this time around, however, the band was invited to add song ideas. “The record really flexes the muscle of this band,” Janeway says. “Musically, it’s a kaleidoscope of flavors and it covers a lot of ground.” Furthering this notion, the band chose the hip-hop/modern R&B producer Jack Splash to record in Los Angeles, a choice that Janeway credits with taking the band outside of their comfort zone and establishing a connection to a new sound. From the opening space-opus of “Convex” to the snappy, buoyant charm of “Apollo” and the intensely personal bent of “LivWithoutU” and the album-ending “Bruised Fruit,” it’s clear that this represents a new chapter of the band. A darker, more cerebral affair, Young Sick Camellia embraces a variety of sonic experiments and blurs boundary lines, but its focus remains sharply on the titular frontman and his bold, intensely personal and brave examination of his own family tree and how it has shaped him.

File Under: Funk, Soul
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stevensSufjan Stevens: The Avalanche (Asthmatic Kitty) LP
The little secret behind the Illinois record is that it was originally conceived as a double album, culminating in a musical collage of nearly 50 songs. But as the project began to develop into an unwieldy epic, common sense weighed in – as did the opinions of others – and the project was cut in half. But as 2005 came to a close, Sufjan Stevens returned to the old, forsaken songs on his 8-track like a grandfather remembering his youth, indulging in old journals and newspaper clippings. What he uncovered went beyond the merits of nostalgia; it was more like an ensemble of capricious friends and old acquaintances wearing party outfits, waiting to be let in at the front door, for warm drinks and interesting conversation. Among them were Saul Bellow, Ann Landers, Adlai Stevenson, and a brief cameo from Henry Darger’s Vivian Girls. The gathering that followed would become the setting for the songs on The Avalanche: Outtakes and Extras from the Illinois Album. Sufjan gleaned 21 useable tracks from the abandoned material, including three alternate versions of “Chicago.” Some songs were in finished form, others were merely outlines, gesture drawings, or musical scribbles mumbled on a hand-held tape recorder. Most of the material required substantial editing, new arrangements or vocals. Much of the work was done at the end of 2005 or in January the following year. Sufjan invited many of the original Illinois makers to fill in the edges: drums, trumpet, a choir of singers. The centerpiece, of course, was the title track – “The Avalanche” – a song intended for the leading role on the Illinois album but eventually cut and placed as a bonus track on the vinyl release. In his rummaging through old musical memorabilia, Sufjan began to use this song as a meditation on the editorial process, returning to old forms, knee-deep in debris, sifting rocks and river water for an occasional glint of gold. A careful listener may uncover the obvious trend on this record: almost every song on the Illinois album has a counterpart on the outtakes. Carl Sandburg arm-wrestles Saul Bellow. The aliens landing near Highland salute Clyde Tombaugh, the man who discovered Pluto. The loneliness of “Casimir Pulaski Day” deepens even further in the foreboding soundtrack to “Pittsfield.” At its best, The Avalanche is an exercise in form, revealing the working habits of one of the most productive songwriters today. As an illustration, the avalanche refers to the snow and rubble that falls off the side of a mountain, or, in this case, the musical debris generously chucked from an abundant epic. It’s unlikely you’ll find a mountain in the Prairie State so the metaphor will have to do. Fans have requested a vinyl pressing of Avalanche ever since its release on CD and digital. A mere twelve years later, Asthmatic Kitty presents a special colored double vinyl edition complete with all 21 songs from the original release.

File Under: Indie Rock
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…..Restocks…..

Bill Callahan: Dream River (Drag City) LP
Daft Punk: Random Access Memories (Columbia) LP
Earth: The Bees Made Honey in the Lion’s Skull (Southern Lord) LP
Elder: Reflections of a Floating World (Armageddon) LP
Here Lies Man: You Will Know Nothing (Riding Easy) LP
Lightnin’ Hopkins: Last Night Blues (4 Men With Beards) LP
Jawbreaker: 24 Hour Revenge Therapy (Blackball) LP
Modest Mouse: This is a Long Drive (Glacial Pace) LP
Modest Mouse: Lonesome Crowded West (Glacial Pace) LP
Mogwai: Rock Action (PIAS) LP
Mogwai: The Hawk is Howling (PIAS) LP
Mogwai: Mr. Beast (PIAS) LP
Jim O’Rourke: Simple Songs (Drag City) LP
Oh Sees: A Weird  Exits (Castle Face) LP
Oh Sees: Orc (Castle Face) LP
Oh Sees: Smote Reverser (Castle Face) LP
Colin Potter: The Where House? (Dark Entries) LP
Steve Reich: Four Organs (Superior Viaduct) LP
Ty Segall: Singles 2 (Drag City) LP
Ty Segall & White Fence: Hair (Drag City) LP
Ty Segall: Lemons (Goner) LP
Ty Segall: Melted (Goner) LP
Ty Segall & Mikel Cronin: Reverse Shark (In The Red) LP
Sleep: Dopesmoker (Southern Lord) LP
Stars of the Lid: Tired Sounds of (Kranky) LP
Sunn o))): White 1 (Southern Lord) LP
Sunn o))): White 2 (Southern Lord) LP
Sunn o))): Monoliths & Dimensions (Southern Lord) LP
West Coast Pop Art: Part One (Jackpot) LP
Wipers: Is This Real? (Jackpot) LP

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…..news letter #863 – short…..

We know y’all are busy with back to school, either yourself, or your kids. So the record industry gave you a little break this week and decided to put practically nothing out. Oddly, as if in response, we’ve had a few nice little stacks of used records come in…. so there’s that.

CHECK OUT OUR WEBSTORE! 

…..pick of the week….. 

dawb

Goblin: Dawn of the Dead 40th Anniversary Edition (Rustblade) LP
In tomorrow…. “Rustblade presents Claudio Simonetti and his Goblin playing and reinterpreting the score of one of the most famous horror movies of all times to celebrate 40 years of the idolised film Dawn of the Dead directed by George Romero and produced by Dario Argento. The music that accompanies the movie is a mix of prog and electronic rock full of tension and magic tribalism. Piercing guitars, Synth orchestration and virtualism give life to thousands of blood thirsty zombies. Limited Colored Vinyl Plus Gatefold Poster.”

File Under: Prog, OST
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…..new arrivals…..

autechre

Autechre: NTS Sessions (Warp) 12LP BOX
In tomorrow…. The duo were initially commissioned to do a DJ residency on NTS, following their show from early 2016, but what transpired is closer in approach and results to a super extended Peel Session, featuring stacks of reworked material along with exclusive new notions generated by their infamous ‘System’ of software patches. Given so much time to roam, they explore a full spectrum of meters, tones and alien machine feels ranging from succinct hyper-symphonies to an hour long closing passage of unfathomably deep ambient music, all sequenced with a non-linear narrative arc influenced by the stunning 3rd series of Twin Peaks, and with distant echoes of their seminal, freeform Disengage shows for Kiss firmly in mind. Call it an album, call it a radio show, call it a massive excuse to lock yourself away for 8 hours, either way ‘NTS Sessions’ is a vital dispatch from the North Face models, with material such as the squirming tech-step of ‘North Spiral’ and the slimy electro of ‘Four Of Seven’ from the 1st session, or the footwork-esque ‘Gonk Tuf Hi’ from the 2nd, and the free-floating structures of ‘Cluster Casual’ off the 3rd volume offering some deeply satisfying rhythmic convolutions for the dancers, whereas the preponderance of durational cuts, including highlights such as the hour long ‘All End’, the breathtaking visions of ‘Turbine Epic Casual, Stpl Idle’, and the plasmic wormhole of ’Shimripl Casual’ reach deep into the most abstract, amorphous nooks of their sound in a way comparable with visionary work from Roland Kayn or Iannis Xenakis.

File Under: Electronic
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dead

Grateful Dead: Portland Memorial Coliseum (Rhino) BOX
The Pacific Northwest offers up a rich feast of land, sky, and water. It is ripe with influences, abundant with symbols, deep and spirited. It should, therefore, come as no surprise that the Grateful Dead played some of their most inspired shows on these fertile grounds. It goes without saying that the band’s concert on May 19, 1974 at Portland’s Memorial Coliseum qualifies as such. Limited to just 7,500 copies, this superb-sounding 180g 6LP set captures the Dead at the peak of its mid-70s glory, with the group turning in an aptly nature-themed first set (“Black-Throated Wind,” “Scarlet Begonias,” and “It Must Have Been the Roses” serve as natural complements to the adventure-prone tales “Me and Bobby McGee,” “Mexicali Blues,” and “El Paso”) and hitting stride in the second set with an epic “Weather Report Suite” – >”Wharf Rat” that iconically captures the Pacific Northwest’s vibe. Most importantly, the chemistry between Jerry Garcia, Bob Weir, Phil Lesh, and company is on fire. It’s no exaggeration to state that Portland 1974 remains regarded as one of the iconic collective’s finest-ever performances and remained sacred to tape traders for decades. It was also voted the second-best show of 1974—a prime year for the Dead—by Deadheads in the live DeadBase bible for years running. One listen to Garcia’s guitar playing, Weir’s rhythmic accents, or even the delightfully uptempo version of “Loose Lucy” here will confirm such praise as being highly deserved. As with all prior vault Dead live releases, we expect this to immediately sell-out. Secure your copy today and dance with the Dead!

File Under: Rock

i&w

Iron & Wine: Weed Garden (Sub Pop) LP
Iron & Wine follow up their 2018 Grammy-nominated full-length Beast Epic with Weed Garden, a collection of material that began about three years ago. The six-song EP features songs that were part of the writing phase for Beast Epic, but went unfinished. They were part of a larger narrative for principal songwriter Sam Beam, who ran out of time to get them where they needed to be for inclusion on Beast Epic. Weed Garden also includes the fan favorite “Waves of Galveston.” While on tour last fall, the final pieces of material took shape and a sense of urgency prevailed in bringing these characters full circle. To resolution. To completion. In January, Beam and company hunkered down in Chicago at The Loft recording studio to capture these six songs. No more, no less. Weed Garden joins the good company of previous Iron & Wine EP’s – The Sea and Rhythm, Woman King, In the Reins – and in 2018’s attention-span challenged world that’s not a bad thing. Tip-on jacket with insert and download coupon.

File Under: Indie Folk
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luck

Jack Rose: Luck in the Valley (Thrill Jockey) LP
2010’s Luck in the Valley is the third album in a set of recordings that Jack Rose jokingly refers to as his “Ditch Trilogy.” Here, Rose continued his exploration of pre-war American music with new material featuring the Black Twig Pickers, Glenn Jones, Harmonica Dan and Hans Chew along with a handful of solo pieces. This recording set out to capture the energy and feel of the classic three-track shack recordings by the Wray Brothers and Mordicai Jones. Luck In The Valley finds Rose employing new themes and techniques that hadn’t appeared on previous releases. Like all pre-war recordings and all of Rose’s releases, this album was recorded live. It was not created using overdubs but rather by recording a few “takes” and selecting the best performance out of those. Rose stated, “I wanted the songs to have an immediacy and spontaneity as they were being recorded. All the musicians chosen for the record know how to play the songs without overworking the material, but at the same time creating memorable accompaniments on the spot.” Several of the songs are in fact the first takes like “Blues for Percy Danforth,” “Lick Mountain Ramble” and “Woodpiles on the Side of the Road.” Also Included in the set are three covers: “St. Louis Blues,” “Everybody Ought to Pray Sometime” and “West Coast Blues.” All of these pre-war classics are Rose’s unique arrangements. The album title refers to the old red light section of St. Louis and was a code for procuring the services of a prostitute. Says Rose “I read about it on some liner notes to a reissue of pre-war St. Louis recordings and I liked the ring of it.” Luck in the Valley finds Rose at his best surrounded by like-minded friends on a recording that is enriched by a sense of history but entirely new, vibrant and warm.

File Under: Folk, Guitar Soli
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…..restocks…..

Autechre: Amber (Warp) LP
Autechre: Tri Repetae (Warp) LP
Baptists: Beacon of Faith (Southern Lord) LP
Brian Eno: Music for Installations (Warp) LP
Ella Fitzgerald: Lullabyes of Birdland (Music on Vinyl) LP
Getz/Gilberto: s/t (Verve) LP
King Gizzard & The Lizard Wizard: Flying Microtonal Banana (ATO) LP
King Gizzard & The Lizard Wizard: Gumboot Soup (ATO) LP
REM: Out of Time (Universal) LP
Siouxsie & The Banshees: Through The Looking Glass (Universal) LP
Caetano & Gal Veloso: s/t (Elemental) LP

 

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…..news letter #862 – back…..

You may have noticed there was no update last week, if so, thanks for listening. If not, well, you’re listening now it would appear. Anyway, I’m back from a quick tour of Alberta and here’s last week and this weeks new arrivals. Some really great stuff in again. Things are really starting to pickup for the fall new releases. Don’t fall behind!

CHECK OUT OUR WEBSTORE!!! 

…..picks of the week…..

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Caterina Barbieri: Born Again In The Voltage (Important) LP
Born Again In The Voltage is an astonishing collection of electro-acoustic pieces for Buchla 200 system, cello, and voice composed and produced by Caterina Barbieri at Elektronmusikstudion (SE) between 2014 and 2015. Cello by Antonello Manzo. Images by Giovanni Brunetto; Photography by Angelo Jaroszuk Bogasz; Layout by Important Records. Mastering by Giuseppe Ielasi. Edition of 500.

Caterina Barbieri/Eleh: split (Important) LP
Highly synergistic split from Eleh and Caterina Barbieri featuring two sides of similar audio dimensions. These two electronic sound poems slowly unfurl rich timbre and harmonics with an austere stillness that is, somehow, ever-changing. It hardly matters whose side is whose.

File Under: Ambient, Electronic, Drone
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David Axelrod: Songs of Experience (Now Again) LP
Audiophile reissue, lacquered directly from Axelrod’s original EQ’ed master tapes at Capitol Records by Ron McMaster, housed in a deluxe gatefold jacket. “Audiophile reissue, transferred directly from Axelrod’s original EQ’ed master tapes at Capitol Records by Ron McMaster ‘Songs of Experience was supposed to have a different feel than Song of Innocence. You see, music is a great outlet. And regardless of what the titles say, and as close as I wanted it to be to William Blake, what was going on in my life took precedence.’ –David Axelrod Songs of Experience is visionary composer/arranger/producer David Axelrod’s second album; it was recorded after the death of his beloved son Scott. Experience is an ominous affair, an album concerned with mortality and spirituality — the solitary, pastoral musings of William Blake set to the urban bombast of a full Los Angeles orchestra, with Wrecking Crew vets grounding the proceedings with dark funk. This is the next Now-Again issue in a series of reissues centered around Axelrod’s Capitol Trilogy — Song of Innocence, Songs of Experience and Earth Rot — which will see release through 2018. Contains 32-page booklet that delves into Axelrod’s incredible life and music, replete with never before published photos. ‘There are very few people who see the Grand Picture of the Universe and understand the Nothingness that it all comes from. There are even fewer who can express these ideas through music — David could do it all.’ –T-Ray”

File Under: Funk, Psych, Breakz
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…..new arrivals…..

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Gyedu-Blay Ambolley: The Message (Analog Africa) LP
Prepare yourself for new directions in Afro-funk: Analog Africa presents the ninth release of their Limited Edition Serie. During the 1980s, Ghanaian bandleader Gyedu-Blay Ambolley began to experiment with electronic instruments, and the result was a potent mix of highlife, funk, exploratory synths and righteous vocals, the sound of a restless genius intent on pushing the traditional sounds of highlife into a brave new future. By the end of the 1970s, Ambolley was already a legendary figure on the Ghanaian music scene. He rose to prominence during the late 1960s, serving with countryman Ebo Taylor in the Stargazers and the Uhuru Dance Band before launching his own career with “Simigwa-do,” the 1972 hit that propelled him to West African stardom. As a founding member of the Apagya Show Band and the Complex Soundz, he stretched the boundaries of highlife with electric instruments, funky rhythms and socially charged lyrics in Fante and English. With a new band, Zantoda Mak III, he recorded “The Message,” a seven minute funk workout built on a highlife foundation, and decorated with shimmering synths. Recorded in 1980, the song became a hit that would change the direction of Ambolley’s music: over the next decade, electronic instruments played a much larger role in his sonic experiments. “The Message” receives a long overdue re-release on this 12″ along with three other peaks from Ambolley’s eighties output. Difficult, if not impossible to find for decades, Analog Africa is proud to make Gyedu-Blay Ambolley’s extraordinary eighties recordings available to a wider audience. 180 gram vinyl; silkscreen printed cover and color vinyl.

