Tag Archives: music

…..news letter #826 – melt…..

You know, the last few years we’ve seen a few big releases right away in January, but this year, NOTHING. Finally some new releases are starting to trickle in, but not a ton. Loads of big stuff getting announced lately though, don’t worry, your wallet will be crying soon enough.

…..pick of the week.….

bladerunner

OST: Blade Runner (Rhino) LP
This iconic score is available again! Don’t miss out this time!!!! “The Blade Runner soundtrack was composed by Vangelis for Ridley Scott’s 1982 film, considered one of the finest sci-fi movies ever made. It is mostly a dark, melodic combination of classical compositions and synthesizers which mirrors the futuristic film noir envisioned by Scott. The soundtrack holds legendary status and at the time was well-received by fans and critics including Best Original Score nominations for a BAFTA and Golden Globe yet, except for a few cuts, it was not released until 1994. The movie remains a classic film with a long list of popular movie stars including Harrison Ford, Daryl Hannah, Rutger Hauer, Sean Young, and Edward James Olmos, most of whom appear on this record in movie dialog samples mixed into the 12 tracks of nearly one hour of music. Vangelis makes each track flow into one another. The soundtrack features vocal contributions from Demis Roussos and the sax solo by Dick Morrissey on “Love Theme.” The gatefold jacket includes many colorful stills from the film. Blade Runner is a timeless classic on film.”

File Under: OST, Ambient, Sci Fi
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…..new arrivals…..

bahamasBahamas: Earthtones (Universal) LP
In tomorrow… Afie Jurvanen isn’t from the Bahamas. He’s a Finnish-Canadian from Barrie – a working class town in rural Ontario. But his chosen epithet is fitting. Since 2009 he’s been making music under the name Bahamas – writing songs about sunsets, love affairs, and making out with crooked smiles. Through simple arrangements, he charts an escape route from the snow belt to the coral reefs. “I wasn’t feeling too inspired in 2016,” explains Jurvanen. “I’d been in a seemingly unbroken cycle of recording and touring for 6 years. I know, you’re saying to yourself “that’s so cliché̇, all musicians complain about being tired…” But wait, there’s more! Not knowing exactly what type of album to make, I was feeling pretty low. But at that very moment, my longtime manager and confidante Robbie Lackritz called and said “dude, you should make an album with D’Angelo’s rhythm section.” And just like that, the juices were flowing and the songs started coming. I wrote songs about having success, having kids, and having depression. I wrote songs about going on tour, going back in time and going in circles. I wrote songs about my other worldly wife, my jerk dad and my garbage relationship with my brother. Crazy right?! “In September of 2016 I flew to Los Angeles and spent three days in the studio with the bass boss Pino Palladinoand the titan of time keeping, Mr. James Gadson. No rehearsals, no charts, no rules. We worked fast and came away with 10 songs that sounded fresh and strange and warm and free of any genre. The results were so inspiring to me that I quickly pulled my road band (Felicity Williams, Christine Bougie, Darcy Yates, Jason Tait, Don Kerr) into a Prague studio to record a few more songs. And here’s the best part…the whole thing is produced by my longtime producer and confidante Robbie Lackritz, so you know the sound is correct, totally modern and completely familiar at the same time.”

File Under: Indie Rock
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bigstar

Big Star: Live at Lafayette’s Music Room (Omnivore) LP
It is well known that Big Star played a one-off promotional show for the Memphis Rock Writer’s Convention at Lafayette’s Music Room in Memphis in May of 1973. It cemented them into legendary status due to the writers who witnessed it and carried the message of Big Star out in their writing, even though the band had only released one album, #1 Record, and were unsure of recording a second after the departure of co-founder Chris Bell. What may not be so widely known is that the trio played the same venue four months earlier with the same power and passion opening shows for the Houston R&B band, Archie Bell & The Drells. First issued as Disc 4 of the Grammy Award-winning Keep An Eye On The Sky boxed set, Live At Lafayette’s Music Room sees new light as a stand-alone release, available on double LP. The performance has never sounded better thanks to new mastering and restoration from the Grammy-winning engineer, Michael Graves with supervision from fellow Grammy-winning producer, Cheryl Pawelski. The 20-track set features material from their debut, #1 Record, songs that would appear on the (not yet recorded) follow-up, Radio City, and choice covers from The Kinks, Todd Rundgren, The Flying Burrito Brothers, and T-Rex. As an added bonus, all formats include a download of a previously unissued 1972 interview with Alex Chilton and Andy Hummel from the summer of 1971 with Jon Scott on FM 100. Packaging features new liner notes from Bud Scoppa, who was friends with the band, and in attendance at the 1973 Rock Writer’s show. His most recent work for Omnivore was an integral part of the acclaimed Big Star boxed set Complete Third. Experience the only known document of Big Star at this pivotal point in their short, but massively influential career!

File Under: Rock
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warmjets

Brian Eno: Here Come the Warm Jets (Astralwerks) LP
In tomorrow… The hybrid of glam, prog and art rock on Brian Eno’s 1974 debut Here Come The Warm Jets continued in a vein similar to his previous albums with Roxy Music, but further upped the experimental ante. In developing the album’s words and music, Eno used unusual methods, including dancing for his band members – having them play accordingly, and singing nonsense syllables to himself, then forming those into actual words, phrases and meaning – a technique revisited on later albums. The lyrics on Here Come The Warm Jets are macabre with an underlying sense of humor. They are mostly free-associative and have no particular meaning – another recurring method. Eno enlisted sixteen guest musicians to play on the album, including Robert Fripp and John Wetton of King Crimson, Simon King from Hawkwind, Bill MacCormick of Matching Mole and Quiet Sun, Paul Rudolph of Pink Fairies, Phil Manzanera and Andy MacKay from Roxy Music and Chris Spedding. Eno selected them on the basis that he thought they were incompatible with each other musically. He stated that he “got them together merely because I wanted to see what happens when you combine different identities with the knowledge that there might be accidents, accidents which will be more interesting than what I had intended.”