File Under: Psych
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arnalds - Copy

Olafur Arnalds: Re: Member (Mercury) LP
“This is my breaking out-of-a-shell album,” explains Icelandic BAFTA-winning artist, composer, musician and producer Ólafur Arnalds about his newest recording Re: Member. “It’s me taking the raw influences that I have from all these different musical genres and not filtering them. It explores the creative process and how one can manipulate that to get out of the circle of expectations and habit.”

File Under: Electronic, Classical
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Autechre: NTS Sessions 1-4 (Warp) LP
3LP sets in tomorrow, 12LP boxes next week. Autechre weigh in the labyrinthine 8 hour ‘NTS Sessions’, parsing the guts of their hard drives for gold and other precious materials dating back to 2011. The duo were initially commissioned to do a DJ residency on NTS, following their show from early 2016, but what transpired is closer in approach and results to a super extended Peel Session, featuring stacks of reworked material along with exclusive new notions generated by their infamous ‘System’ of software patches. Given so much time to roam, they explore a full spectrum of meters, tones and alien machine feels ranging from succinct hyper-symphonies to an hour long closing passage of unfathomably deep ambient music, all sequenced with a non-linear narrative arc influenced by the stunning 3rd series of Twin Peaks, and with distant echoes of their seminal, freeform Disengage shows for Kiss firmly in mind. Call it an album, call it a radio show, call it a massive excuse to lock yourself away for 8 hours, either way ‘NTS Sessions’ is a vital dispatch from the North Face models, with material such as the squirming tech-step of ‘North Spiral’ and the slimy electro of ‘Four Of Seven’ from the 1st session, or the footwork-esque ‘Gonk Tuf Hi’ from the 2nd, and the free-floating structures of ‘Cluster Casual’ off the 3rd volume offering some deeply satisfying rhythmic convolutions for the dancers, whereas the preponderance of durational cuts, including highlights such as the hour long ‘All End’, the breathtaking visions of ‘Turbine Epic Casual, Stpl Idle’, and the plasmic wormhole of ’Shimripl Casual’ reach deep into the most abstract, amorphous nooks of their sound in a way comparable with visionary work from Roland Kayn or Iannis Xenakis. In other words, it’s fuucking mint.

File Under: Electronic
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Big Red Machine: s/t (Jagjaguwar) LP
In 2008, Aaron Dessner sent Justin Vernon an instrumental sketch of a song called “Big Red Machine” for the 2009 compilation Dark Was The Night. This was before they had met in person. Justin wrote a song to it, interpreting the “Big Red Machine” title as a heart. Ten years of friendship later, there are ten more songs. Each song includes a large number of collaborators via the PEOPLE platform and the record was produced by Justin and Aaron with longtime collaborator Brad Cook and engineered by Jonathan Low primarily at Aaron’s studio Long Pond in Upper Hudson Valley, NY. PEOPLE is a steadily growing group of international artists who have come together to create and share their work freely, with each other and everyone. It was born out of a wish to establish an independent and nurturing space in which to make work (generally around music) that is collaborative, spontaneous and expressive in nature and where all unnecessary distractions or obstacles that get in the way are removed. PEOPLE is for the benefit and development of the artists involved and just as importantly, for those who would like to access and enjoy the output. It is as much about the process of making work and showing all that openly, as the final outcome.

File Under: Indie Rock
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Mac DeMarco: 2 Demos (Captured Tracks) LP
To celebrate Captured Tracks’ 10th Anniversary, a limited edition pressing of the vinyl is now available on green vinyl. Limited to 5000 copies. Demos from Mac DeMarco’s critically acclaimed debut, 2.
Mac DeMarco: Salad Days Demos (Captured Tracks) LP
To celebrate Captured Tracks’ 10th Anniversary, a limited edition pressing of the vinyl is now available on white vinyl. Limited to 5000 copies. Demos from Mac DeMarco’s critically acclaimed sophomore album, Salad Days.

File Under: Indie Rock
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virgin witch

Ted Dicks: Virgin Witch (Trunk) LP
Unreleased baroque jazz horror score to controversial lesbian sex cult witchcraft exploitation drama from 1973, composed by Ted Dicks, the man who wrote the Catweazle theme. Ted Dicks is not that well-known as a composer these days, but back in the mid-1960s he was composing library music as well as penning some of the greatest comedy songs of the era, including “Hole In The Ground” and “Right Said Fred”. His work was performed by Kenneth Williams, Petula Clarke, Bernard Cribbins, Topol, and more. But until now, little has been known of his brief flirtation with film music. Virgin Witch was his first brush with film scoring — one of only two score he wrote. The film was produced by legendary wrestling commentator Ken Walton (under his sexploitation pseudonym of Ralph Solomans), with the help of Hazel Adair, a woman famed for co-creating the long running UK TV soap Crossroads. Virgin Witch was a racey film, turned down at least once for certification by the British Board of Film Classification (BBFC), passed uncut with an X for release just in London, then cut and passed for general release shortly afterwards. The score itself is a unique and quite beautiful pop baroque work, utilizing the cimbalom, an instrument more than likely played here by Ipcress File (1965) musician John Leach. A very limited release of a most unique 1970s pop horror lesbian witch score. Full color, eye-catching sleeve with great sleeve notes.

File Under: OST, Exploitation, Jazz, Funk
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Hildur Gudnadottir: Sicario: Day of the Soldado OST (Varese Sarabande) LP
In tomorrow… In Sicario: Day of the Soldado, the series begins a new chapter. In the drug war, there are no rules – and as the cartels have begun trafficking terrorists across the US border, federal agent Matt Graver (Josh Brolin) calls on the mysterious Alejandro (Benicio Del Toro), whose family was murdered by a cartel kingpin, to escalate the war in nefarious ways. Alejandro kidnaps the kingpin’s daughter to inflame the conflict – but when the girl is seen as collateral damage, her fate will come between the two men as they question everything they are fighting for.  Sicario: Day of the Soldado is the 2018 sequel to the globally successful 2015 film, Sicario, which earned composer, Johann Johannson an Oscar nomination for Best Score. The Original Motion Picture Soundtrack to Soldado was composed by Hildur Gudnadottir, a collaborator on the Sicario score, and a well-respected classically trained cello player who has recorded as a solo artist and collaborated with The Knife, Animal Collective, Hauschka, and Fever Ray. The New York Times calls Gudnadottir’s score, “relentlessly foreboding, throbbing… Her music creates the impression that ‘Day of the Soldado’ is a dark, high-stakes thriller, much as the bulked-up military hardware and souped-up operational jargon make it look like a war movie and the border backdrop gives it a sheen of sour topicality.”

File Under: OST
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Charlie Haden & Pat Metheny: Beyond the Missouri Sky (Verve) LP
In tomorrow… Though Charlie Haden and Pat Metheny recorded together in many different contexts, 1997’s Grammy Award-winning Beyond The Missouri Sky (Short Stories)  marked their first duet recording. One of the most celebrated figures in jazz, Metheny’s creativity, like Haden’s, knows no boundaries and Beyond The Missouri Sky is the culmination of a 25 year friendship of two of America’s premier musicians. These “short stories” add up to a moving, beautiful anthology of American music. “I have always admired Pat’s musical vision, his melodies, chords and voicing are unique unto him. He is an innovator in the sound he gets, as he is in his composing and improvising. His musical presentation is always beyond category, and his sense of the sound in music that comes from the feeling of this country is uncanny. Of course, he is from Missouri, as am I, which surely has something to do with it. I call his sound contemporary impressionistic Americana,” says Haden. Adds Metheny, “Charlie has been a huge influence on me as a musician and as a person. He is simply one of the greatest improvising musicians ever, and his bass playing has set the standard for what is now several generations of musicians. It was an honor to be asked by Charlie to make this record. For me, personally, this is one of the most special recordings I’ve ever been a part of.”

File Under: Jazz
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Catherine Christer Hennix: Selected Early Keyboard Works
(Blank Forms) LP
Selected Early Keyboard Works is the first in a series of planned archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It comes hot-on-the-heels of Traversée Du Fantasme at the Stedelijk in Amsterdam, Hennix’s first solo museum exhibition in over 40 years, and coincides with both Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of her writing, and the closing of Thresholds of Perception, a retrospective archival show of Hennix’s visual work at The Empty Gallery in Hong Kong. The record also marks the first time Hennix’s own music has been given a full-length vinyl issue. In 1976, Catherine Christer Hennix’s just intonation live-electronic ensemble The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. Culled from rehearsal tapes recorded during the ten-day Dream Music Festival, Selected Early Keyboard Works features three pieces of minimal music, performed by Hennix on tunable electric keyboards. “Mode Nouvelle Des Modalités”, for well-tuned just intonation Fender Rhodes and sine wave drone, is a consummate expression of Hennix’s formative years, a probing meditation giving the mercurial quality of early electronic music an instrumental life replete with the dexterity of Cecil Taylor and shades of Paul Bley’s synthesized reveries. “Equal Temperament Fender Mix”, performed on the same Rhodes but in twelve-tone equal temperament tuning, employs a tape delay system not unlike that used famously by Terry Riley, here towards more somber, hallucinatory means. Hennix is joined by Hans Isgren for the collection’s centerpiece, “The Well-Tuned Marimba”, for well-tuned Yamaha, sheng, sine wave, and live electronics. Using the same approach and just intonation keyboard featured on Hennix’s The Electric Harpsichord (2010), but with marimba in place of harpsichord stops, the piece is an undulating marvel of lysergic drone, equally deserving of its companion’s status as “THE obscure masterpiece of the days of the early American minimalism”. Now accessible for the first time, these recordings only begin to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century. Tape transfer and master cut by Andreas (Lupo) Lubich. Audio restoration and mastering by Stephan Mathieu.

File Under: Experimental
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Interpol: Marauder (Matador) LP
Interpol follows-up 2014’s El Pintor with their sixth studio album, Marauder. For the first time since 2007’s Our Love to Admire, the band has opened themselves up to the input of a producer. For two-week spells between December of 2017 to April of 2018, they traveled to upstate New York to work with Dave Fridmann – famed for recording with Mercury Rev, Flaming Lips, MGMT, Spoon, Mogwai, and countless more. In the run up to writing and recording, Sam Fogarino found himself immersed in soul drummers such as Al Jackson Jr (Otis Redding’s drummer) and 80’s funk producers Jimmy Jam and Terry Lewis. “How can I make shit swing?” was the question Sam repeatedly asked himself, and the answer is in the striding gallop of opener “If You Really Love Nothing,” the embellished skip ‘n’ bounce of “Stay in Touch” and the R&B swagger of closer “It Probably Matters.” Interpol have always been world-beaters at creating a feeling, but Marauder is where the feel is just as crucial. Paul Banks may have stepped out of the shadows as a bassist, but he steps into an even brighter light as a songwriter here. During Interpol’s previous albums, the singer largely kept himself out of his own work, preferring to fill his lyrics with detached thoughts, characters, and observations, often phrased in abstract. But more than 20 years on since forming at NYU, the frontman is finally allowing himself to play a role in his own stories. “Marauder is a facet of myself,” he explains. “That’s the guy that fucks up friendships and does crazy shit. He taught me a lot, but it’s representative of a persona that’s best left in song. In a way, this album is like giving him a name and putting him to bed.”

File Under: Indie Rock
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Kamal Keila: Muslims & Christians (Habibi Funk) LP
“Songs about the unity of Sudan, peace between Muslims and Christians and the fate of war orphans, backed by grooves equally taking influence from Arabic sounds, American funk as well as neighboring Ethiopia. Kamal Keila was among the first artist we met in Sudan during our two trips to Khartoum and Omdurman last year. He is one of the key figures of the Sudanese jazz scene that was a vital part of the musical culture in Sudan from the mid-1960s until the Islamist revolution in the late 1980s. When we meet Kamal he luckily presented us with two mold covered studio reels. Each tape included five tracks. One with English lyrics and another with Arabic ones. Musically you can hear the influence of neighboring Ethiopia much more than on other Sudanese recordings of the time, as well as references to Fela and American funk and soul. His lyrics, at least when he sings in English which gave him more freedom from censorship, are very political. A brave statement in the political climate of Sudan of the last decades, preaching for the unity of Sudan, peace between Muslims and Christians and singing the blues about the fate of war orphans called ‘Shmasha’. A note inside one of the boxes specified the track titles, durations and the fact that the sessions were recorded on the 12th of August 1992. Both sessions stand as a hearable testament how Kamal Keila stuck to a sound aesthetic from decades ago, while incorporating current events into his lyrics. Kamal Keila’s album is the first in a series of releases covering the Sudanese jazz scene on Habibi Funk. Be on the lookout for albums by The Scorpions and Sharhabeel coming soon.”

File Under: Funk, Soul, Afrobeat
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Konrad Kraft: Arctica (Tal) LP
Includes full-size insert and download code; Edition of 400. Tal present the first reissue of Konrad Kraft’s Arctica, originally released on cassette on SDV Tonträger in 1987 in a handmade edition of about 50 copies. Pioneering production from the Düsseldorf mid ’80s electronic underground world. Transferred for the first ever time from the original cassette to vinyl and CD. Konrad Kraft (Detlef Funder) is one of the still overlooked producers of Düsseldorf’s fertile electronic music scene. Reduced to its essential musical elements, Arctica certainly contains some of the most uncategorizable and bewildering pieces of mid-eighties electronic music. Set between the areas of post punk and early techno, the album undulates between analog as well as digital instrumentation. After Konrad Kraft’s appearance on the enthusiastically received compilation Sammlung: Elektronische Kassettenmusik, Dusseldorf 1982-1989. Cassettes were the medium of choice for self-produced recordings at the time. At the time of the Arctica sessions, the newly set up SDV studio consisted of a Tascam 38, an eight-track tape recorder, and only a handful of synthesizers such as a Roland JX3P and a Korg Monopoly. The style of Konrad Kraft’s productions displayed (ever since and up until today), a strong adherence to an idea of continual self-creation and a quality of wanting to be responsible for one’s own identity. Even three decades after its recording, Arctica still evokes images of an expedition into an edgy cold place which has strange wonders, polar lights, structures of ice and innumerable worlds and creatures in store. Konrad Kraft (who today runs Paraschall mastering studios): “In the early ’70s I got a transistor radio as a gift and immediately fell in love with the shortwaves. So many different sounds that was truly fascinating. I can imagine that nowadays as music is endlessly compressed to fit into mobile phones and as music on the radio sounds dreadfully the same, there might be a renewed interest by a young generation in discovering electronic sounds. I can listen to Arctica much better now than when it originally came out, because there is a distance which allows me to approach the recordings on a more neutral plane . . . Arctica seems to sound even more contemporary today than it did in 1987.”

File Under: Electronic, Minimal
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Lemon Twigs: Go To School (4AD) LP
A musical conceived by brothers Brian and Michael D’Addario, The Lemon Twigs’ ambitious 15-track opus Go To School was written, recorded, produced and mixed by the pair at their home in Long Island, NY. Their second album overall tells the heartbreaking coming-of-age story of Shane, a pure of heart chimpanzee raised as a human boy as he comes to terms with the obstacles of life. Todd Rundgren and the D’Addario’s mother Susan Hall play Shane’s parents. The album also features contributions from Jody Stephens (Big Star) and their father Ronnie D’Addario. The Lemon Twigs emerged in 2016 with their debut LP Do Hollywood, which was praised by Rolling Stone for “toting hooky songs that stand out for their intricate arrangements and delectable melodies” and NPR Music who mused, “Like listening to music from a time that never was…a baroque rock romp.” The band quickly earned fans in Elton John, Questlove, and Jack Antonoff among many others, the latter of whom said, “Prediction: The Lemon Twigs will usher in a new phase of rock.”

File Under: Indie Rock
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Modern Minds: Go (Ugly Pop) LP
This Edmonton outfit formed in January 1979, playing a raw but melodic punk influenced by Buzzcocks and Undertones. Quickly developing a reputation as one of the city’s finest underground live groups, they went into the studio to record four tracks, three of which would appear on an excellent 7″ EP, ‘Theresa’s World’, in 1980. As was so often the case with tremendous groups of the era, The Modern Minds soon went their separate ways, frontman Moe Berg going on to real commercial success with his next group, The Pursuit Of Happiness. This new Ugly Pop LP collects the original EP and eight more unreleased studio cuts, along with a deluxe gatefold insert featuring photos and new liner notes.

File Under: Punk
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The Mods: Reactions (Ugly Pop) LP
Among cognoscenti of the era, this Toronto unit are known for one of the great lost singles of early Canadian punk. As great as 1978’s ‘Step Out Tonight’ 45 was, however, there was much more where that came from. Filtering the clear inspiration of mid ’60s Who and Kinks through the aggressive delivery of such contemporaries as The Jam and The Clash, The Mods honed their attack into an unstoppable rush, hard-edged but melodic, and began working on a planned major label LP that never did materialise. This new Ugly Pop LP includes the single and highlights of the aborted album session; hyperbole aside, it’s an astonishingly good record, and one of the best we’ll ever release. New liners and rare pictures inside.

File Under: Punk
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Mogwai: Kin OST (Temporary Residence) LP
Scotland’s Mogwai are not only legendary experimental rock icons, but also well-established soundtrack titans – sound sculptors behind an impressive spectrum of cinematic releases (both full soundtracks and contributions): Including their last film soundtrack, Atomic (2016), there’s been consistent acclaim through Michael Mann’s Miami Vice (2006), The Fountain (2006, collaborating with Clint Mansell and Kronos Quartet), Zidane: A 21st Century Portrait (2007), Amnesty International’s PEACE project (2010), international hit French TV series Les Revenants (2013), and Leonardo DiCaprio’s climate change documentary Before The Flood (2016) alongside soundtrack Oscar-winners Trent Reznor and Atticus Ross. The staggeringly prolific force that is Mogwai return less than a year after their standout new album, Every Country’s Sun, to provide the soundtrack to the anticipated, acclaimed new sci-fi major motion picture, KIN. Like their beloved soundtracks to Atomic and Les Revenants, KIN uses the band’s original score as the genesis and point of departure for an expanded, fully developed album of new songs. KIN is cinematic maximalism and synth-rock minimalism delivered with the signature introspective grace that has defined and refined Mogwai’s decades-long reputation.

File Under: OST, Post Rock
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Nurse with Wound: Homotopy to Marie (Rotorelief) LP
Silver and black vinyl version. Metallic gatefold sleeve. Rotorelief present a reissue of Homotopy To Marie. the fifth album by Nurse With Wound, originally released in 1982. Music and sleeve created by Steven Stapleton. The album is “a step on from the Dadaist rock of Merzbild Schwet, with much use of tape manipulation and classical avant-garde techniques”. The album, which combines tape edits with resonating gong tones and disembodied children’s voices to create a sonic collage, is far removed from the harsh improvisations of the group’s early albums. The title of the brief closing track derives from a passage from “Les Chants de Maldoror” (1869), a surreal poetic novel written by Le Comte de Lautréamont. This appropriation of a phrase from Maldoror is shared in common with the title of Nurse With Wound’s debut album, Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella (1979); both phrases appear in Lautréamont’s work. The album was first issued on Stapleton’s own United Dairies label on vinyl, cassette, and later in remastered compact disc including an extra track “Astral Dustbin Dirge”. This masterpiece reissue is the official full, double album from the original recording sessions. The four tracks from the original LP are accompanied by additional recordings from the same period. This second, double album masterpiece in the “silver collection” of Nurse With Wound albums, is a technically better, crystal clear performance, in comparison to the original 1982 cut.

File Under: Experimental, Industrial
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MFM033LP_CU - CopyOrquesta de las Nubes: The Order of Change (Music from Memory) LP
The subject of Music From Memory’s compilation here focuses on Suso Saiz’s output as part of the group Orquesta De Las Nubes, formed by Suso Saiz and percussionist Pedro Estevan when the two met whilst studying a course on “Techniques of Contemporary Composition” in Madrid. Following on from a retrospective compilation of solo work and an album of recent work in 2016, Music From Memory continue to explore the work of Spanish ambient and experimental pioneer Suso Saiz. Sharing a curiosity for American minimalist and non-western music, the pair began to share music through many listening sessions, during which the idea slowly evolved to try and make music together. Pedro’s partner at the time, soprano singer María Villa, would later join the two on vocals. With Suso’s sparse use of guitar loops, synthesizers, and drum computers in combination with the hypnotic percussion of Pedro Estevan and the wordless drifting vocals of María Villa, Orquesta De La Nubes would evolve as a group with a truly unique musical language; an ethereal and almost otherworldly musical realm. Developing at first as a live act, through a number of performances in Madrid and beyond, Orquesta De Las Nubes was very much connected with, and inspired by, the avant-garde arts scene in Madrid at the time. Throughout their shows, a close circle of friends, including a number of painters, sculptors, and designers, would collaborate with the trio to create unique imagery and elaborate stage sets for the group’s performances. Yet, despite the growing fascination surrounding Orquesta De Las Nubes’ live performances, the trio would however find it extremely difficult to find a label willing to release their music on record. The group’s then manager Silvia Lovosevic therefore decided to set up her own label Linterna Música in order to make the work available. The group would release three albums between 1983-1987, two on the Linterna Musica label as well as an album and CD compilation of live tracks on the cult Spanish label Grabacionnes Accidentales. Between this period, the trio would also team up with American percussionist Glen Velez to record as the group Musica Esporadica; a one-off project in which they recorded a single album of the same name in 1985.

File Under: Electronic, Ambient, New Age
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parmegiani - CopyBernard Parmegiani: Les Soleils de L’ile de Paques / La Brulure de Mille Soleils (WRWTFWW) LP
WRWTFWW Records announce the release of two never-released-before soundtracks by French award-winning composer, audio experimenter, electroacoustic, and musique concrète magician, and all-around sound visionary Bernard Parmegiani, sourced from the original reels, and with English and French liner notes. Les Soleils De l’Île De Pâques (1972), by French director Pierre Kast, is a sci-fi feature which secured itself a well-deserved place in the pantheon of mysterious cult films thanks to hallucinatory (and superb) cinematography, exploration of supernatural phenomenon and occult symbolism, and one hell of a trippy atmosphere. La Brûlure De Mille Soleils (1965) also comes from Pierre Kast, but this time with the help of none other than writer, photographer, multimedia artist, homme à tout faire Chris Marker — notably known for films La Jetée (1962), A Grin Without a Cat (1977), and Sans Soleil (1983) — who edited this bizarre short to brain-melting results that live up to the promises of its synopsis: A depressed millionaire poet, accompanied by his cat Marcel and a sign language robot, travels in time to shake a persistent feeling of ennui and falls hopelessly in love with a woman from another planet. ‘Nuff said! A renowned member of the prestigious GRM (Groupe De Recherches Musicales, the French equivalent of the BBC Radiophonic Workshop) and frequent collaborator of Pierre Schaeffer, Iannis Xenakis, and Pierre Henry, among others, Bernard Parmegiani does what he does best with these two rare soundtracks: create moods with electroacoustic experimentation, elevating the weird and hypnotic with soundscapes from other dimensions, and cementing his status as a true innovator.

File Under: Electronic, AvantGarde
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phew - CopyPhew: Voice Hardcore (Mesh-Key) LP
“Living legend Phew follows up her brilliant Light Sleep album with another masterwork — Voice Hardcore — comprised entirely of her iconic, instantly recognizable voice, twisted, folded and layered over six mesmerizing tracks. Recorded at home in summer 2017, this release finds Phew exploring an idea she first hatched while recording her debut single ‘Finale’ in 1980 — to, in her words, ‘ make new reverberations that I have never heard before, using only my body.’ 37 years later, Phew proves herself again to be the exception to the rule — a veteran artist with an estimable catalog spanning decades who, rather than repeating herself or playing it safe, charges headfirst into uncharted territory. Phew’s self — released tour CD of Voice Hardcore was voted # 23 Best Album of 2017 by The Wire Magazine. This Mesh-Key vinyl edition features a silver foil stamped cover and a double-sided, full color insert, and comes with an mp3 download card.”

File Under: Experimental
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LDS08817_ - CopyScientists: Weird Love (Numero) LP
Unhinged Aussie grunge captured just as the Scientists were imploding/attempting to explode. Recorded over three days in February 1986, Weird Love is the band’s last ditch effort to bring their bad vibes to bedrooms the world over, a colossal failure and brilliant mistake that sounds best when blasting out of a 1982 Corolla’s blown Alpine tweeters. “The Scientists proved to me that rock ‘n’ roll could be played by gentlemen in fine silk shirts half unbuttoned and still be dirty, cool and real.” – Thurston Moore “They wrote fantastic singles and looked like they just crawled out of the ooze. What more could you ask for?” – Warren Ellis “The Scientists turned my head around and made a man out of me! They grew hair on my palms and made my socks stink!” – Jon Spencer

File Under: Garage, Punk
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shovels - CopyShovels & Rope: Predecessors (Dualtone) 3LP
Cary Ann Hearst and Michael Trent (known jointly as the Americana/folk duo Shovels & Rope) started their career performing independently as solo artists, each releasing records under their own names in the mid-to-late aughts and early 2010’s. In 2008 they released the album titled Shovels & Rope as a collaboration and the two artists decided to tour together. Performing live, they’d play together on songs from Hearst’s Lions and Lambs (2011), Trent’s The Winner (2010), and their collaborative album, creating the first live glimpses of the band that would eventually become Shovels & Rope. Dualtone is excited to offer these early individual solo albums alongside early collaborations in the form of Predecessors, a three LP package featuring Hearst’s Lions and Lambs, Trent’s The Winner, and a third LP with never-before-released material from Shovels & Rope’s archives.

File Under: Folk

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Mako Sica & Hamid Drake: Ronda (Feeding Tube) LP
“Brilliant, inspired and somewhat surprising collaboration between Chicago’s premier free-rock trio and the truly legendary percussionist, Hamid Drake, who has played with everyone from Don Cherry to Peter Brötzmann to Lee Perry. This collusion was precipitated by Matt Jackowiak, a mutual friend, who thought a merging of their sounds might make for an ecstatic explosion. This feeling became mutual after they played a show together at Constellation. The set mixes Mako Sica tunes with improvisations that took everyone to places they hadn’t expected, and the trip was deemed an utter success. Ronda was done at two sessions, scheduled around Hamid’s insanely busy work schedule. The first was at Jamdek with Douglas Malone at the board, the second was at Electrical Audio with Taylor Hales. The Electrical session allowed the players access to a host of additional instruments, so the sonic palette on ‘Dance With Waves’ and ‘Emanation’ is wider and somehow more cosmic than usual. But the whole album has an extraordinary depth and width of sound. Even the great songs Mako Sica has had in its set for a while like ‘The Old Book,’ gain whole new levels of otherness here, and the material based in quartet improvisations, like ‘The Wu Wei,’ explores wild new territory for the band. Ronda (named after a town in southern Spain with a famous 18th Century bridge crossing a deep gorge) is the first span connecting the disparate musical worlds of Mako Sica and Hamid Drake. Let us hope it is but the first of many.” –Byron Coley, 2018 Edition of 500.

File Under: Jazz

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Television: Marquee Moon (Rhino) 2LP
Released in 1977, Marquee Moon is the highly-acclaimed debut album from Television. The deluxe LP contains the original album plus an additional LP of bonus tracks that featured on the 2003 remastered CD. Presented on 2LP, mixed blue vinyl.

File Under: Rock, Punk
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Thou: Magus (Sacred Bones) LP
Though often lumped in with New Orleans sludge bands like Eyehategod and Crowbar, Thou shares a more spiritual kinship with ’90s proto-grunge bands like Nirvana, Alice in Chains, and Soundgarden (all of whom they’ve covered extensively, both in the studio and onstage). The band’s aesthetic and political impulses reflect the obscure ’90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc. From 2004 through 2016, the group has released four full-length albums, six EPs, two collaboration records with The Body, and enough material spread out over splits to make up another four or five LPs. Sacred Bones Records is proud to present the new album, Magus, Thou’s first full-length since 2014’s Heathen. In the months leading up to the release of the album, Thou will be issuing three drastically different EPs: The House Primordial on Raw Sugar, Inconsolable on Community Records, and Rhea Sylvia on Deathwish, Inc. Each record will focus on a particular sound – noisy drone, quiet acoustic, and melodic grunge – all of which is incorporated into the new LP, subsumed in the band’s more standard doom metal. While sonically, Magus may be a continuation of Heathen, thematically it stands as a stark rebuttal, a journey beyond the principles of pleasure and pain. It is more the culmination of these distinct EPs, which all orbit some internal black hole. FFO alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease.

File Under: Metal

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Piero Umiliani: Bollenti Spiriti (Cinedelic) LP
Cinedelic Records present a reissue of Piero Umiliani’s sound track for the 1981 film Bollenti Spiriti. Bollenti Spiriti is a film by Giorgio Capitani, one of the most prolific directors of the Italian sexy comedy genre, starring Johnny Dorelli and Gloria Guida. Maestro Piero Umiliani recorded the soundtrack in his innovative Suono Work-Shop Studios in Rome, fusing his love for jazz — a genre that since the ’50s has been a leading figure in Europe — and his unmistakable arrangements. Cinedelic Records reprints it here for the first time in a limited numbered edition.

File Under: OST, Library

werren - CopyPhillip Werren: Electronic Music (Manufacturing) BOX
“An astounding, epic journey into the more obscure areas of early electronic music, Phillip Werren’s Electronic Music is a wellspring of contemporary composition across four LPs. Originally released in 1971 in an edition of 100 copies, this impossibly rare piece of early Canadian electronic music has finally been reissued on vinyl in an exact replica box with a silk-screened cover. Electronic Music was recorded at Simon Fraser University (Vancouver), McGill University (Montreal) and Radio Warzawa (Poland) between 1967 and 1971. Influenced as much by serialism as by psychedelia and the occult, the album features elements of tape collage, voice, and experimental composition. Most of the recordings were performed on a Buchla System 100, one of the first modular synthesizers. An absorbing piece of the Canadian avant-garde, Electronic Music is a journey through space, sound, texture, and unbridled experimentation. Recommended for fans of artist ranging from Stockhausen, Xenakis, and Ferrari to Basil Kirchin, Conrad Schnitzler, Throbbing Gristle, and Coil –Manufactured Recordings’ reissue of Electronic Music aims to shed light on this crucially overlooked composer. Limited to 500 copies worldwide.”

File Under: Early Electronic, Avant Garde
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wildnothing - CopyWild Nothing: Indigo (Captured Tracks) LP
Although civilization’s transition into a cyborg world seems inevitable, there are still those who recognize the beauty and power of a human touch to complement the circumvention. Jack Tatum understands this balance, and through a decade making music as Wild Nothing he has learned to embrace both sides of that dynamic – but perhaps never as distinctly as on Indigo, the project’s fourth album. On one hand, it is a return to the fresh, transcendent sweep of his debut, 2010’s Gemini, and on the other, a culmination of heights reached, paths traveled, and lessons learned while creating the follow-ups, Nocturne and Life of Pause. Indigo finds Tatum at his most efficient, calculated, and confident – resulting in an artful blend of hi-fi humanity and technology that fires on all circuits and synapses. To make it, Tatum confronted the Man vs. Machine dichotomy by seizing on the surrounding synergy. Finding the right people to work on the LP was integral, as was the proper place to record it. So, Tatum booked four days at legendary Sunset Sound’s Studio. Afterwards, producer Jorge Elbrecht (Ariel Pink, Gang Gang Dance, Japanese Breakfast) and Jack built out the rest of the album’s sound by adding new parts and repurposing sounds from his demos. Indigo is its own cyborg world, utilizing the artful mechanisms of human touch with the precision of technology to create the classic, pristine sound Tatum had been seeking his entire career. From the opening drum beat, chiming guitar, and sweeping synth of “Letting Go” to Tatum’s Bryan Ferry vocal turn on “Oscillation” to the ’80s-heavy blips, clicks, and strut of “Partners in Motion,” it’s clear that Indigo is at once vintage Wild Nothing and a bold, new leap into a bigger arena.