File Under: Rock
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hotsnakes1

Hot Snakes: Automatic Midnight (Sub Pop) LP
In tomorrow…San Diego’s influential post-hardcore all-stars Hot Snakes – boasting members of Pitchfork, Rocket From the Crypt, Drive Like Jehu, Earthless, Obits, Burning Brides, OFF!, The Delta 72, and more – released three of Sub Pop’s favorite rock records of the past 20 years: Automatic Midnight, Suicide Invoice, and Audit in Progress. All three were originally issued on Swami Records, with art by singer/guitarist and visual artist Rick Froberg. As we await the somewhat-later-in-2018 release of their first new album since 2004, the label is pleased to reissue this trio of classics back on vinyl. 2000’s Automatic Midnight is Hot Snakes’ sinister and swaggering debut blast of fierce and turbulent rock ‘n’ roll. Guitars attack, drums pound and vocals destroy. The band’s sound here represented a return to the unrealized past of its members: direct, undraped rock ‘n’ roll with some edge.

 File Under: Rock, Punk
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hotsnakes3

Hot Snakes: Suicide Invoice (Sub Pop) LP
In tomorrow…San Diego’s influential post-hardcore all-stars Hot Snakes – boasting members of Pitchfork, Rocket From the Crypt, Drive Like Jehu, Earthless, Obits, Burning Brides, OFF!, The Delta 72, and more – released three of Sub Pop’s favorite rock records of the past 20 years: Automatic Midnight, Suicide Invoice, and Audit in Progress. All three were originally issued on Swami Records, with art by singer/guitarist and visual artist Rick Froberg. As we await the somewhat-later-in-2018 release of their first new album since 2004, the label is pleased to reissue this trio of classics back on vinyl. Hot Snakes’ highly anticipated sophomore effort, 2002’s Suicide Invoice, features a more varied assault and larger mood palate than their debut, but with the same guitar attack, drum pound, vocal destroy style that we’ve come to know and love.

File Under: Rock, Punk
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hotsnakes

Hot Snakes: Audit in Progress (Sub Pop) LP
In tomorrow… San Diego’s influential post-hardcore all-stars Hot Snakes – boasting members of Pitchfork, Rocket From the Crypt, Drive Like Jehu, Earthless, Obits, Burning Brides, OFF!, The Delta 72, and more – released three of Sub Pop’s favorite rock records of the past 20 years: Automatic Midnight, Suicide Invoice, and Audit in Progress. All three were originally issued on Swami Records, with art by singer/guitarist and visual artist Rick Froberg. As we await the somewhat-later-in-2018 release of their first new album since 2004, the label is pleased to reissue this trio of classics back on vinyl. Audit in Progress is Hot Snakes’ third studio album and last to date, originally released in 2004. It finds the band doing what they do best, churning out fast and explosive songs with understated dynamics and plenty of character. By 2005 Hot Snakes was no more, however, they would reconvene in 2011 for some live dates.

File Under: Rock, Punk
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kuti

Fela Kuti: Box Set 4 (Knitting Factory) 7LP Box
In tomorrow…Knitting Factory Records presents the next installment of the long-awaited vinyl reissues from the Fela Kuti catalog. The inimitable Erykah Badu personally selected the seven albums featured in this fourth box set, which have been remastered from their original vinyl pressings. The artwork for each album has been meticulously recreated from original album artwork, alongside vintage vinyl label artwork. The 7LPs include Yellow Fever (1976), No Agreement (1977), JJD (1977), VIP (1979), Coffin for Head of State (1980), Army Arrangement (1984), and Underground System (1992). The package is rounded out with a 20-page full-color booklet featuring seven personal essays written by Erykah Badu; seven in-depth commentaries by veteran music journalist and Afrobeat historian Chris May; song lyrics; never before published photos of Fela Kuti; and a 16 x 24″ poster designed by Nigerian artist Lemi Ghariokwu, the creative force behind 26 of Fela Kuti‘s album covers.

File Under: Afro Beat, Funk
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lie

Mudhoney: LiE (Sub Pop) LP
In tomorrow… Recorded live during their 2016 European tour at shows in Germany, Croatia, Sweden, Austria, Norway, and Slovenia LiE is the first unlimited-edition, non-bootleg live Mudhoney album to date. 2018 marks Mudhoney’s 30th anniversary, and this release is a fitting start to a year that will also see the release of a new Mudhoney full-length. Includes ten tracks spanning the band’s storied career plus their live cover of Roxy Music’s “Editions of You.”

File Under: Rock, Grunge
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porches

Porches: The House (Domino) LP
In tomorrow… Porches’ third record The House is a conscious effort in minimalism and honesty. “Making Pool” – the band’s 2016 breakthrough record, and Domino debut – “I learned how valuable the spirit of the demos are,” says singer Aaron Maine. “So this time I made a point of capturing a song the day it was conceived.” Because of this desire to document immediate sensations, the record’s fourteen tracks offer a series of diaristic vignettes. There are moments of emerging from fear of ego death (“Leave the House,” “By My Side,” “Now The Water”), escaping the corporeal (“Now The Water,” “Swimmer”), the terrifying thrill of young love (“Country,” “W Longing”), and parting with the past (“Wobble,” “Goodbye”). While these themes possibly paint The House in a dark light, the record is marked by an excitement at the prospect of self-discovery, and commitment to the process of getting there. Though Aaron largely composes on his own, The House features contributions by Alexander Giannascoli ((Sandy) Alex G), Dev Hynes (Blood Orange), Maya Laner (True Blue, Porches), Kaya Wilkins (Okay Kaya), Bryndon Cook (Starchild & the New Romantic), Cameron Wisch (Cende, Porches), Jason Arce, Bea1991, and his own father, Peter Maine. As with Pool, Aaron brought his recorded work to Chris Coady (Beach House, Slowdive, TV on the Radio), who then mixed The House at his Sunset Sound studio.

File Under: Indie Rock
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wallColter Wall: Imaginary Appalachia (Thirty Tigers) LP
In tomorrow… A native of Swift Current, Saskatchewan Canada, Colter Wall’s sound is comprised of resonate and raw baritone vocals, folk and bluegrass style guitar and banjo picking, steady kick-drum stomping, and visually provoking, story telling lyrics. Since debuting in 2015 with the release of his Jason Plumb-produced EP, Imaginary Appalachia, Wall has received overwhelming acclaim – Steve Earle declares, “Colter Wall is bar-none the best young singer-songwriter I’ve seen in twenty years,” while Rick Rubin, who signed Wall to his American Songs publishing company, proclaims, “Colter sings and writes songs in ways seemingly lost in time. There is an agelessness about him so unusual in someone so young.” The standout Imaginary Appalachia track “Sleeping On The Backtop,” was featured on the soundtrack of the Oscar-nominated film, Hell or High Water.

File Under: Country
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neil youngNeil Young: The Visitor (Reprise) LP
Neil Young + Promise Of The Real pair up once again for the new studio album The Visitor. When Young entered Shangri La Studio with Promise Of The Real in the Fall of 2017, there were a lot of images and feelings careening around his soul. The country was heading in a direction Young had never seen, even though up until then he thought he’d seen it all. But something different was happening, and it had gotten inside his music. “I’m a Canadian by the way and I love the USA,” he sings on the first song “Already Great.” The ethos of The Visitor can be summed up in the refrain of “Already Great” where Young insists, “Already great, you’re already great. You’re the promise land, the helping hand. No wall. No hate. No fascist USA. Whose Street? Our Street.” From those words, Young was ready to take a musical journey like he had never taken before. It was one where he’d even surprise himself, always the mark of a creative leap. By the end of the recording sessions, he knew he’d made his most diverse album going all the way back to Harvest in 1972, when America was also in the throes of becoming unhinged. Neil didn’t blink then, and he is not blinking now. The Visitor is an intriguing and always exciting peek into the mind and heart of one of rock & roll’s true seekers. His new songs, whether it’s a mashup of spoken word and rock & roll on “Fly By Night” or the heart-stopping beauty of “Forever,” once again ask listeners to stay open and ready for whatever comes through the open channels of the man and his unstoppable band. Listening to an album like The Visitor is not unlike taking off on a cross-country trip without a map. There is no way to tell where the destination will lead or what will be encountered. At one moment the savage rock of “Stand Tall” leads into Caribbean and Latin musical strains rising through on “Carnival,” only to turn around to embrace the blues on “Digging a Hole.” There is also the modern funk-rock of “When Bad Got Good,” the anthemic “Children of Destiny” and the spirit-tugging strength of “Change of Heart” to ensure the musical travels remain full of wonder. With the unlimited ability of Promise of the Real, featuring Lukas and Michah Nelson along with Corey McCormick, Anthony Logerfo and Tato Melgar, the passionate power of their playing pushes the songs to maximum expression. There are very few rock bands now who can go to as many places as this outfit and always deliver their own distinct identity. The closing song on The Visitor feels like a prayer for today and tomorrow. In “Forever,” Young sings “Earth is like a church without a preacher, the people have to pray for themselves.” These lines, and everything else on this landmark release point to the future in a way that sounds the alarm for troubled times but at the same time offers hope that, once again, music can help lead the way to understanding and hopefully a better place.

File Under: Rock
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…..Restocks…..

Alabama Shakes: Sound & Color (ATO) LP
Aphex Twin: Come to Daddy (Warp) 12”
Aphex Twin: Window Licker (Warp) 12”
Arcade Fire: Funeral (Merge) LP
Arcade Fire: Reflektor (Sonovox) LP
Beastie Boys: In Sound From Way Out (Universal) LP
Beck: Colors (Universal) LP
Beck: Morning Phase (Universal) LP
Boards of Canada: Tomorrow’s Harvest (Warp) LP
Alice Coltrane: Journey in Satchidananda (Impulse) LP
Alice Coltrane: World Spirituality Classics (Luaka Bop) LP
Daft Punk: Random Access Memories (Columbia) LP
Dio: Holy Diver (Rhino) LP
Dio: Last in Line (Rhino) LP
Gord Downie: Battle of the Nudes (Arts & Crafts) LP
Gord Downie: Coke Machine Glow (Arts & Crafts) LP
Nick Drake: Pink Moon (Island) LP
Flying Lotus: Cosmogramma (Warp) LP
Flying Lotus: Until The Quiet Comes (Warp) LP
Aretha Franklin: A Brand New Me (Rhino) LP
Aretha Franklin: Lady Soul (Rhino) LP
Frightnrs: Nothing More to Say (Daptone) LP
Charlotte Gainsbourg: Rest (Warner) LP
Golden Smog: Weird Tales (Rhino) LP
Herbie Hancock: Headhunters (Legacy) LP
Herbie Hancock: Maiden Voyage (Blue Note) LP
Jlin: Black Origami (Planet Mu) LP
Knife: Shaking the Habitual (Mute) LP
Kendrick Lamar: Damn (Aftermath) LP
Kendrick Lamar: Good Kid M.A.A.D. City (Aftermath) LP
Kendrick Lamar: To Pimp a Butterfly (Aftermath) LP
Led Zeppelin: II (Warner) LP
Love: s/t (Rhino) LP
Hank Mobley: Soul Station (Blue Note) LP
Thelonious Monk: Monks Dream (Wax Time) LP
Thelonious Monk: Underground (Universal) LP
Lee Morgan: Search for a New Land (Blue Note) LP
Mount Kimbie: Love What Survives (Warp) LP
Oasis: (What’s the Story) Morning Glory (Big Brother) LP
Tom Petty: Highway Companion (Universal) LP
Portishead: Dummy (Universal) LP
Otis Redding: Live In Europe (Rhino) LP
R.E.M.: Automatic for the People (Universal) LP
Daniel Romano: Modern Pressure (You’ve Changed) LP
Daniel Romano: Sleeps Beneath the Willow (You’ve Changed) LP
Richard & Linda Thompson: Shoot Out the Lights (Rhino) LP
Tragically Hip: Fully Completely (Universal) LP
Tragically Hip: Road Apples (Universal) LP
ZZ Top: Tres Hombres (Rhino) LP
ZZ Top: Rio Grande Mud (Rhino) LP

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…..new letters #825 – back…..