File Under: Indie Rock
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teen expo - CopyVarious: Teen Expo: The Cleopatra Label (Numero) LP
From a basement in New Jersey, Tommy Falcone remade himself into a DIY Phil Spector. From 1962 to 1970, he founded and ran Cleopatra Records, discovered and mentored young Garden State talent, wrote songs and produced wild studio effects, and quit his day job to promote it all himself. Trained as an accordionist, Falcone had a whirlwind imagination and an omnivorous approach to genre, expressed through acts like the Centuries, the Tabbys, Johnny Silvio, the Inmates, Bernadette Carroll, the Hallmarks, Vickie & the Van Dykes, the Shandillons, Eugene Viscione, the Shoestring, and more. Cleopatra became a time-capsule of every 1960s pop style imaginable – garage rock, psychedelia, surf, girl groups, soul, novelties, exotica, even a crooner – a kaleidoscope of sound in search of the ever-elusive hit record.

File Under: RnB, Rock, Garage, Psych, Surf
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…..Restocks…..

1975: 1975 (Polydor)LP
Air: Moon Safari (Parlophone) LP
David Axelrod: Song of Innocence (Now Again) LP
Buffalo Springfield: What’s That Sound (Rhino) Box
John Coltrane: Both Directions At Once (Impulse) 2LP
Alessandro Cortini: Avanti (PIAS) LP
Daft Punk: Discovery (EMI) LP
Daft Punk: Random Access Memories (Columbia) LP
Ustad Zia Mohiuddin Dagar: Raga Yaman (Ideologic Organ) LP
Ustad Zia Mohiuddin Dagar: Ragas Abhogi (Ideologic Organ) LP
Brian Eno: Another Green World (Astralwerks) 2LP
Brian Eno: Before & After Science (Astralwerks) 2LP
Brian Eno: Here Come the Warm Jets (Astralwerks) 2LP
Brian Eno: Taking Tiger Mountain (Astralwerks) 2LP
Carla Dal Forno: Garden (Blackest Ever Black) LP
Gorillaz: Demon Days (Parlophone) LP
Howlin’ Wolf: s/t (Macomba) LP
Howlin’ Wolf: Moanin’ in the Moonlight (Macomba) LP
Ken McIntyre with Eric Dolphy: Looking Ahead (Down at Dawn) LP
Jackie McLean: Destination… Out! (Down at Dawn) LP
Roberto Musci: Tower of Silence (Music from Memory) LP
Parquet Courts: Wide Awake (Rough Trade) LP
Liz Phair: Girl Sound to Guyville (Matador) 7LP
Om: Advaitic Songs (Drag City) LP
U2: Achtung Baby (Universal) LP
Unwound: New Plastic Ideas (Numero) LP
Various: Welcome to Paradise Vol 1 (Safe Trip) LP
Various: Welcome to Paradise Vol 2 (Safe Trip) LP
Various: Welcome to Paradise Vol 3 (Safe Trip) LP

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…..news letter #861 – smoke…..

Well, it looks like the summer drought is over! Loads of hot new releases to tempt your ears. And with all that smoke out there you’ll need new tunes to keep you sane while you stay indoors all weekend. You can chill to the mellow sounds of Hosono, and when you get really frustrated with being stuck inside, you can smash things while listening to This Heat and wish you could have seen them back in 1980. Then bring yourself back down with the blissful vibes of Alice Coltrane. All in all, you’ll have a pretty awesome weekend.

CHECK OUT OUR WEBSTORE!

…..picks of the week…..

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This Heat: Made Available 
This Heat: Live 80-81

This Heat: Repeat/Metal
(Modern Classics) LP

Limited coloured vinyl versions! Formed in 1976 in Brixton, a multicultural, and – at the time – down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough. Given the difficult, abrasive, and involved nature of their furiously forward-thinking sound, This Heat never found anything approaching mainstream success, but patronage by the influential Radio 1 DJ John Peel meant they reached a national audience – whether that audience was ready for them or not. Made Available collects This Heat’s two Peel Sessions, recorded for BBC Radio 1 in April and October of 1977 and features essential songs that would later appear on their debut album, This Heat (1979) and the follow-up, Deceit (1981), as well as electro-acoustic works unique to these sessions. These are the earliest public recordings of the band, showing even in their infancy, masterful use of live tape loops and radical song structure. Following Modern Classics Recordings’ 2016 reissue campaign to mark the band’s 40th anniversary, these new releases Made Available, Repeat / Metal and Live 80 – 81 round out the story. Each release is sanctioned by surviving members Charles Bullen and Charles Hayward and features newly remastered audio sourced from original tapes.

File Under: Post Punk, Essential Grooves

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hosono

Haruomi Hosono: Paraiso
Haruomi Hosono: Philharmony
Haruomi Hosono: Omni Sight Seeing
(Light in the Attic) LP

In tomorrow! The first 3 in this amazing The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom. Following Tropical Dandy (1975) and Bon Voyage Co. (1976), Paraiso is the concluding saga in his “Tropical Trilogy.” The album can be seen as a turning point in Haruomi Hosono’s career, having been newly signed to Alfa Records by label head Kunihiko Murai. Hosono expands on the Van Dyke Parks-inspired tropical funk styles explored in the previous albums, and arrives at a captivating fusion sound that’s at times equally earthy and exotic. Hinting at the breakthrough sounds he would perfect with Yellow Magic Orchestra, Hosono uses synthesizers to provide otherworldly textures and a spiritual undertone to songs like “Femme Fatale” and the title track. On his Caribbean-style take on the Okinawan folk song “Asatoya Yunta” and the synth/gamelan workout of “Shambhala Signal,” Hosono takes traditional melodies and mixes them into his own inimitable stew. Featuring a host of well-known musicians like Taeko Ohnuki, Hiroshi Sato and his future bandmates Yukihiro Takahashi and Ryuichi Sakamoto, Paraiso perfectly encapsulates Hosono’s eccentric worldview that has shaped his solo career, right before his techno-pop project would blast him into the stratosphere. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno. Admired by artists ranging from Devendra Banhart to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Following YMO’s first wave of success, Hosono took a break from the group and, with help from Alfa Records head Kunihiko Murai, established Yen Records in 1982. The label’s inaugural release was Philharmony, a masterwork recorded almost entirely by Hosono himself at his brand new LDK Studio. With unlimited studio time and freedom to explore, Hosono let himself loose with an array of synthesizers and the latest gadgets, from the Prophet 5 to the E-mu Emulator – all listed as “guest performers” in the album credits. Inspired by the possibilities opened up by these music-making tools, Hosono found new ways to approach his songwriting, resulting in a set of songs that showcase his ability to constantly and consistently innovate and create new standards. With ambient synthscapes like “Luminescent/Hotaru” and the abstract sample-based expressionism of “Birthday Party” sitting perfectly in tune alongside pop favorites like “Sports Men” and “L.D.K.”, Philharmony is one of the most well-loved of Hosono’s albums, and a favorite of the artist himself. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world. Omni Sight Seeing, originally released in 1989 during YMO’s initial hiatus, is an exhilarating musical journey around the world as filtered through Hosono’s kaleidoscopic lens. This work stands as a manifestation of his concept of “Sight Seeing Music,” putting his own tasteful spin on the “world” music encountered during his explorations of global cultures. From Japanese minyo and Algerian rai, to American swing jazz and the self-described, extraterrestrial “Ether music,” his eclectic influences coalesce into a sound that is unmistakably Hosono’s, and many consider this album to be the perfect summation of his mastery of pop music forms. Partly recorded in Paris with assistance from producer Martin Meissonnier (Don Cherry, Fela Kuti) and contributions from French-Tunisian singer Amina, omni Sight Seeing includes the mysterious “Orgone Box” (inspired by Wilhelm Reich and Steve Reich), the acid house “Laugh-Gas” (inspired by Rococo and the French Revolution) and the serene fan favorite “Pleocene” (conveying an “oceanic feeling”). Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.

File Under: Japan, Pop, Electronic, Synth Pop, Ambient
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…..new arrivals…..

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7FO: Ryu No Nukegara (EM) LP
In tomorrow! 7FO: pronounced “nano f o” in English, “nana” being seven. Ryu no Nukegara: “dragon’s husk”. These are the only difficulties you’ll encounter here. This is warm, friendly, very relaxed music, very “understandable” and yet intriguing, sure to appeal to fans of electronic ambient, dub and chill-out music, as well as artists like Haruomi Hosono, Captain Ganja, La Monte Young, Equiknoxx and Tapes. The Osaka-based 7FO combines groovily sparse electronic percussion with similarly sparse dub-feel synth bass, as well as pentatonic synth and steel pan melodies, the latter with an intriguing Okinawa/Sunda/Malay feel. Sparkling dub-influenced processing and thoughtful mixing gives us a music which is trans-oceanic, warm, and enveloping. Following releases on RVNG, Bokeh Versions and Metron, Ryu no Nukegara is available on digital, CD and 12” LP, featuring a suite of four tracks and the 20-minute title track, whose titular dragon is Asian: a potent symbol of water, strength and good luck.

File Under: Electronic, Ambient, Dub
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animal

Animal Collective: Tangerine Reef (Domino) LP
Tangerine Reef is a full-length audiovisual album by Animal Collective (Avey Tare, Deakin and Geologist), in collaboration with Coral Morphologic, to commemorate the 2018 International Year of the Reef. Tangerine Reef is a visual tone poem consisting of time-lapse and slow pans across surreal aquascapes of naturally fluorescent coral and cameos by alien-like reef creatures (note: no CGI or artificial enhancement was used in this film). Tangerine Reef is the sight and sound of a literal underwater collective of animals. In 2017, the Borscht Film Festival commissioned Coral Orgy, a collaborative site-specific performance by Animal Collective and Coral Morphologic ‘celebrating the cosmic synchronicity of sex on the reef’ in the Frank Gehry-designed New World Center on Miami Beach. The success of this performance ultimately led to this studio recording of Tangerine Reef and a subsequent performance at David Lynch’s Festival of Disruption earlier this spring at Brooklyn Steel in Brooklyn, NY.

File Under: Psych, Indie Rock
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benni

Bênní: The Return (Goner) LP
In tomorrow! Benny Divine’s impressive musical CV includes quantities such as The Gary Wrong Group, Wizzard Sleeve and Nashville’s prolific purveyor’s of Foghat-pop, Natural Child, but it was just a short year ago that Goner gave wide release to the Bênní debut album, I & II, which launched the new sub-genre we now know as “Hi-NRG New Age” and had its creator casually glancing over his shoulder for the rumored mobs of outraged Skyfax, Mannheim Steamroller and Windham Hill Records loyalists that could never quite catch up to his live performances, as they were not listed in back issues of TV Guide and Reader’s Digest: Large Print Editions. Whereas I & II was, as its title explicitly implicates, the combination of two previously-released cassettes, The Return is a nine-track song-cycle composed for the full-length format. Imagine this album as an alternative historical narrative: not as a source of soundtrack afterthought, but rather the initial spark of inspiration for an entire ’70s sub-genre of gritty crime and science fiction films. Additionally, the fuzzy electro-pop chops are just as impressive as the spacey burps and gurgles that made his debut so gripping.

File Under: Electronic, Synthwave
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coltrane

Alice Coltrane: Lord of Lords (Superior Viaduct) LP
In tomorrow! Originally released in 1972, Lord Of Lords was Alice Coltrane’s final album for Impulse! and the last installment in her awe-inspiring trilogy that also included Universal Consciousness and World Galaxy. While all three records featured strings alongside a jazz ensemble, Lords Of Lords stood apart from its predecessors due to the sheer size of the orchestra (12 violins, 6 violas and 7 cellos, arranged and conducted by Coltrane herself) and its refined, blissful performances—shining a vital light on the devotional path that she would follow for the rest of her career. On the first two pieces, “Andromeda’s Suffering” and “Sri Rama Ohnedaruth” (titled after the spiritual name for her late husband), Alice’s dazzling piano and harp blend perfectly with the blanket of strings, while the haunting rhythm section of Charlie Haden and Ben Riley and a magnificent, droning electric organ emerge immaculately on the title track and closer “Going Home.” Coltrane’s musical vision is bold in its imagination and cosmic in scope, yet remains intensely personal and immediate. Lord Of Lords points inward as much as to the beyond, recalling her classical roots and recasting Eastern modes to radically invert the American avant-garde and spiritual jazz traditions. This first-time vinyl reissue has been carefully remastered from the original master tapes.

File Under: Jazz, Spiritual Jazz
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cruise

Julee Cruise: The Voice of Love (Sacred Bones) LP
Twenty-five years after its initial release, Julee Cruise’s sophomore album The Voice of Love is being issued for the first time on vinyl. It would mark the final full-length collaboration between Cruise, David Lynch, and Angelo Badalamenti. In 1994, after the release of Twin Peaks: Fire Walk With Me, Lynch, Badalamenti, and Cruise returned to the studio with new compositions as well as the intent to craft previously instrumental score-based material from Fire Walk With Me and Wild at Heart into Julee Cruise songs. The result was 1993’s final studio album The Voice of Love. “In the studio, David would always say ‘[sing] like an angel…” Cruise remembers. In many ways, this quest for “angelic” was the seed that grew an entire genre out of the inability to utilize This Mortal Coil’s “Song to the Siren” for Blue Velvet. It’s eerie to ponder what might not have been had the song actually been within reach for that film. Fitting that all these years later, Twin Peaks concluded on a similar question followed by Cruise’s performance of “The World Spins”: What happens if Laura Palmer was never murdered?

File Under: Electronic, Jazz, Pop
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death cab

Death Cab For Cutie: Thank You For Today (Atlantic) LP
Thank You for Today is the sound of Death Cab for Cutie both expanding and refining; a band 20 years into its evolution, still uncovering new curves in its signatures, new sonic corners to explore. The Seattle band’s ninth studio album, recorded in L.A. with producer Rich Costey in late 2017 and early 2018, stands alongside classic albums like their 1998 debut Something About Airplanes and 2003’s masterful Transatlanticism as a definitive collection – 10 tracks that are by turns beautiful and dynamic and darkly anthemic and bittersweet. On songs such as the kinetic “Gold Rush,” “Northern Lights” and “You Moved Away,” Ben Gibbard ruminates on the flux going on in his hometown, and weaves a thread throughout the album about how interconnected geography is with memory, and how hard it can be to hold onto places, and to people, too. Thank You for Today marks the first Death Cab for Cutie release to see long time bandmates Gibbard, Nick Harmer, and Jason McGerr joined in the studio by new members Dave Depper (Menomena, Fruit Bats, Corin Tucker, Ray Lamontagne) and Zac Rae (My Brightest Diamond, Fiona Apple, Lana Del Rey, Gnarls Barkley). Depper and Rae have both been part of Death Cab’s touring band since 2015.

File Under: Indie Rock
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forma

Forma: Semblance (Kranky) LP
In tomorrow! Brooklyn trio Forma’s latest album continues their mission to “broaden the idea of what an electronic music ensemble can sound like.” Semblance emerged from exploratory sessions at The Schoolhouse, the Bushwick loft where members Mark Dwinell and John Also Bennett live, then was tracked at Gary’s Electric studios, where their previous album Physicalist was also recorded. Inspired by polyrhythmic composition, the human voice, and conceptual improvisation strategies, the songs are striking in their textural detail and emotional nuance, alternately synthetic and sentient, futuristic and intuitive. Incorporating flute, piano, guitar, saxophone, acoustic drums and cymbals alongside an array of synthesizers, the record persuasively demonstrates the group’s unique playing abilities and fluid chemistry—attributes they credit to “techniques we’ve developed to trick our electronic machines into mimicking the spontaneous character of live instruments.” Members George Bennett and John Also Bennett also cite as an influence their recent stint in minimalist composer Jon Gibson’s ensemble, performing his 1973 proto-ambient masterwork Visitations. The long-form modal piece requires restraint and deep listening to execute, qualities especially apparent in the more muted moments of this album, such as “Rebreather” and “New City.” The group states the intent of the new album as “to be more direct and exacting”, which it is. Over half a decade spent writing and recording together has distilled the band’s hybrid electro-acoustic interplay into an attuned and astounding language, capable of articulating impossible symmetries and reflective states. The stunning visuals of the artwork are by frequent collaborator Peter Burr.