Happy New Year, y’all! It seems like it’s been forever since I put together one of these lists. You probably were worried sick! Have no fear, we’re still here! There still isn’t much new, but a small smattering of new things have trickled in, so here we are. I know it’s brutal out there, but just think… new records before locking yourself in with some lovely beers for the weekend. Sounds great.

…..picks of the week…..

king gizz

King Gizzard & The Lizard Wizard: Polygonawanaland (Bear Tree) LP
So these crazy guys released this album for free, like…. go ahead a make your own pressing of this record free, so my buddy in the UK did just that! And so I bought some from him, an they look awesome and are almost sold out, already so if you haven’t alread, you better get over here ASAP! Adding to what has already been an insanely prolific 2017, King Gizzard & the Lizard Wizard offer up their fourth album of the year and twelfth album overall. Following Flying Microtonal Banana, Murder of the Universe and Sketches of Brunswick East, Polygondwanaland finds the band journeying into the depths of the mind and the limits of the universe once again. “The stirring, quiet percussion of “Inner Cell” tiptoes into “Loyalty” for a slow buildup, before it splashes into the punctuated vocals of “Horology,” a sea of guitar tapping and rich, warm woodwinds,” writes Pitchfork. The Australian 7-piece have made a name for themselves with a steady stream of new material since their inception in 2010, blending everything from surf rock, prog, soul and folk to metal, garage rock, and even elements of spoken word and cinematic presentation.

File Under: Psych, Rock
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kakashiYasuaki Shimizu: Kakashi (Palto Flats) LP 
You probabaly missed this when it was a pick of the week before xmas, so just to remind you how awesome this record is, here it is again! “Originally released in 1982, Kakashi is another high water mark in the 80s Japanese underground. This album, which has gathered cult status in recent years, is the project of musical visionary Yasuaki Shimizu, and considered to be a highlight of his solo career. Shimizu was the bandleader of Mariah, who also saw their album Utakata No Hibi reissued by Palto Flats in 2015. Kakashi offers a similar blend of saxophone experimentations, jazz fusion and ambient dub excursions.”

File Under: Electronic, Jazz, Dub, Pop, Experimental
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…..new arrivals…..

aphex1

Aphex Twin: Come to Daddy (Warp) 12”
A vibrant and exuberant 1997 release from Richard D James aka Aphex Twin with two wildly different versions of the title track alongside a pair of high-tempo yet heartfelt electronic works. The terrifying thrash of the infamous Pappy Mix of “Come To Daddy” is joined by the playful melodies and door-creak percussion of “Flim” and “Bucephalus Bouncing Ball.” An essential slab for any Aphex Twin fan. 12″ vinyl with paper inner and printed outer.

File Under: Electronic
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aphex

Aphex Twin: Windowlicker (Warp) 12”
Quite unlike anything else he’s ever done, “Windowlicker” is perhaps the most accessible and dancefloor-friendly track Richard D James has ever created. A simple, gurgling riff paired with childishly sung vocals and thrown over straight-up 4/4 beats, groaning and developing, the bizarre sonics straining to burst through the shackles of form and expectation. “Formula” provides unexpected blasts of sound, lengthy breaks, explosive aspirates – it seems to escape and transcend this very plane of existence. “Nannou” is a chilling lullaby, minor-key themes that evoke thoughts of traditional melodies while percussion seemingly made out of household trappings ground it in the everyday.​ LP w/ Paper Inner and Printed Outer

File Under: Electronic
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future

Future: HNDRXX (Epic) LP
Setting the pace and changing the game with every subsequent album, Future started a full court blitz in 2015 that resulted in one of rap’s most impressive winning streaks. In under a year, he achieved three back-to-back No. 1 albums on the Billboard Top 200 – the platinum DS2, platinum What A Time To Be Alive with Drake, and EVOL. 2017 saw him add to his already staggering legacy with two more No. 1 albums, Future and HNDRXX, which were issued within a week of one another and made Future the first artist to release two Billboard 200 chart topping albums in consecutive weeks. Named after his Future Hendrix alter ego, the Gold-certified HNDRXX boasts the four singles “Selfish,” “Pie,” “Incredible” and “You da Baddest” and includes guest appearances by Rihanna, The Weeknd, Chris Brown and Nicki Minaj. “HNDRXX is super personal. This is the honest album that I was supposed to be honest about,” Future told Zane Lowe. “This is me opening up and just letting it all out so I can just move past it. Certain things don’t have to speak on it again.”

File Under: Hip Hop
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cargo

OST: Live Cargo (Blackest Rainbow) LP
The score to Logan Sandler’s movie ‘Live Cargo’ (2016), a dark monochrome thriller weaving together a plot of struggling relationships, child loss and the dark world of human trafficking. For the music the Blair brothers worked closely with director Logan Sandler to capture the tone and texture of a particularly depraved way of life in the Bahamas. Mastered at 45 rpm and pressed on 180-gram seafoam coloured vinyl, the LP is packaged in a UV gloss finished sleeve with a black polylined inner sleeve.

 File Under: OST, Ambient
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pandabear

Panda Bear: A Day With The Homies (Domino) 12”
New material from Panda Bear! Animal Collective founding member Noah Lennox (aka Panda Bear) adds to his impressive body of solo work (including fan-favorite Person Pitch and the critically-acclaimed Panda Bear Meets The Grim Reaper) with this limited edition 12″ release. A Day With The Homies includes 5 brand new tracks, and is exclusively available on this limited edition, vinyl-only 12″ EP (no digital is available at this time). Comes housed in full pic jacket with printed inner sleeve, no download code to keep it strictly vinyl-only.

File Under: Indie Rock

penguin

Penguin Café Orchestra: Union Café (Erased Tapes) LP
Erased Tapes has the privilege of reissuing world renowned Penguin Cafe Orchestra’s last studio album Union Cafe – out December 2017 to coincide with the 20th Anniversary of Simon Jeffes’ passing in 1997. The Penguin Cafe Orchestra was arguably the ultimate word of mouth group. But those who manage to stumble upon their richly melodic and utterly uplifting music invariably respond by asking, where has this music been all my life? Quickly followed by, which album should I buy first? How about 1993’s Union Cafe, a sprawling, diverse collection that could be the Penguin Cafe Orchestra’s White Album. 2LP-set with download.

File Under: Jazz, Classical
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reed

Lou Reed: Berlin (RCA) LP
An American master and true rock & roller, Lou Reed transformed popular art, music and culture through a body of work that continues to affect the way fans hear and see the world. Reed, who cut his first single as a teenager in the late-50s, began his professional career working as a New York in-house assembly line songwriter in the early-60s while developing his pure artistic vision as frontman for the Velvet Underground and throughout his uncompromising solo career. 1973’s Berlin is Reed’s theatrical third solo effort which came in drastic contrast to its glam-rock predecessor, Transformer. Comprised of re-drafts of earlier compositions first penned by Reed and the Velvet Underground, Berlin tells the story of an ill-fated romance amidst heavy orchestral arrangements, harrowing horn sections and fervent lyrics. Produced by Bob Ezrin, the equally ambitious and controversial 10-song set includes appearances by Michael and Randy Brecker, Jack Bruce, Aynsley Dunbar, Tony Levin and Steve Winwood. Upon the album’s original release, Rolling Stone’s Stephen Davis described it as one of those “…records so patently offensive that one wishes to take some kind of physical vengeance on the artists that perpetrate them…a distorted and degenerate demimonde of paranoia, schizophrenia, degradation, pill-induced violence and suicide.” Thirty years later, the magazine hailed it as one of the 500 Greatest Albums of All Time.

File Under: Rock
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reed2

Lou Reed: Rock N Roll Animal (RCA) LP
An American master and true rock & roller, Lou Reed transformed popular art, music and culture through a body of work that continues to affect the way fans hear and see the world. Reed, who cut his first single as a teenager in the late-50s, began his professional career working as a New York in-house assembly line songwriter in the early-60s while developing his pure artistic vision as frontman for the Velvet Underground and throughout his uncompromising solo career. Following his theatrical concept album Berlin, Reed switched gears once again with 1974’s Rock ‘n’ Roll Animal, a searing live set recorded at Howard Stein’s Academy of Music in New York in December 1973 with his road band at the time which featured the twin guitar attack of Dick Wagner and Steve Hunter. The 5-song set primarily consists of extended arrangements of former VU classics including a 13-minute plus version of “Heroin,” and a 10-minute “Rock ‘n’ Roll” to go along with more concise takes on “Sweet Jane” and “White Light/White Heat.” Rock ‘n’ Roll Animal amplifies the music of the Velvet Underground as never before or since and it finds Lou Reed doing what he does best, challenging the status quo with artistic ambition and restless abandon.

File Under: Rock
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reed1

Lou Reed: Street Hassle (RCA) LP
An American master and true rock & roller, Lou Reed transformed popular art, music and culture through a body of work that continues to affect the way fans hear and see the world. Reed, who cut his first single as a teenager in the late-50s, began his professional career working as a New York in-house assembly line songwriter in the early-60s while developing his pure artistic vision as frontman for the Velvet Underground and throughout his uncompromising solo career. 1978’s Street Hassle has been referred to as the angrier, younger sibling to Reed’s eloquent, mature New York, which was released over a decade later. Teeming with the lyrical hell of drug addicts and desperate misfits, it also possesses elements of Reed’s signature pitch-black humor. A mix of New York studio recordings and fine live performances recorded in West Germany, Street Hassle is a curious and compelling coda to Reed’s tumultuous and ever-changing ’70s work.

File Under: Rock
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reed3Lou Reed: Transformer (RCA) LP
An American master and true rock & roller, Lou Reed transformed popular art, music and culture through a body of work that continues to affect the way fans hear and see the world. Reed, who cut his first single as a teenager in the late-50s, began his professional career working as a New York in-house assembly line songwriter in the early-60s while developing his pure artistic vision as frontman for the Velvet Underground and throughout his uncompromising solo career. Released in 1972 just a few months removed from his somewhat underground self-titled solo debut, Transformer immediately distinguished itself with a new sound and chart success thanks to the famous production duo of David Bowie and Mick Ronson. Reed’s signature guitar-driven rock is colored here with inventive arrangements and pop muscle, resulting in some of his best-known material such as “Walk on the Wild Side,” “Perfect Day” and “Satellite of Love.” The aptly titled release literally transformed Reed into a certifiable solo artist and it greatly influenced the direction his career would take stylistically for the remainder of the ’70s.

File Under: Rock
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shameShame: Songs of Praise (Dead Oceans) LP
Shame thrives on confrontation. Whether it be the seething intensity crackling throughout their debut LP Songs of Praise or the adrenaline-pumping chaos that unfolds at their live shows, it’s all fueled by feeling. Comprised of vocalist Charlie Steen, guitarists Sean Coyle-Smith and Eddie Green, bassist John Finerty, and drummer Charlie Forbes, the London-based 5-piece built the band up from a foundation of DIY ethos while citing The Fall and Wire among its biggest musical influences. Utilizing both the grit and sincerity of that musical background, Shame carved out a niche in the South London music scene and then barreled fearlessly into the angular, thrashing post-punk that would go on to make up Songs of Praise. From “Gold Hole,” a tongue-in-cheek takedown of rock narcissism, to lead single “Concrete” detailing the overwhelming moment of realizing a relationship is doomed, to the frustrated “Tasteless” taking aim at the monotony of people droning through their day-to-day, Songs of Praise never pauses to catch its breath.

File Under: Post Punk
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…..Restocks…..