File Under: Electronic, Ambient
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helios

Helios: Veriditas (Ghostly) LP
Veriditas, the sixth Helios full-length, shares its name with 12th-century philosopher Hildegard von Bingen’s notion of “the greening power of the divine,” the term derived from the union of two Latin words: green and truth. Bingen saw the abundance of the earth as vitality to be cultivated, interconnected with the body and spirit. Take the concept in concert with Veriditas’ vistas of sound, gazing beyond the tree-lined wonder on its artwork, and we undoubtedly recognize the album’s rooting. Keith Kenni elaborates, “While I’m not a very spiritual person as it relates to a religious belief, I do feel an overwhelming connection between the aesthetics I find pleasing in my experience of nature and my experience of writing music.” Veriditas introduces unusual shapes and landscapes to the Helios catalog. Whereas past songs have followed traditional structures – discernible bell curves with beginnings, arcs, and ends – the focus here is texture and harmony. “I wanted to explore emotionality within something more static.” Synth-tones radiate and hum as vignettes, often crisp and cloudless, other times smeared to a queasy Boards of Canada-like unease. The latter burbles below the last moments of “Eventually” and looms over the opener “Seeming” like darkness inching across a forest. Tracks cease at will. “Seeming” fades just after a sliver of light cuts through the mossy pillars. “Latest Lost” mists for just one minute. “Row The Tide” for two, hovering like a helium balloon lost to the horizon. “Even Today” hangs above the snowcaps, suspended in an upper arboreal sequence, as shimmering surges of static trace the treetops below. Moments on Veriditas pass quickly, but as a series of moments, they are fluid, almost regenerative. Disassembling the album by instruments is difficult. Unlike past Helios work, there is no percussion. The one straightforward use of guitar appears on the ambling “Upward Beside The Gale,” strummed solemnly as if over end credits, watching the greenery lapse to grey in the twilight. In the second half of “Dreams,” crystalline piano chords converse with washes of orchestral notes and deep drone, advancing towards temporal clarity, a lookout point, that once presented evaporates. In a way, Veriditas parallels the path of the Helios project to date: patient, immense, and wondrous without ostentation. Kenni continues to find a soothing and centering quality in his craft. Aligned with Hildegard von Bingen’s philosophy, Kenni looks towards sound, like many do to nature, for momentary vigor, for elemental and nourishing prolificacy. Here, in pursuit of viriditas, with precise textures and harmonies, he humbly extends that verdant expression outward, wide and pliable.

File Under: Electronic, Ambient
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kozelek

Mark Kozelek: s/t (Caldo Verde) LP
This eponymous new album from singer-songwriter Mark Kozelek was recorded at Mark Hopkins Hotel, Seal Rock Inn and Hyde Street Studios in San Francisco, California from May 2017 through January 2018. All of the instrumentation on the record was overseen by Kozelek himself except drums on “Sublime” by Steve Shelley. “The album was recorded at hotels to take a break from the dark, windowless atmosphere of studios, and to see how atypical recording environments would affect my music,” Kozelek explained. Lead single and album opener “This Is My Town” is an ode to San Francisco and references local heroes the Grateful Dead.

File Under: Indie Rock, Sun Kil Moon, Red House Painters
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mitski

Mitski: Be the Cowboy (Dead Oceans) LP
The breakout success of 2016’s Puberty 2 saw Mitski hailed as the new vanguard of indie rock, the one to save the genre from the white dudes who’ve historically dominated it. But the often overlooked aspect of being a rising star is the sheer amount of work that goes into it. “I had been on the road for a long time, which is so isolating, and had to run my own business at the same time,” Mitski explains, “a lot of this record was me not having any feelings, being completely spent, but then trying to rally myself and wake up and get back to Mitski. I was feeling really nihilistic and trying to make pop songs.” We want our artists to be strong but we also expect them to be vulnerable. Rather than avoiding this dilemma, she addresses directly the power that comes from appearing impenetrable and loneliness that follows. “With a lot of the romantic infatuations I’ve had,” she says, “when I look back, I wonder, Did I want them or did I want to be them? Did I love them or did I want to absorb whatever power they had? I decided I could just be my own cowboy figure that I so desire.” In Be The Cowboy, Mitski delves into the loneliness of being a symbol and the loneliness of being someone, and how it can feel so much like being no one.

File Under: Indie Rock
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ohsees

Oh Sees: Smote Reverser (Castle Face) LP
In tomorrow! Crack the coffers, Oh Sees have spawned another frothy album of head-destroying psych-epics to grok and rock out to. Notice the fresh dollop of organ and keyboard prowess courtesy of Memory Of A Cut Off Head-alum and noted key-stabber Tom Dolas, while the Paul Quattrone / Dan Rincon drum-corps polyrhythmic pulse continues to astound and pound in equal measure, buttressed by the nimble fingered bottom end of Sir Tim Hellman the Brave and the shred-heaven fret frying of John Dwyer, whilst Lady Brigid Dawson again graces the wax with her harmonic gifts. Aside from the familiar psych-scorch familiar to soggy pit denizens the world over, there’s a fresh heavy-prog vibe that fits like a worn-in jean jacket comfortably among hairpin metal turns and the familiar but no less horns-worthy guitar fireworks Dwyer’s made his calling card. Perhaps the most notable thing about Smote Destroyer is the artistic restlessness underpinning its flights of fancy. Dwyer refuses to repeat himself and for someone with such a hectic release schedule, that stretching of aesthetic borders and omnivorous appetite seems all the more superhuman!

File Under: Garage, Psych, Punk
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Metropolis - Final

OST: Logan’s Run (Waxwork) LP
In tomorrow! Waxwork Records proudly presents the the definitive Logan’s Run Original Motion Picture Soundtrack. Available for the very first time on vinyl, the complete and expanded Logan’s Run soundtrack by legendary composer Jerry Goldsmith receives the deluxe treatment from the soundtrack specialists at Waxwork Records, in close partnership with former Mondo CEO, Justin Ishmael. Logan’s Run is a 1976 Dystopian Science Fiction film starring Michael York, Jenny Agutter, and Farrah Fawcett that depicts a 23rd Century utopian society that beneath the surface kills everyone when they reach the age of 30. The story follows Logan 5, a “Sandman” who has been tasked with terminating those who have attempted to escape death (runners), and is now faced with termination himself as he approaches his 30th birthday. The score by legendary composer Jerry Goldsmith (Alien, The Omen, Planet Of The Apes, The ‘Burbs) mixes electronic music and sound design by usage of early modular synthesizers with classic orchestral compositions to create a futuristic landscape. This new release marks the very first time the complete score by Goldsmith will be released on vinyl. Features include all new artwork by Martin Ansin, double 180 Gram “Palm Flower” colored vinyl (Crystal Green and Red), and deluxe packaging.

File Under: OST
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shadowOST: Shadow of the Colossus (iam8bit) LP
In tomorrow! The view from atop a colossus is nothing short of majestic. A visual feast, sure – but its composer Kow Otani’s score that fully embodies the emotion felt whilst ascending each epic creature. Sweeping, transcendent and awe-inspiring, the music of Shadow of the Colossus makes it clear that our dear hero, Wander, isn’t slaying these mega-beasts as though they are villains, but instead is unlocking ancient magic for the greater good of our world. At long last, the legendary soundtrack to one of the most adored games in PlayStation history – enhanced with additional orchestral accompaniment AND remastered – is available on vinyl for the FIRST. TIME. EVER!

File Under: OST
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OST: Tenebrae (Waxwork) LP
Waxwork Records is thrilled to present the complete soundtrack vinyl release of Dario Argento’s Tenebrae. Scored by three former members of Goblin in 1982 (Claudio Simonetti, Fabio Pignatelli, and Massimo Morante), the synth driven score makes it’s definitive and expanded vinyl debut. Waxwork is excited to offer the most comprehensive version of the soundtrack album on vinyl to one of the most important Giallo films ever made. Unlike the soundtracks that Goblin had previously contributed to the films by Dario Argento, the music of Tenebrae incorporates heavy electronica and dance music blended with rock and disco elements for a unique hybrid of genre and composition style. Extensive usage of early analog Roland, Oberheim, and Moog synthesizers and drum machines paired with electric bass, acoustic drums and piano were utilized by the wildly talented progressive rock trio to form a sonic template unlike anything offered before it. The soundtrack has gone on to garner a wave of popularity by being re-released and remixed many times over. Waxwork Records is proud to present the re-mastered, complete soundtrack pressed to 180 gram colored vinyl and housed in deluxe packaging featuring die-cut old style gatefold jackets, art by Nikita Kaun, printed inner sleeves, and more.

File Under: OST, Prog
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rossRoss from Friends: Family Portrait (Brainfeeder) LP
Having made his inaugural outing on Brainfeeder with the Aphelion EP, British producer Ross From Friends aka Felix Clary Weatherall returns with his debut album on Flying Lotus’ label. Family Portrait is characterized by a perpetual desire to experiment and Felix’s obsessive attention to detail, somehow marrying an intricately layered production style with warm, heavily saturated sonics that elevate, rather than stifle, his melodious funk. Family Portrait showcases his ability to shift and evolve, moving from the world of lo-fi to the world of FlyLo, he demonstrates a versatility exemplified by the ease in which he can switch between playing shows with Little Dragon, holding down a peak-time slot in Berghain’s Panorama Bar and performing live at Maida Vale for BBC Radio 1. The culmination of almost two years of intense studio time, working 20 hour days, and often spending months perfecting just one aspect of a track. “I tried to be careful with every single sound” he explains, “Trying new things, making a bit more of an explosive sound”. The album also finds Felix recording his own voice for the first time, with the resulting tracks acting as snapshots of his personal life while recording. “Every time I went to make music the things which would really grab me are the emotional things, and while I’m in that place I felt I could really focus on the track. That was a massive part of this album, tapping into my emotions…into my emotional instability”. The album title – Family Portrait – also nods to a very specific personal aspect of the record: the influence of his parents. Dance music has always been a feature in Felix’s life, with early memories of his dad producing music on his analogue set-up, or pumping out hi-NRG tracks on the turntable, he grew up discussing, sharing and learning about music from his dad. “My dad has been hugely influential to the whole thing,” he adds.

File Under: House, Deep House
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sonoio

Sonoio: Fine (Dais) LP
In tomorrow! Prior to releasing a string of influential and widely acclaimed solo records under his own name on labels such as Important and Hospital Productions, Alessandroni Cortini (Nine Inch Nails) self-released two albums under the name SONOIO in 2010 and 2011 in limited runs. Praised for their complex and rich pop sound, strong vocal delivery and thoughtful compositions with impeccable production values, SONOIO’s Red and Blue (and the accompanying remix albums Non Red and Non Blue) made heavy use of Cortini’s expert manipulation of the Buchla synthesizer, releasing the single “Enough,” and remixing Ladytron’s “Houdini” before setting off on tour in direct support. As activity with Nine Inch Nails, the demands of touring, and his other solo endeavors began to pick up, production on the third and final SONOIO installment was delayed. In 2014 however, after years of silence, SONOIO posted the single and video for the song “Thanks For Calling” exclusively on sonoio.org and quickly reignited rumors and hope for the release of the third album. Four years have passed since then, and finally the exclusive release of SONOIO’s third and final effort: Fine has arrived. Fine is the first SONOIO full length to be released on vinyl, with gorgeous photography by Matt Sundin and packaging designed by Caspar Newbolt of Version Industries. Personal, layered and complex, Fine achieves greatness as both a singular example of deep and inspiring pop music, and as the final album—the closing chapter in the story of SONOIO.

File Under: Electronic, Synth Pop
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thou

Thou: Peasant (Robotic Empire) LP
In tomorrow! Before Thou released their 2014 album Summit (Gambit Big Easy award-winner), they spent the spring of 2008 rushing to complete their second full-length, Peasant, in time for a month-and-a-half trek across the United States. This record would be their last true album to abandon melody for the self-indulgent, Southern-style sludge-riffing that had most of their early fans saying, “I thought you’d be bigger with more tattoos and beards.” Originally released on vinyl by Level Plane Records, this edition—remastered by Adam Tucker (Signature Tone Recording)—is housed in a tip-on style gatefold jacket with 180-gram black vinyl, a twenty-page booklet, and poster. This double-LP also offers the complete version, including the CD-only tracks from the To Carry a Stone EP (released in 2008 by Noxious Noize) as well as bonus tracks from the Malfeasance / Retribution EP (released in 2008 on Feast of Tentacles and Rimbaud) and an unreleased cover of Nirvana’s “Aneurysm.”

File Under: Metal
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uniformUniform: The Long Walk (Sacred Bones) LP
Following the release of the critically acclaimed LP Wake in Fright, which had two songs featured in the new season of David Lynch’s Twin Peaks, it was high time for Uniform vocalist Michael Berdan and instrumentalist Ben Greenberg to return to the studio. The duo decided to up the ante and add a third member to help perfect their vicious post-industrial dystopian cyber-punk. After some deliberation, Greenberg called upon drummer Greg Fox (Liturgy, Zs) to help round out the sound they were looking for. Using a mix of triggered samples and real drums along with layered synths and good old electric guitar, the trio arrived at what would become The Long Walk after only a few short days in the studio. From the opening whirr of the title track, it’s clear that the band is onto something special. Recorded at Strange Weather studios in the first part of 2018, The Long Walk is eight new tracks by the duo of Greenberg and Berdan, incorporating Fox’s skills behind the drum kit to add an entirely new dimension to the signature Uniform sound. Ditching sequenced tracks, Greenberg opted for single takes to highlight the Frankenstein-like guitar-bass-synth hybrid that oozes throughout the recording. Meanwhile, crushing guitar thunder is punched up by Fox’s masterful drumming while Berdan’s cries from the nether feel more desperate and morose than ever. This is Uniform at its most bleak, emotional, and powerful. Lyrically, The Long Walk deals with paradoxes in spirituality and organized religion. Berdan went to Catholic school for most of his primary education. Fear of Biblical hell and damnation felt tangible. As Berdan grew and matured emotionally, he began to reject Catholicism bit by bit. In the recent past, Berdan found himself slowly reconnecting with his background, observing how the faith that he found so repressive served as a great source of comfort and strength for so many. Yet therein lay the contradiction that drove him from religion in the first place – many of the human traditions of the church also dealt in repression, intolerance, and bigotry. Could one observe the rituals and practice of a faith while acknowledging and rejecting its ugliest elements? The title The Long Walk comes from a Stephen King (writing as Richard Bachman) dystopian novel about an oppressive government that forces some of its children to endure a grueling game where there is only one survivor. In this case, it’s an allegory for an extended march away from comfort, family, and faith, and eventually into an amorphous sense of spirituality that can be understood on a personal level.