13th Floor Elevators: Easter Everywhere (Charly) LP
Amon Duul II: Phallus Dei (SPV) LP
Syd Barrett: Barrett (Harvest) LP
Syd Barrett: Madcap Laughs (Harvest) LP
Bjork: Post  (One Little Indian) LP
Blonde Redhead: Fake Can Be Just As Good (Touch & Go) LP
Blonde Redhead: In An Expression of the Inexpressible (Touch & Go) LP
Charles Bradley: Victim of Love (Daptone) LP
Bully: Losing (Sub Pop) LP
Danger Mouse: Gray Album (Fan Club) LP
Miles Davis: Big Fun (Music on Vinyl) LP
Destroyer: Ken (Merge) LP
Bob Dylan: Blonde on Blonde (Columbia) LP
Bob Dylan: Another Side of Bob Dylan (Columbia) LP
Bob Dylan: Freewheelin’ (Columbia) LP
Bob Dylan: Nashville Skyline (Columbia) LP
Bob Dylan: The Times They Are A Changin’ (Columbia) LP
Faith Healer: Try (Mint) LP
Robert Fripp/Brian Eno: No Pussyfooting (Panegyric) LP
Robert Fripp/Brian Eno: Equatorial Stars (Panegyric) LP
Yussef Kamaal: Black Focus (Brownswood) LP
LCD Soundsystem: Sound of Silver (DFA) LP
LCD Soundsystem: s/t (DFA) LP
LCD Soundsystem: This is Happening (DFA) LP
Modest Mouse: The Moon & Antarctica (Epic) LP
Modest Mouse: Good News… (Epic) LP
My Bloody Valentine: M B V (MBV) LP
Pile: A Hairshirt of Purpose (Exploding in Sound) LP
Protomartyr: Under Color of Official Right (Hardly Art) LP
Protomartyr: Relatives in Descent (Domino) LP
Raincoats: s/t (Kill Rock Stars) LP
Max Richter: Blue Notebooks (Deutsche Grammophon) LP
Run the Jewels: 1 (Mass Appeal) LP
Run the Jewels: 2 (Mass Appeal) LP
Sleep: Holy Mountain (Mosh) LP
Sufjan Stevens: Carrie & Lowell (Asthmatic Kitty) LP
Tragically Hip: Road Apples (Universal) LP
Uncle Acid: Night Creeper (Rise Above) LP
Tom Waits: Alice (Anti) LP
Tom Waits: Bad as Me (Anti) LP
Tom Waits: Blood Money (Anti) LP
Tom Waits: Real Gone (Anti) LP
White Zombie: It Came From NYC (Numero) LP
Jack White: Blunderbuss (Third Man) LP
Jack White: Lazaretto (Third Man) LP
Wolves in the Throne Room: Diadem of 12 Stars (Diadem) LP
Various: Warfaring Strangers: Darkscorch Canticles (Numero) LP

Tagged , , , , , ,

…..news letter #824 – four…..

Ok, I hadn’t planned on such a whopper of a news letter, but why not go out with a bang! This week brings you our staff top picks of the year AND a pretty massive new arrival list as well. There were just too many great things in this week to skip them since there won’t be another list until the new year. That’s right, this is our final transmission of 2017. Thanks to everyone who came in over the year and bought records from us, it means the world to us. Have a safe and happy holidays, stop in on Boxing Day for our usual sale and see you all in 2018!

Holiday Hours….

Sun Dec 24 – 12 – 4
Mon Dec 25 – Closed
Tues. Dec 26 – 11 – 5
Sun Dec 31 – 12 – 4
Mon Jan 1 – Closed

…..staff picks of 2017…..

Ian’s Picks…

Love Theme – Love Theme (Alter)
Carla Dal Forno – The Garden (Blackest Ever Black)
Rakta – Oculto Pelos Seres (La Vida Es En Mus)
F Ingers – Awkwardly Blissing Out (Blackest Ever Black)
Anthony Linell – Consolidate (Northern Electronics)
Dedekind Cut – The Expanding Domain (Hallow Ground)
Total Control – Laughing At The System (Alter)
Lebenden Toten – Mind Parasites (Self Released) and Static! (Iron Lung)
Internazionale – The Pale And The Colourful (Posh Isolation)
K. Burwash – Moonlanding, Static Control – Debris, Soft Ions – s/t (Pseudo Laboratories)

Bailey’s Picks…

Mauno – Tuning (Idee Fixee) LP
Six Organs of Admittance: Burning the Threshold (Drag City) LP
Chad Van Gaalen: Light Information (Flemish Eye) LP
Jom Comyn: I Need Love (Double Lunch) CS
Why?: Moh Lhean (Joyful Noise) LP
Grandaddy: Last Place (Columbia) LP
Pissed Jeans: Why Love Now (Sub Pop) LP
Bully: Losing (Sub Pop) LP
Saltland: A Common Truth (Constellation) LP
The Caretaker: Everywhere at the End of Time Stage 3 (HAFTW) LP

Stefan’s Picks…

Alice Coltrane- The Ecstatic Music of… Turiyasangitananda
Colleen- A Flame My Love, a Frequency
Joshua Abrams & Natural Information Society- Simultonality
Colin Stetson- All This I do for Glory
Abdou El Omari- Nuits de Printemps
Fiver- Audible Songs From Rockwood
El Michels Affair- Return to the 37th Chamber
Midori Takada- Through the Looking Glass
John Bender- Plaster Falling
King Gizzard and the Lizard Wizard- Flying Microtonal Banana

James’s Picks…

Protomartyr: Relatives in Descent (Domino) LP
Daniel Romano: Modern Pressure (You’ve Changed) LP
Sheer Mag: Need to Feel Your Love (Wilsuns) LP
K.Burwash: Moonlanding (Pseudo Laboratories) CS
Not Waving: Good Luck (Diagonal) LP
War on Drugs: A Deeper Understanding (Atlantic) LP
Faith Healer: Try 😉 (Mint) LP
Metz: Strange Peace (Royal Mountain) LP
Wares: s/t (Double Lunch) CS
Lee Hazlewood: Requiem For An Almost Lady (Light in the Attic) LP

Kris’s Picks…

New…

Jonny Nash/Lindsay Nash: Fauna Mapping (Island of the Gods) LP
Caterina Barbieri: Patterns of Consciousness (Important) LP
Sarah Davachi: All My Circles Run (Students of Decay) LP
Loke Rahbek: City of Women & Buy Corals Online (Editions Mego) LP
Iona Fortune: Tao of I (Optimo) LP
Ben Frost: The Centre Cannot Hold (Mute) LP
Yair Elazar Glotman: Compound (Subtext) LP
Transcendence Orchestra: Modern Methods for Ancient Rituals (Editions Mego) LP
Visible Cloaks: Reassemblage & Lex (RVNG Intl) LP
Joshua Abrams & Natural Information Society: Simultonality (Eremite) LP

Reissues…

Coil: Time Machines (Dais) LP
Alice Coltrane Turiyasangitananda: The Ecstatic Music of (Luaka Bop) LP
Maria Teresa Luciani: Sounds of the City (Finders Keepers) LP
Roberto Musci: The Loa of Music (Soave) LP
NSRD: Workshop for the Resto Ration of Unfelt Feelings (Stroom ) LP
Steven Roach: Structures from Silence (Telephone Explosion) LP
Claudio Rocchi: Suoni di Frontiera (Die Schachtel) LP
Yasuaki Shimizu: Kakashi (Palto Flats) LP
Midori Takada: Through the Looking Glass (WRWTFWW/Palto Flats) LP
Hiroshi Yoshimura: Music for 9 Postcards (Empire of Signs) LP

Comps…

Various: Even a Tree Can Shed Tears (Light in the Attic) LP
Various: Miracle Steps (Optimo) LP
Various: Mono No Aware (Pan) LP
Various: Tokyo Flashback (Black Editions) LP
Various: Wayfaring Strangers: Acid Nightmare (Numero) LP

…..picks of the week…..

kakashiYasuaki Shimizu: Kakashi (Palto Flats) LP
“Originally released in 1982, Kakashi is another high water mark in the 80s Japanese underground. This album, which has gathered cult status in recent years, is the project of musical visionary Yasuaki Shimizu, and considered to be a highlight of his solo career. Shimizu was the bandleader of Mariah, who also saw their album Utakata No Hibi reissued by Palto Flats in 2015. Kakashi offers a similar blend of saxophone experimentations, jazz fusion and ambient dub excursions.”

File Under: Electronic, Jazz, Dub
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transTranscendence Orchestra: Modern Methods for Ancient Rituals (Editions Mego) LP
The title of the debut album from The Transcendence Orchestra outlines the modus operandi of this pairing of Anthony Child and Daniel Bean. Recorded in a remote English rural setting over a period of 24 hours, this is an apt location for a recording that eschews time and space in favor of methodological displacement and deep psychological navigation. Modern Methods For Ancient Rituals is an experiment in acoustic and synthetic symbiosis which is deeply influenced by the atmosphere and acoustics of the rural location of Cats Abbey resulting in a set of recordings which can aid to the transformation of consciousness. Deploying a range of ancient and modern instruments and effects, including Buchla Music Easel, harmonium, shruti box, bass guitar, hurdy gurdy, Electro Harmonix 45000, Strymon Blue Sky, and Roland RE 101 Space Echo, among others, Child and Bean conjure an audio experience which encapsulates elements of drone, trance, pulse, rhythm, and melody, subtly shifting all into a psychologically penetrating experience beyond the aesthetic and into the comforting unknown. Front cover image by Ali Wade; Back cover image by Cathrin Queins; Design by SOMA. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, 2017.

File Under: Ambient, Electronic, Drone
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kirchinBasil Kirchin: Worlds Within Worlds (Superior Viaduct) LP
“Basil Kirchin was a pioneering British composer who blurred the lines between musical genres. While his career began in the ’40s as a professional jazz drummer, in the ’60s he started to make field-recordings, painstakingly splicing tapes and slowing-down sounds until the source material would be virtually unrecognizable. Originally released on Island Records in 1974, Worlds Within Worlds juxtaposes Kirchin’s various tape manipulations – -amplified insects, animals, engines, glossolalia of children — with traditional musical instruments to form an organic totality that has the overall effect of otherworldly, ambient soundscapes. As Brian Eno writes in the liner notes on the original release, ‘Within the first couple of minutes it became obvious to me that Basil had not only discovered a whole new area of sound, but had exploited it with extreme skill and sensitivity, producing beautiful and evocative music as well. . . . So Basil Kirchin has made a double contribution: he has not only built the instrument, but has written and played the first successful works for it.’ Worlds Within Worlds remains a lost classic in sonic abstraction. This first-time reissue is recommended for fans of Broadcast, Aphex Twin and Nurse With Wound.”

File Under: Ambient, Experimental, Sound Collage
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…..new arrivals…..

alexander

Alexander: s/t (No Label) LP
“Alexander is the solo guitar project of New Haven, CT native David Shapiro (Headroom, Nagual). After spending most of 2016 and 2017 touring behind an on-going series of improvised cassette releases that document the various locations Shapiro has lived, he settled down long enough to offer up a full-length LP of fingerpicking tunes. The nine tracks that make up Alexander are bound together by a melancholy sweetness that evokes a performer’s wandering lifestyle and the characters they meet along the way. Sonically tied to the ‘American Primitive’ school of guitar playing, Shapiro distinguishes himself with an exacting, almost academic focus, manipulating tempo and harmony with a confidence far beyond his young years. Where masters like Fahey and Basho drew from earlier musical lineage, Alexander incorporates a contemporary pool of influence, broadening the fingerstyle palette with patience and self-assuredness. Recorded on a guitar that Shapiro built himself, Alexander is an earnest and substantive debut that gives the listener a window into the player’s intimate devotion to his instrument and the language it speaks.” –Ian McColm Cover text by Cyd Goodwin. Recorded at Key Club Recording Company by Bill Skibbe. 180 gram vinyl; Pressed at Erika Records.
File Under: Folk, Guitar Soli