File Under: Industrial, Punk, Noise Rock
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whyWhy?: Alopecia (Joyful Noise) LP/DLX LP
“I’ll go unknown by torpedo or Crohn’s / Only those evil live to see their own likeness in stone.” It’s the kind of couplet you’d carve into a wall whilst savoring the irony at hand, but when Yoni Wolf spit the line 10 years ago he was blissfully, broodily unaware that he and his band WHY? were creating a career-defining album – one so fan-adored that it would go out of print, and so influential that the art-pop heroine Lorde herself would lovingly steal the very lyric quoted above. When it dropped in 2008, Alopecia not only marked WHY?’s evolution from a sonically collaged mostly solo project to a live-recorded powerhouse band of badass multi-instrumentalists. It also minted a genre of one: wryly written, poignantly posed, simultaneously swaggering and heart-rending song-rap that jangles like folk, bursts like psych-rock, and sways like chamber pop. To this day, there is no other group in the known universe that sounds or feels like WHY? does on Alopecia. The album’s 2018 reissue cheekily etches that aural likeness into our musical history. Revisiting these songs is like catching up with an old, very strange friend – one who obsesses over his mortality, wonders if his ex is some sort of God, identifies as a “lifelong local foreigner,” and does his emotional unpacking in public restrooms. When Yoni sings that he’s been “faking suicide for applause in the food courts of malls” on album opener “The Vowels Pt. 2,” you aren’t sure if it’s a metaphor about fame or a real thing he did. Our narrator’s odd charm is Alopecia’s most enduring gift. Inspired by Bob Dylan and Joanna Newsom, Yoni packs confessional candor and vivid detail into honeyed melodies. Energized by Lil Wayne and MF DOOM, he seeds self-effacing boasts and mesmeric wordplay within complex rhyme schemes. The result is a swirl of humor, desperation, and beauty that both pulls us into his world and draws out our own proud, wounded inner weirdo. As Yoni coos on “The Hollows,” “This goes out to dirty-dancing, cursing, backmasking, back-slidden pastors’ kids / and all us Earth growths; some planted, some pulled.” Alopecia is as adventurous as it is accessible, and remarkably fluid. To wit, “These Few Presidents” slides between modes, from upbeat and forced-smile bubbly to seething and slowly roiling. “Song of the Sad Assassin” is a tempo-blind rollercoaster of piano, vibes, vocal percussion, guitar, drum, and bass. And “Twenty Eight” spins a feedback-drenched rap beat, something like the Bomb Squad on acid, on a carousel.

File Under: Hip Hop
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birthVarious: Birth/Work/Death (Iron Mountain) LP
In tomorrow! 18 timeless tales of clanging Hammers and pounding Shovels – from wry, dry working-stiff diatribes to bare-chested exclamations – Birth / Work / Death maps the human work experience from anger to joy, poverty to riches. From the muck-crusted mines to late-night jukeboxes – backwoods outsiders and Nashville icons alike waxed odes to the entwined necessities of Work and Money, Status and Competition, Survival and Servitude. Harrowing laments of dank deaths underground, fevered hymns to Mammon, snide ripostes to debt-bondage and exuberant celebrations of family and sustenance. Most originally waxed on private press labels and distributed in tiny amounts, these town criers and tavern-bound troubadours sing of golden highways, slothful byways, factory-floor drudgery and fallow, heartbreaking fields. Years in the making – ‘Birth / Work / Death‘ presents calloused anthems and bloody ballads from dusty LPs and long forgotten 45s. All for your lunch hour listening pleasure.

File Under: Country

hillbilliesVarious: Hillbillies in Hell Volume 777 (Iron Mountain) LP
This smokey catalog of Nashville icons and hayseed misfits births ‘Hillbillies In Hell: Volume 777’ – a subterranean collection of deathly Nephilim, swampy graves, teenaged suicidal ideation, tormented Gospel tales, grisly mountain murders, craven lustmords, Apocalyptic visions and problematic parenting. Often originally waxed on microscopic labels and distributed in minuscule amounts, these troubled and sometimes forgotten troubadours sing of lustful homicides, masonic assassinations and Satan’s perpetual slaves. Years in the making – ‘Hillbillies In Hell’ (Volume 777) presents 16 testaments of timeless tribulations – sinful succubi, axe-wielding cuckolds, vengeful Hill-folk and the eternal quest for blistered redemption. A Mephistophelean cache of primordial 45s – some of these sides are impossibly rare and are reissued here for the very first time. All for your prurient listening pleasure.

File Under: Country

…..Restocks…..

Beak>: s/t (Temporary Residence) LP
Beak>: >> (Temporary Residence) LP
Butthole Surfers: Locust Abortion Technician (Latino Buggerville) LP
Butthole Surfers: Psychic, Powerless (Latino Buggerville) LP
Butthole Surfers: Rembrandt Pussyhorse (Latino Buggerville) LP
Bill Callahan: Apocalypse (Drag City) LP
Bill Callahan: Sometimes I Wish We Were an Eagle (Drag City) LP
Cindy Lee: Act Of Tenderness (W25.St) LP
City & Colour: Little Hell (Dine Alone) LP
Alice Coltrane: Universal Consciousness (Superior Viaduct) LP
Alice Coltrane: The Ecstatic Music of (Luaka Bop) LP
Cramps: Smell Of Female (Big Beat) LP
Eric’s Trip: Purple Blue (Sub Pop) LP
Karen Dalton: In My Own Time (Light in the Attic) LP
Ella Fitzgerald: Ella at Zardi’s (Verve) LP
Brigitte Fontaine: Brigitte Fontaine Est… Folle (Superior Viaduct) LP
Fuzz: s/t (In The Red) LP
Goat: Commune (Sub Pop) LP
Goat: Requiem (Sub Pop) LP
Guided By Voices: Bee Thousand (Scat) LP
Il Balletto Di Bronzo: Sirio (Lion) LP
Jawbreaker: 24 Hour Revenge Therapy (Blackball) LP
Jawbreaker: Unfun (Blackball) LP
Joy Division: Closer (Rhino) LP
Joy Division: Unknown Pleasures (Rhino)
Melvins: Bullhead (Boner) LP
Merzbow + Hexa: Achromatic (Dais) LP
Oh Sees: Carrion Crawler (In The Red) LP
Oh Sees: Orc (Castle Face) LP
OM: Advaitic Songs (Drag City) LP
OM: God Is Good (Drag City) LP
OM: Variations On A Theme (Holy Mountain) LP
Pallbearer: Foundations Of Burden (Profound Lore) LP
Pallbearer: Heartless (Profound Lore) LP
Pallbearer: Sorrow And Extinction (Profound Lore) LP
Max Richter: Blue Notebooks (Deutsch Grammophone) LP
Arthur Russell: Calling Out Of Context (Audika) LP
Ty Segall Band: Slaughterhouse (In the Red) LP
Sensations Fix: Music is Painting in the air (ReRVNG) LP
Silver Apples: Contact (Jackpot) LP
Silver Apples: Silver Apples (Jackpot) LP
Siouxsie & The Banshees: Join Hands (Polydor) LP
Siouxsie & The Banshees: Juju (Polydor)
Siouxsie & The Banshees: Tinderbox (Polydor)
Siouxsie & The Banshees: Through the Looking Glass (Polydor) LP
Sonic Youth: Bad Moon Rising (Goofin) LP
Spiritualized: Ladies And Gentlemen We Are Floating In Space (Plain) LP
Stars of the Lid: And Their Refinement Of the Decline (Kranky) LP
Stereolab: Mars Audiac Quintet (1972) LP
Stereolab: Transient Random-noise (1972) LP
Suicide: S/t (Superior Viaduct) LP
Chrissy Zebby Tembo: My Ancestors (Mississippi) LP
Thou: Peasant (Robotic Empire) LP
Tomb Mold: Manor Of Infinite Forms (20 Buck Spin) LP
Ween: Chocolate & Cheese (Plain) LP
Ween: Mollusk (Plain) LP
Various: Brown Acid – The Second Trip (Riding Easy) LP

Tagged , , , , , ,

…..news letter #860 – switch…..

If last week’s Earth reissue wasn’t enough to get you down here, then maybe the reissues of White 1 & White 2 will be! They should be. And if that isn’t enough, the Brian Eno box is finally available! And we got more Ryo Fukui! And I’ve been digging through the back and found some nice OG jazz gems, and some other neat stuff I bought a while back too! Come cool off and have a dig.

CHECK OUT OUR WEBSTORE! 

…..picks of the week…..

white1

Sunn o))): White 1 (Southern Lord) LP
WHITE1 entirely remastered at 88K / 24bit from the original full length/unedited mixes by Matt “The Alchemist” Colton at Alchemy, London. OBI text : WHITE1 was originally released in 2003 by Southern Lord as a CD and very limited 3 sided LP edition of 540 copies (in a white sleeve with a sticker, packaged in an embroidered pillowcase and containing a sleeping pill.) SUNN O))) co-founders Stephen O’Malley & Greg Anderson originally conceived the WHITE albums to be “acoustic” but the sessions at Fontanelle’s Magnetic Park studios in Portland Oregon quickly took a far different route toward the psychedelic and the electronic/synthetic, with trance and drone experiments. The WHITE1 album was a bold step forward into the experimental and highly collaborative area which SUNN O))) has metamorphosed via and travelled since. Together with the generosity and talent of the unique and great guest artists Julian Cope, Joe Preston, Rex Ritter, Ulver and Runhild Gammelsæter the concept of SUNN O))) was brought forth from the shadows of the earth unto the broader cosmic spheres. For these reissues SUNN O))) returned to the original full length unedited premasters/final mixes and brought them to Matt “The Alchemist” Colton at Alchemy Mastering in London for a complete high resolution 88K/24bit mastering and, crucially, cut the lacquers using Alchemy’s half-speed method on their Neumann SX 74 cutterhead. The outstanding results allow the original full length mixes to be pressed at high fidelity on the vinyl format. The new WHITE1 masters reveal a broader frequency response, the bottom end is deeper and more intense, low mids are lusher, high frequencies are smoother and the stereo image is vastly improved, seeming more 3 dimensional spacially and more dynamic. The sound is clearer, sharper, more direct. Southern Lord Recordings is pleased to present the historical SUNN O))) WHITE albums in their fundamental and proper forms.

File Under: Drone, Metal
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white2

Sunn o))): White 2 (Southern Lord) LP
WHITE2 entirely remastered at 88K / 24bit from the original full length/unedited mixes by Matt “The Alchemist” Colton at Alchemy, London. OBI text : WHITE2 was originally released in 2004 by Southern Lord as a CD and limited double LP edition of 1000 copies (in a tip on gatefold sleeve in various vinyl colors). SUNN O))) co-founders Stephen O’Malley & Greg Anderson originally conceived the WHITE albums to be “acoustic” but the sessions at Fontanelle’s Magnetic Park studios in Portland Oregon quickly took a far different route toward the psychedelic and the electronic/synthetic, with trance and drone experiments. The WHITE2 album was notably the first collaboration with the Hungarian legend & singer Attila Csihar, which has since begat a long and fruitful creative story of the O))) ethos. With the WHITE albums SUNN O))) took a bold step the experimental and highly collaborative path the concept of the group has traveled since. Together with Attila, WHITE2 featured the extraordinary talents of special guests Joe Preston, Rex Ritter & Dawn Smithson. Along with WHITE1, the album brought the concept of SUNN O))) forth from the shadows of the earth unto the broader cosmos spheres, arriving at a truly transcendent note with the pairing of the “DECAY” tracks featuring Attila. And, the sky cracked open. For these reissues SUNN O))) returned to the original full length unedited premasters/final mixes and brought them to Matt “The Alchemist” Colton at Alchemy Mastering in London for a complete high resolution 88K/24bit mastering and, crucially, cut the lacquers using Alchemy’s half-speed method on their Neumann SX 74 cutterhead. The outstanding results allow the original full length mixes to be pressed at high fidelity on the vinyl format. The new WHITE2 masters reveal a broader frequency response, the bottom end is deeper and more intense, low mids are lusher, high frequencies are smoother and the stereo image is vastly improved, seeming more 3 dimensional spacially and more dynamic. The sound is clearer, sharper, more direct. Southern Lord Recordings is pleased to present the historical SUNN O))) WHITE albums in their fundamental and proper forms.

File Under: Drone, Metal
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eno

Brian Eno: Music for Installations (Astralwerks) BOX
In tomorrow… Musician, producer, visual artist, thinker and activist Brian Eno first came to international prominence in the early ’70s as a founding member of Roxy Music, and immediately followed with a series of critically-praised and influential solo albums. His visionary production includes albums with David Bowie, Talking Heads, Devo, Laurie Anderson and Coldplay, whilst his long list of collaborations includes recordings with John Cale, David Byrne, Grace Jones and James Blake. Music For Installations is a 9LP box set collection of new, rare and previously unreleased music, all of which was recorded by Brian Eno for use in his installations covering the period from 1986 until the present (and beyond). Over this time, he has emerged as the leading exponent of “generative” music worldwide and is recognized as one of the foremost audio-visual installation artists of his time. Eno’s visual experiments with light and video have proved to be the fertile ground from which so much of his other work has grown and they cover an even longer span of time than his recordings, paralleling his musical output in recent decades. These highly-acclaimed works have been exhibited all over the globe – from the Venice Biennale and the Marble Palace in St. Petersburg to Beijing’s Ritan Park and the sails of the Sydney Opera House. Designed by Brian Eno and long-time collaborator Nick Robertson, this beautifully bound package comes with a 64-page booklet featuring rare and unseen exhibition photographs and a new essay written by Eno. “If you think of music as a moving, changing form, and painting as a still form, what I’m trying to do is make very still music and paintings that move,” explains Eno. “I’m trying to find in both of those forms, the space in between the traditional concept of music and the traditional concept of painting.”‘

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

amps

Amps: Pacer (4AD) LP
The one and only full length from Kim Deal’s post-Pixes and Breeders group, released in 1995. Though The Amps were originally intended to be a solo project for Deal, they quickly developed into a full fledged band, recording tunes that were slated to be part of the 3rd, never recorded, Breeders’ album. Sloppy, raucous, and life-affirming rock and roll that owes more than a little to their fellow Dayton-ites Guided By Voices, Pacer is as good or better as any of the Breeders’ releases.

File Under: Indie Rock, Breeders
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astatke1

Mulatu Astatke: Afro Latin Soul Vol 1 (Strut) LP
Strut continue their essential work with the godfather Of Ethio jazz, Mulatu Astatke, with the first official reissues of his early classics Afro Latin Soul Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet. Arriving after Astatke’s life-changing years studying at Berklee College in Boston, MA the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. Comprising Ethiopian, Latin and Afro-American musicians – the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena. Astatke would start to perfect his Ethio jazz sound on his 1972 album, Mulatu Of Ethiopia but the two volumes of Afro Latin Soul stand as important recordings documenting his early career. “On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I Faram Gami I Faram’ – the lyrics were translated so that the singer could sing it in Spanish,” explains Astatke. “Some compositions were important steps for me: ‘Mascaram Setaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favourite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.”

File Under: Africa, Ethiopian Jazz
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astatke2

Mulatu Astatke: Afro Latin Soul Vol 2 (Strut) LP
Strut continue their essential work with the godfather Of Ethio jazz, Mulatu Astatke, with the first official reissues of his early classics Afro Latin Soul Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet. Arriving after Astatke’s life-changing years studying at Berklee College in Boston, MA the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. Comprising Ethiopian, Latin and Afro-American musicians – the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena. Astatke would start to perfect his Ethio jazz sound on his 1972 album, Mulatu Of Ethiopia but the two volumes of Afro Latin Soul stand as important recordings documenting his early career. “On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I Faram Gami I Faram’ – the lyrics were translated so that the singer could sing it in Spanish,” explains Astatke. “Some compositions were important steps for me: ‘Mascaram Setaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favourite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.”

File Under: Africa, Ethiopian Jazz
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avanti

Alessandro Cortini: Avanti (Pias) LP
Finally!! In tomorrow… Prior to making his third solo LP, Avanti, Alessandro Cortini rediscovered an archive of home videos made by his grandfather, who passed away a few years previously. Among the cache were several Super 8 films of family gatherings as well as hours of dinner-time conversations recorded on cassette for posterity. It was as if Cortini had unearthed a perfect fossil of his childhood. The films, however, were missing one crucial element – the sound. So Cortini decided he would restore the missing audio in his own way, by composing a musical accompaniment to the footage. Avanti is rich in anomalies and irregularities – much like our memories – which Cortini let creep into his compositions by recording live on a single synthesizer, the EMS Synthi AKS, without overdubs. The album’s tracks evoke the feeling of nostalgia through the warmth of their instrumentation and samples from Cortini’s grandfather’s archive, which bookend each track. Take opener “Iniziare” which, with its undercurrent of bass and swelling string-like motifs, is like a sepia-tinged photograph brought to life – at once elegiac and uplifting. Or the wistful “Nonfare” that, with its fuzzy, organ-like tones veiled by noise, sounds like a faded memory. While on “Vincere,” the lush layering of effervescent melodies with choral harmonies paints a picture of a carefree, sunlit scene from childhood, now painfully out of our reach. The recordings that are sampled throughout the album offer us a deeply personal glimpse into Cortini’s childhood but they also have the effect of stirring our own recollections. “I wanted the recordings to facilitate this connection at an emotional level with the listener in the same way I feel connected to it personally,” he says. With Avanti, Cortini has created a soundtrack not just for his own past but also for ours.

File Under: Electronic, Ambient
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fall

The Fall: 458489 A Sides (Beggars) LP
The 17-songs collected here come from The Fall’s Brix Smith era, aka “the golden era of Fall releases.” This is a perfect introduction to the band, and as legendary critic Robert Christgau said, it’s “The only Fall record any normal person need own.” Originally released in 1990, this album has never been released on vinyl in the US, and isn’t easy to find elsewhere. The band’s legendary and notorious frontman Mark E. Smith passed away in January 2018 at the age of 60. The band’s output since they formed at the height of the punk rock movement in Manchester in 1976 was prolific to say the least. It’s hard to be exact, but in their four decades, The Fall released 31 studio albums, 5 part-studio/part live albums, 32 live albums, 40 compilations, and Smith also released two spoken word albums. Another high number is that of former members of The Fall. There were over 60 different band members over the years. Their high volume of quality work over the last 40+ years had an enormous influence which was extolled greatly after Smith’s death.

File Under: Punk
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stories

Masayoshi Fujita: Stories (Erased Tapes) LP
Ahead of the release of his new album Book Of Life, Erased Tapes reissues 2013’s Stories, the first in a trilogy of vibraphone solo albums by Berlin-based composer Masayoshi Fujita. This quietly exquisite LP is like a book of illustrations, evoking scenes of natural beauty and poetic poignancy that combines climactic crescendos laced with electronic detail and luxurious melody. Stories is the beginning of Masayoshi’s mission in bringing the vibraphone – a relatively new invention in the history of instruments often kept in the background in orchestras and jazz outfits – into the spotlight. Having trained as a drummer, Masayoshi began experimenting with the vibraphone, preparing its bars with kitchen foil or beads, playing it with the cello bow or using the other end of the mallets to create a more ambient texture of sound. Focusing on the vibraphone in this way sets Masayoshi apart, dedicating his artistic life to celebrating this fascinating and often under appreciated instrument and making his take on ambient and modern compositional styles a unique one.

File Under: Ambient, Classical
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mellow drea

Ryo Fukui: Mellow Dream (We Release Jazz) LP
Back in stock! We Release Jazz (WRWTFWW Records’ new sister-label) present the official reissue of criminally overlooked Japanese jazz gem Mellow Dreamby Hokkaido pianist wunderkind Ryo Fukui, originally released in 1977. Released in conjunction with the its legendary predecessor 1976’s Scenery (WRJ 001CD/LTD-LP). Firmly standing on the foundation he laid down with Scenery, Ryo Fukui continues his exploration of modal, bop, and cool jazz sounds with meticulous grace and absolute mastery. As its title suggests, Mellow Dream ventures into slightly mellower, more soulful, and sometimes more contemplative territories (the Bill Evans-reminiscent “Mellow Dream” and “My Foolish Heart”) while still packing the commanding punch Fukui’s work is loved for, as heard on the amazingly bombastic “Baron Potato Blues” or the gigantic McCoy Tyner/John Coltrane-influenced “Horizon” which sees each member of the trio — Satoshi Denpo is on bass and Yoshinori Fukui is on drums — demonstrating their virtuosity for nine exhilarating minutes. With his sophomore album, Ryo Fukui swings from melancholy to vibrant joy with ease, and reminds you that jazz is best served with a pinch of blues, and displays an immensely rare combination of pure talent, unique personal approach and focused discipline. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists. After releasing the outstanding Scenery and Mellow Dream back-to-back, Ryo Fukui worked on developing his live skills, often performing at Sapporo’s Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing two live albums. He sadly passed away in March 2016, leaving behind a legacy of works that all jazz lovers should explore. Sourced from the original masters.

File Under: Jazz
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hauschildt

Steve Hauschildt: Dissolvi (Ghostly) LP
In search of the sublime, contemporary electronic musician Steve Hauschildt has designed grids and panoramas of sound across multiple releases through the rise and dissolution of his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music. Consistent with his solo work is Hauschildt’s ability to coil his craft in precise, varied, and distinctly physical forms. Gently spinning arpeggios converse with post-industrial decay. Sonic fibers sway like pendulums from static melancholy to motorik bliss. Dissolvi, the artist’s first full-length with Ghostly International, engages sublimation from an ontological perspective: by dissociating the self. Hauschildt steps out from the singular path, for the first time in a traditional studio, to compose and arrange contributions from friends. As a result, his most collaborative work to date extends a vast, vibrating framework in which to consider the state of being. The album’s title – a reference to cupio dissolvi, the Latin phrase meaning “I wish to be dissolved” – needn’t be taken one-dimen sionally or as purely solipsistic. It does, however, serve an apt reference. Physiological phenomena are of interest to Hauschildt. These back-of-mind ruminations find their way out. Songs are cerebral in orientation, but beyond explanation, the music is truly visceral. Involuntary eye movement inspires the serene, sanguine-nearing-suspicious “Saccade.” Hauschildt feathers soft percussion beneath the echoed refrains of Los Angeles musician Julianna Barwick, together shaping a svelte suggestion of the anxieties brought about by modern-day surveillance; if everyone is being watched constantly, there is no individual, no self, only a broadly monitored and clumsily cataloged populous. The work of Chicago poet Carl Sandburg comes to mind: “I am the people – the mob – the crowd – the mass.” The individual dissolves into the taxonomic crowd. Minimalist techno impulses provide a stylistic through-line for Dissolvi. Understated synth phrases and drum grooves take hold in selective moments, like synchronistic structures onto which nebulous mists, like the rapturous voice of Gabrielle Herbst aka GABI on “Syncope,” cling to and cloud, producing a dazzling rift in consciousness. The 7-minute centerpiece “Alienself” reiterates this creative logic, burbling like an amorphous body of water on a low-gravity planet, on the verge of dissolving, but never fully dematerializing. The album was constructed in Chicago and partially in New York. “Much of it was recorded in a windowless studio which removed elemental or seasonal references to time in the music,” says Hauschildt. “The focus this time was on mixing the album and incorporating a broader set of instrumentation. I describe my compositional approach as being quasi-generative.” Embracing new methods and philosophical curiosities, and in turn, expanding the range of his repertoire, Hauschildt proposes a fascinating and profoundly rich experience in listening, being, and deliquescing.

File Under: Electronic
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peaches

Moldy Peaches: s/t (Rough Trade) LP+7″
The Moldy Peaches were established in the mid- 90s by Adam Green and Kimya Dawson, after meeting in upstate New York. The duo helped spawn the “anti-folk” music genre movement, bringing a more quirky, lo-fi punk element into the indie music scene. After releasing their own music for a few years, they collected their best material for a proper album, and in 2001 shared The Moldy Peaches via Rough Trade Records. Known for their sense of humor, whimsy and self-deprecation, the album featured gems like “Downloading Porn With Dave” and “Who’s Got The Crack.” In 2007, “Anyone Else But You” (another song from the aforementioned LP), was used in the Academy Award winning movie Juno, and reignited the album’s cult popularity. This first pressing of the highly coveted title in 15 years comes on colored LP and includes a bonus 7″ single of “County Fair” and “Rainbows.”

File Under: Indie Rock
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welch

Gillian Welch: Soul Journey (Acony) LP
Gillian Welch’s rich and remarkable career spans over 20 years, and is a pillar of the modern acoustic music world. This is the long-awaited first pressing of the roots singer/songwriter’s moving 2003 album, Soul Journey, a collaborative effort with producer/multi-instrumentalist David Rawlings which Mojo called “pretty much perfect” in their 5-star review. It marked the pair’s first experimentation with a fuller, electric sound and is home to some of the most beloved songs in Welch’s catalog including the timeless classics “Look at Miss Ohio” and “Wayside/Back in Time.” Mastered for vinyl direct from the analog tapes by Gillian Welch and David Rawlings on their own custom-built VMS 80 lathe with Ortofon amplifiers and plated and pressed at Quality Record Pressings. The vinyl LP comes packaged in a gatefold old-style tip-on jacket with a printed insert and lyrics which are included with the album for the first time. “We have been working and waiting 20 years to bring you our music on phonograph record. It took a while, because we wanted to do it the right way, the absolute best way humanly possible, and I believe that’s what we’ve done. No sonic stone was left unturned, no nuance let fall by the wayside. There is honestly nothing else I can imagine hoping to hear out of the original tapes. It is all there in the groove. As people whose lives were changed by the sound of music coming off turntables, we humbly invite you to include us in your record collection.” – Gillian Welch

File Under: Folk
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pride

Various: Black Man’s Pride 2 (Soul Jazz) LP
This is the second installment of deep roots Rastafarian reggae at Studio One and features classic music from some of the most important figures in reggae music – Alton Ellis, The Heptones, Jackie Mittoo, The Gladiators – alongside a host of rarities and little-known recordings, such as a truly rare Mystic Revelation of Rastafari seven-inch single, Willi William’s first ever recording “Calling” and Horace Andy’s righteous (and equally rare) masterpiece “Illiteracy.” Black Man’s Pride 2 extends the legacy of Studio One’s ground-breaking path in roots reggae which began at the end of the ’60s and continued throughout the ’70s. The album tells the story of how the rise of Studio One Records and the Rastafari movement were interconnected, through the adoption of the Rastafari faith by key reggae artists – everyone from the Skatalites and Wailers in the ’60s, major singers such as Alton Ellis and Horace Andy at the end of the decade, through to major roots artists such as The Gladiators in the ’70s – and how Clement Dodd consistently recorded this heavyweight roots music throughout Studio One’s history. The extensive sleeve-notes to this album also discuss the links between Rastafari and Studio One in time and place, noting how both the religion and Dodd’s musical empire had their roots in the intense period of pre-independence Jamaica in Kingston, expanded in the ’60s following the visit of Haile Selassie in 1966, and how roots music then came to dominate reggae music in the early ’70s. Also discussed is how the outsider stance of both reggae music and the Rastafari movement relate back many hundreds of years to the original rebel stance of the Maroons, escaped slaves who set up self-sufficient enclaves in the hills of the Jamaican countryside.

File Under: Reggae

fujimachine

Various: Nigeria Fuji Machine: Synchro Sound System & Power (Soul Jazz) LP
Synchro Sound System & Power features the music of Nigeria Fuji Machine, which includes some of Nigeria’s finest ‘Fuji’ master drummers and singers, and is newly recorded by Soul Jazz Records in Lagos. Fuji is the heavily percussive and improvisational style of Nigerian popular music, at once modern and yet deeply rooted in the traditional Islamic Yoruba culture of Nigeria. Here on this album Nigeria Fuji Machine’s striking and powerful lead vocalist Taofik Yemi Fagbenro soars above a wild and energetic backdrop of polyrhythms played on traditional talking drums, trap drums, electronic and street percussion to create a powerful wall of intense sound. Fuji is hi-energy street music, heavily percussive which evolved out of the Islamic celebration of Ramadan, which became a major event in mid-20th century Lagos. Groups of young men walked through Muslim neighborhoods at night singing improvised ‘wéré’ music to the accompaniment of pots, pans, drums, bells and anything else available, waking believers for the early morning prayer. By the early ’70s this music had crossed-over into popular Nigerian culture where it came to be known as Fuji, first made popular by the artist Alhaji Sikiru Ayinde Barrister, as the music began to be performed commonly at parties and social events. In the ’70s and ’80s three Nigerian artists – King Sunny Adé, Chief Ebonezer Obey and Fela Kuti – all secured international major record deals bringing popularity to the Nigerian musical styles of Juju (Adé and Obey) and Afro-Beat (Fela Kuti’s unique mixture of highlife, funk and jazz) abroad, but in the process ignoring much of Nigeria’s rich musical landscape. Fuji is, alongside Highlife, Juju, Afro-Beat, Sakara, Afro-Reggae, Waka, Igbo rap, Apala and numerous others – one of these central styles of Nigerian music. The singer Barrister described the music as follows: “Fuji music is a combination of music consisting of Sakara, Apala, Juju, Aro, Afro, Gudugudu, and possibly Highlife.” Juju performer King Sunny Adé described the difference between the two styles of Fuji and Juju somewhat competitively thus: “Fuji music is more or less like my music without guitars. It’s like I’m singing in a major key and they are singing in a minor. The music itself is the music of Juju music.” Today Fuji remains a powerful popular music with deep and powerful Islamic roots which continues to modernize and attract new generations of young Nigerians and Nigeria Fuji Machine’s Syncho Sound System & Power is a powerful and intense musical experience.

File Under: African, Folk
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…..Restocks…..

Leon Bridges: Coming Home (Columbia) LP
Buena Vista Social Club: s/t (World Circuit) LP
Buena Vista Social Club: Live at Carnegie Hall (World Circuit) LP
Buffalo Springfield: What’s That Sound (Rhino) BOX
Cocteau Twins: Heaven or Las Vegas (4AD) LP
Miles Davis: Big Fun (Music on Vinyl) LP
Jeremy Dutcher: Wolastoqiyik Lintuwakon (Jeremy Dutcher) LP
Future Islands: Singles (4AD) LP
Future Islands: Far Field (4AD) LP
Lykke Li: So Sad So Sexy (LL) LP
National: Boxer (Beggars) LP
National: Sleep Well Beast (4AD) LP
Pavement: Crooked Rain Crooked Rain (Matador) LP
Pavement: Brighten the Corners (Matador) LP
Arthur Russell: World of Arthur Russell (Soul Jazz) LP
Vampire Weekend: s/t (XL) LP
Yo La Tengo: And Then Nothing Turned Itself Inside Out (Matador) LP
Frank Zappa: Hot Rats (Zappa) LP

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…..news letter #859 – grid…..

I’m not gonna sugar coat it, there’s not a lot of new stuff this week. However, that Earth reissue is worth the trip down if you didn’t buy it the last 2 times it came out. Also, James has been plowing through the back and there’s lots of lovely used things getting priced up. Assuming you’re not gone for the long weekend, you should come for a dig.

CHECK OUT OUR WEBSTORE! 

 …..pick of the week…..

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Earth: The Bees Made Honey in the Lion’s Skull (Southern Lord) LP
The rebirth of Earth resulted in the band signing with Southern Lord Recordings and releasing the essential “Hex” album circa 2005. Their next step was monumental. Working alongside Hex producer Randall Dunn, the band entered AVAST! studios (where Earth2 was recorded) and began laying down what was to become one of the bands finest moments of their existence. The mainstay core of Dylan Carlson & Adrienne Davies collaborated and wrote material with Steve Moore, Don McGreevy, and legendary guitarist Bill Frissell. The final result of their hard work was: “The Bees Made Honey In The Lion’s Skull”. The musical direction was more focused than Hex with the band moving into more of a rock and american Gospel oriented and improvisatorydirection framed by a truly psychedelic production. It remains the groups most successful album and many tracks are still performed by Earth live. The audio was specifically mastered for vinyl and the LP lacquers were cut by Bob Weston (Shellac). The vinyl version of this album contains the exclusive bonus track: “Junkyard Priest” (featuring Milky Burgess on slide guitar) This 2018 pressing is housed in a beautiful “old style” Stoughton gatefold jacket.

File Under: Drone, Metal
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…..new arrivals…..

700133 JORGE BEN A TÁBUA DE ESMERALDA.indd

Jorge Ben: A Tabua de Esmeralda (Elemental) LP
In tomorrow… Tábua de Esmeralda, the eleventh studio album by Brazilian maestro Jorge Ben, released in 1974 on Philips Records. The album showcases Ben’s interest in theosophy, mysticism, and, above all, alchemy. Its title refers to the Emerald Tablet, a cryptic piece of Hermetica reputed to contain the secret of the prima materia and its transmutation; and its artwork incorporates drawings from Nicholas Flamel, who was historically immortalized as a great alchemist for his work on the philosopher’s stone. Considered Ben’s masterpiece, it was ranked by Rolling Stone Brasil as the sixth greatest Brazilian album of all time, and has been included in Tom Moon’s 1,000 Recordings to Hear Before You Die. A Tábua de Esmeralda belongs in the record collection of any fan of Ben’s music and is also a great starting point for someone who wants an introduction to his work.

File Under: Brazil, Samba, Bossa Nova, Tropicalia
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Jorge Ben: s/t (Elemental) LP
In tomorrow… Released in 1969, it was Jorge Ben’s first album with Trio Mocotó, a group that would be backing him along the 70’s on many other seminal albums, such as Força Bruta (1970), Negro É Lindo (1971) and A Tábua de Esmeralda (1974). The present album is said to have influenced the “Tropicália” movement, as three tracks from this set, “Que pena”, “País tropical” and “Charles, anjo 45” were immediately covered by Gal Costa (the former two), and Caetano Veloso (the latter), two key artists of that Brazilian musical and artistic movement. This album is considered a samba soul classic, and quite possibly Ben’s greatest album ever. In contrast to the cerebral output of the “Tropicália” camp in 1969, this album is much more visceral and personal, and yet no less revolutionary.

File Under: Brazil, Tropicalia, Samba, Bossa Nova
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Jeremy Dutcher: Wolastoqiyik Lintuwakon (Jeremy Dutcher) LP
In tomorrow… Wolastoqiyik Lintuwakonawa is the debut album by Canadian composer and tenor, Jeremy Dutcher – which involves post-classical rearrangement of his Wolastoq First Nation traditional music. Granted access to the Canadian Museum of History, Jeremy discovered wax cylinders from 1907 of his ancestors singing forgotten songs and stories that had been taken from the Wolastoqiyik Nation generations ago. The album is Jeremy’s contribution to his heritage and community in attempts to revitalize the Wolastoq language to the world, which has less than 100 speakers alive today. This collection of ground breaking post-classical arrangements is truly one of a kind and recalls the mood of Rufus Wainwright’s operatic performance or the haunting pop of Anthony & The Johnsons.

File Under: Classical, First Nations, Chamber Pop
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flaminghear

Flaming Lips: Hear It Is (Rhino) LP
The Flaming Lips have pushed the envelope and bent boundaries for more than two decades with the band’s Grammy-winning music and ground-breaking concerts. In 2018, Rhino and Warner Bros. Records will celebrate Oklahoma’s most famous freaks with an ambitious reissue program, kicking off with remastered editions of the joyous weirdness the band recorded for Restless Records between 1984 and 1990 before signing with Warner Bros. in 1991 including Hear It Is (1986), Oh My Gawd!!!…The Flaming Lips (1987), Telepathic Surgery (1989) and In A Priest Driven Ambulance (With Silver Sunshine Stares) (1990). Following in the grand tradition of other great Southwestern psych bands such 13th Floor Elevators and The Red Krayola, The Flaming Lips’ mind bending 1986 debut, Hear It Is mixed punk, country & western, psychedelia, goth, and pure bar-band rock and roll into their own curious creation on classics such “Jesus Shootin’ Heroin” “Trains, Brains, & Rain” and “Charlie Manson Blues.” Sharing the weird, slanted pop sensibility of contemporaries like Meat Puppets and Butthole Surfers, this early masterpiece continues to influence bands to this day. Indeed, the punk rockers were finally taking acid. Remastered from the original 1/4″ analog tape masters by the band’s longtime musical foil and producer, David Fridmann, with help from the Flaming Lips’ Wayne Coyne and Michael Ivins.

File Under: Rock
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flamingohmy

Flaming Lips: Oh My Gawd!!! (Rhino) LP
The Flaming Lips have pushed the envelope and bent boundaries for more than two decades with the band’s Grammy-winning music and ground-breaking concerts. In 2018, Rhino and Warner Bros. Records will celebrate Oklahoma’s most famous freaks with an ambitious reissue program, kicking off with remastered editions of the joyous weirdness the band recorded for Restless Records between 1984 and 1990 before signing with Warner Bros. in 1991 including Hear It Is (1986), Oh My Gawd!!!…The Flaming Lips (1987), Telepathic Surgery (1989) and In A Priest Driven Ambulance (With Silver Sunshine Stares) (1990). Expanding and evolving on the mind bending mélange of their trailblazing debut, the Lips’ second effort, Oh My Gawd!!! finds the fearless band mining the psychedelic aspects of their sound even further. And the group’s ever ambitious nature begins to really reveal itself here as well with Ummagumma era Pink Floyd, Mountain, and even Blue Cheer becoming clear influences. It’s home to such seminal showpieces as “One Million Billionth Of A Millisecond On A Sunday Morning,” “Maximum Dream For Evil Knievel,” and “Prescription: Love.” Remastered from the original 1/4″ analog tape masters by the band’s longtime musical foil and producer, David Fridmann, with help from the Flaming Lips’ Wayne Coyne and Michael Ivins.

File Under: Rock
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flaming tele

Flaming Lips: Telepathic Surgery (Rhino) LP
The Flaming Lips have pushed the envelope and bent boundaries for more than two decades with the band’s Grammy-winning music and ground-breaking concerts. In 2018, Rhino and Warner Bros. Records will celebrate Oklahoma’s most famous freaks with an ambitious reissue program, kicking off with remastered editions of the joyous weirdness the band recorded for Restless Records between 1984 and 1990 before signing with Warner Bros. in 1991 including Hear It Is (1986), Oh My Gawd!!!…The Flaming Lips (1987), Telepathic Surgery (1989) and In A Priest Driven Ambulance (With Silver Sunshine Stares) (1990). Experimental, even by The Flaming Lips standards, the band’s third album is a glorious and mind-expanding mix of heavily effected guitar solos, backwards recordings and surrealistic imagery. Once again, the classic song titles keep coming with “Chrome Plated Suicide,” “Hari-Krishna Stomp Wagon (Fuck Led Zeppelin),” and “Drug Machine in Heaven.” Telepathic Surgery became a big influence on a number of bands in its wake from Mercury Rev and Beck to Grandaddy and The Olivia Tremor Control. Remastered from the original 1/4″ analog tape masters by the band’s longtime musical foil and producer, David Fridmann, with help from the Flaming Lips’ Wayne Coyne and Michael Ivins.

File Under: Rock
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immortal

Immortal: Sons of Northern Darkness (Nuclear Assault) LP
Pioneering Bergen, Norway black metal outfit Immortal was formed in 1991 out of the ashes of the two short lived bands Amputation and Old Funeral and has proceeded to become a benchmark of quality extreme metal. With their seventh full length effort Sons of Northern Darkness (2002), Immortal managed to combine both the more melodic elements from Damned in Black and At The Heart of Winter with the intensity of a Battles in the North, bringing forth their heaviest album in recent years along the way. Long out of print and highly sought after on vinyl, this gatefold, colored 2LP-set from Nuclear Blast satiates the demand at long last!

File Under: Black Metal
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li

Lykke Li: So Sad So Sexy (LL) LP
So Sad So Sexy is the inventive fourth studio album from Los Angeles based, Swedish vocalist, producer, and songwriter Lykke Li. The 10 song collection was primarily written by Lykke with her main co-writer Ilsey Juber (Beyonce, Drake, Kanye, Majid Jordan) and produced by Lykke and Malay (Lorde, Frank Ocean) with collaborators Jeff Bhasker (Kanye West, Bruno Mars, Rihanna), Rostam (Solange Knowles, HAIM), Illangelo (The Weeknd), Jonny Coffer (Beyonce, Naughty Boy, Sam Smith), DJ Dahi (BANKS, Ty Dolla Sign), T-Minus (Kendrick Lamar, Drake), Skrillex and Emile Haynie (Eminem, Lana Del Rey, Dua Lipa). So Sad So Sexy has been called “a superb reinvention of Lykke Li” (Consequence of Sound) and a “dramatic new direction” (Billboard), while single “Hard Rain” has been hailed as a “mesmerizing ballad” (Rolling Stone) and “a futuristic quiet storm” (Pitchfork).

File Under: Pop
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swna

Swans: Soundtracks for the Blind (Young God) Box
Swans Soundtracks for the Blind, their last studio album released in 1996 prior to their 2010 reformation, is released for the first time on vinyl. Much requested by Swans fans, the vinyl package will consist of four LPs in jackets enclosed in a box with a poster, insert and download card. “This album has everything in there – all the ideas from Swans’ initial 15 years of work. There’s some contemporary recordings of the band as it existed in ‘96/7, with Larry Mullins on drums/percussion, Jarboe singing and playing keyboards, Vudi playing electric guitar, and Joe Goldring playing bass and electric guitar, and me singing and playing electric and acoustic guitar, but there’s also a huge amount of sounds and recordings that Jarboe and I collected over the years. These are reassembled, looped, mangled, and in many cases overdubbed upon to create new pieces of music…I really set my own trap, dug my own grave on this one. There was so much material to deal with, to sift through (whole trunks full of decomposing, moldy cassettes and discs with samples and sounds), and the task of making it into something coherent was at times debilitating. “Really like climbing up a mountain of sand. I don’t remember why I set this goal for myself, to somehow incorporate such a ridiculously disparate amount of material. I think maybe it was so I could justify throwing all that crap into the local dump, which is what I did when I finished the album. But in the end, after centuries of picking at this huge iceberg of material with a toothpick, my trusty engineer Chris Griffin and I managed to sculpt something out of it. It actually breathes, seems to live, in most places I think…When I decided to reform Swans in 2010 Soundtracks was what I referred to as a starting point” – Michael Gira / Swans 2018

File Under: Rock, Goth, Experimental
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FIRELP425 Josephine Foster - A Wolf In Sheep's Clothing OUTER SL

Tangerine Dream: Miracle Mile (Fire) LP
The soundtrack to the original motion picture directed by Steve De Jarnatt (1989) and twelfth film score from Tangerine Dream, the tension in ‘Miracle Mile’, both the music and on the screen, make it one of their strongest and a masterpiece.

File Under: Electronic, OST
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u2

U2: Achtung Baby (Island) LP
In tomorrow… The world changed dramatically in the three years in between Rattle and Hum and Achtung Baby – and so did U2. By the time their seventh studio album was released in November 1991, Germany had reunified, Nelson Mandela was a free man, Margaret Thatcher had resigned and the Soviet Union was about to dissolve. Amid events of such magnitude, the biggest rock group in the world had some momentous changes of their own to unveil. What emerged was an album open to all kinds of sounds and hues, and one that would add to U2’s collection of anthems even as it recalibrated their sound for the 1990s. It went on to win them two more Grammys, for Best Rock Performance and Producer of the Year for Daniel Lanois and Brian Eno. This was rock, but not always as we had known it from them before. At a remove from the American roots music that provided the palette for Rattle and Hum, darker elements were creeping onto the canvas. Yet, dependably, Achtung Baby was still overflowing with grand-scale songs that were set to ring around the arenas of the world. Lead single “The Fly” landed at the top of the British charts in October 1991, the first time U2 had achieved an instant UK No. 1. No fewer than five songs from the 8x platinum, No. 1 charting album would be released as singles. “Mysterious Ways” and “Even Better Than The Real Thing” had the dimensions of previous crowd-pleasers, but now with nods to the burgeoning sounds of electronica and hip-hop while the plaintive, elegant call to arms “One” emerged as one of U2’s very best ballads.

File Under: Pop
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zooropa

U2: Zooropa (Island) LP
In tomorrow… Even while they were on the road all over the world on the Zoo TV tour, the ideas for U2’s next album were burning such a hole in their pocket that it became the fastest record they’ve ever made. Just as Bono had explained that Rattle and Hum belonged with The Joshua Tree as its natural partner, the band knew in their bones that 1991’s Achtung Baby would soon inspire a complementary follow-up. Its name would be Zooropa (1993), and although it was first envisaged as an EP, it simply demanded to become their 2x platinum, Grammy-winning eighth studio album. For the first time, The Edge was named individually as co-producer of a U2 album, along with their unswerving confidant Brian Eno and another new name in the credits, but one who was in reality a U2 veteran. Mark ‘Flood’ Ellis had co-engineered The Joshua Tree and then, after enhancing his reputation immensely by co-producing Nine Inch Nails’ Pretty Hate Machine and Depeche Mode’s Violator, returned to the U2 fold for Achtung Baby. With Daniel Lanois unavailable for Zooropa, Flood was the perfect choice to step up as co-producer, in what has been an enduring relationship. Cutting edge lead single “Numb” set the scene for the futuristic course plotted throughout the LP. Zooropa offers such a rich palette of sounds to take in, such a wash of instrumental colors and effects to assimilate, that Bono often assumes a measured, less-is-more vocal delivery. Indeed, on “Numb,” again on the club-friendly “Lemon” and at times on the tender “The First Time,” he showed an entirely new facet by singing in falsetto. Third single, “Stay (Faraway, So Close!),” hit No. 1 in Ireland and broke into the UK top five. This vinyl reissue sees Zooropa expanded to 2LPs for the first time ever, to include bonus mixes of “Lemon” and “Numb.”

File Under: Pop
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we

Wolf Eyes: Dread (Lower Floor) LP
In tomorrow… A sought after early Wolf Eyes album back on vinyl for the first time in 17 years. Dread was originally released on Hanson Records, American Tapes and Bulb Records in 2001. Filters circuit bent electronics, fried dub and the dystopian proto-punk of Cabaret Voltaire and Suicide through a distinctly Midwest USA sensibility. The result is a freak classic for the ages. The vinyl edition comes with a double-sided fold-out A2 newsprint poster and the bonus track “Sandpapered Eyes” on an accompanying download card. This release continues to establish Lower Floor Music as a new home for the group’s cultural vision, highlighting both new and archival work. In 2017 the label was minted with the release of their harrowing Undertow LP and the slowed down techno-meets-free-from jazz devastation of the follow-up Strange Days II 12′. This is the latest fork in a path the band started forging in 1998, releasing a massive amount of small run DIY basement recorded tape and CD-R missives, as well as higher profile albums for the likes of Sub Pop, Third Man and De Stijl. “Necessary reissue of this crucial side by the greatest underground band of your lifetime. Still sounds like nothing else.” – David Keenan (This Is Memorial Device / Volcanic Tongue)

File Under: Noise, Experimental
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…..Restocks…..

Arctic Monkeys: Tranquility Base Hotel + Casino (Domino) LP
Bon Iver: s/t (Jagjaguwar) LP
David Bowie: Changesonebowie (RCA) LP
Childish Gambino: Camp (Glassnote) LP
Deathgrips: Bottomless Pit (Harvest) LP
Destroyer: ken (Merge) LP
Felt: Crumbling the Antiseptic Beauty (Cherry Red) LP
Felt: The Splendour of Fear (Cherry Red) LP
Felt: The Strange Idols Pattern… (Cherry Red) LP
Stan Getz/Joao Gilberto: s/t (Verve) LP
Gorillaz: Demon Days (Parlophone) LP
Jonny Greenwood: You Were Never Really Here OST (Lakeshore) LP
Jon Hassell: Listening to Pictures (Ndeya) LP
Hot Snakes: Audit in Progress (Sub Pop) LP
Hot Snakes: Suicide Invoice (Sub Pop) LP
Sharon Jones: Give the People What They Want (Daptone) LP
Sugai Ken: UkabazUmorezU (RVNG Intl) LP
Khruangbin: Con Todo Mundo (Dead Oceans) LP
Anderson.Paak: Venice (Steel Wool) LP
Ty Segall: Manipulator (Drag City) LP
Midori Takada: Through the Looking Glass (WRWTFWW) LP
Unwound: Fake Train (Numero) LP
Caetano Veloso: Transa (Elemental) LP
Tom Waits: Heart of Saturday Night (Anti) LP
Frank Zappa: Burnt Weeny Sandwich (Zappa) LP
Frank Zappa: Hot Rats (Zappa) LP
Frank Zappa: Lumpy Gravy (Zappa) LP

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