bailey1

Derek Bailey: Solo Guitar Volume 1 (Honest Jon’s) LP
Honest Jon’s Records present Solo Guitar Volume 1, a reissue of Derek Bailey’s Solo Guitar release on Incus in 1971, with additional tracks included on previous reissues and a performance at York University in 1972. Kicking off a series of collaborations between Honest Jon’s Records and Incus: three double-LPs of the legendary free-improvising guitarist Derek Bailey, solo and in duos with Anthony Braxton and Han Bennink, augmenting the original releases with marvelous, previously unissued music. Recorded in 1971, Solo Guitar Volume 1 was Bailey’s first solo album. Its cover is an iconic montage of photos taken in the guitar shop where he worked. He and the photographer piled up the instruments whilst the proprietor was at lunch, with Bailey promptly sacked on his return. The LP was issued in two versions over the years — Incus 2 and 2R — with different groupings of free improvisations paired with Bailey’s performances of notated pieces by his friends Misha Mengelberg, Gavin Bryars, and Willem Breuker. All this music is here, plus a superb solo performance at York University in 1972, a welcome shock at the end of an evening of notated music. It’s a striking demonstration of the way Bailey rewrote the language of the guitar with endless inventiveness, intelligence, and wit. As throughout the series, the recordings are newly transferred from tape at Abbey Road, and remastered by Rashad Becker. The records are manufactured by Pallas.
File Under: Free Improv, Experimental
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bailey2Derek Bailey/Anthony Braxton: Royal (Honest Jon’s) LP

Honest Jon’s Records present a reissue of Derek Bailey and Anthony Braxton’s Royal, expanded to include both intended volumes. Volume 1 was originally released in 1984; the second volume was never issued. The second release in a series of collaborations between Honest Jon’s Records and Incus: three double-LPs of the legendary free-improvising guitarist Derek Bailey, solo and in duos with Anthony Braxton and Han Bennink, augmenting the original releases with marvelous, previously unissued music. Recorded in 1974, at the Royal Hotel in Luton, with Braxton playing soprano and alto saxophones, and Bb and contrabass clarinets. Two volumes were planned; only one was issued, till now. This was an early transatlantic meeting between the leading free improvisers. Many of Braxton’s signature techniques and ideas were gestated in such sessions. It still brims with inquisitive musical creativity and knockabout jazzbo allusiveness. Newly transferred from tape at Abbey Road, and remastered by Rashad Becker. The records are manufactured by Pallas.
File Under: Free Improv, Experimental
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bailey3
Derek Bailey/Han Bennink: s/t (Honest Jon’s) LP
Honest Jon’s Records present a reissue of Derek Bailey & Han Bennink, originally released in 1972. The third release in a series of collaborations between Honest Jon’s Records and Incus: three double-LPs of the legendary free-improvising guitarist Derek Bailey, solo (HJR 200LP) and in duos with Anthony Braxton (HJR 201LP) and Han Bennink, augmenting the original releases with marvelous, previously unissued music. The tussling vegetables in Mal Dean’s cover-sketch somehow befit perfectly this extraordinary duo of Bailey and the great Dutch drummer Han Bennink. Recorded in London in 1972, Incus 9 was their second record (after an Instant Composers Pool in 1969), becoming a blueprint and inspiration for generations of free-improvisers. It is paired here with a brilliant session from the following year, with the same power and friendly combativeness, and oodles of creativity, technique, and humor. It’s obvious how much they loved playing together. Newly transferred from tape at Abbey Road, and remastered by Rashad Becker. The records are manufactured by Pallas.
File Under: Free Improv, Experimental
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biosphereBiosphere: Shenzhou (Biophon) LP

Biophon present a reissue of Biosphere’s Shenzhou, originally released by Touch in 2002. This expanded reissue includes a bonus album The Samphire Tower. Paul Cooper, of Pitchfork, on the album: “Shenzhou, aside from being the name of the Chinese manned-spaceflight vehicles, means ‘magic vessel’, and I can’t imagine a more apt description for Geir Jenssen’s latest excursion into ambient deep listening. . . . Jenssen again relies on found sound as source material for Shenzhou, but this time, the found sound is old vinyl recordings of the orchestral works of French Impressionist composer and ambient precursor, Claude Debussy. Jenssen lifts fragments of these scratched records in a similar manner as he did for Cirque’s ‘Black Lamb Grey Falcon’ and ‘Iberia Eterea’. The ten tracks (out of the dozen on the album) that follow this model all begin as a barely audible hum, like a small electrical transformer, out of which the dust-dappled loops of Debussy’s woodwind, brass, and strings emerge, condense, and fade out into pink noise rustles. Unlike Steve Reich’s phase pieces or Brian Eno’s Discreet Music, though, Jenssen doesn’t set his loops against each other to produce juxtapositions and piquant dissonance; he uses them to describe imagined terrain, at first glance monotonously flat and barren, but on concentration, replete with minute detailing. The overall effect of these pieces is a sense of immensity. The orchestral loops sound distant, abandoned in a vast wilderness, and strenuously battling against Arctic winds. Jenssen sets the listener down in this wilderness as an aloof observer, a witness to the music’s futile struggles against entropic forces. The two tracks not derived from Debussy share the same hypnotic aesthetic. The brief interlude ‘Bose-Einstein Condension’ is a loop of piano chords lolloping in search of coherence, while ‘Gravity Assist’ is a longer voyage into woofer-quaking low-frequency manipulation, bell-like drones, and contrails of subdued noise. I can’t help but feel that these tracks fit awkwardly and break up the conceptual flow of the album. This, however, is a minor quibble given the power of this music. Shenzhou is unquestionably a magic vessel, but one that reveals its enchantment only to those who pay close attention.”
File Under: Electronic, Ambient
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calcium
Calcium: s/t (Monster Melodies) LP
Monster Mélodies present the never before released album by Calcium. A legendary French psychedelic rock album, recorded in 1969, of which only two tracks were released at the time. Percussionist Stéphane Vilar played with pianist Jef Gilson and recorded on his 1964 album Oeil Vision. Musician Graeme Allwright introduced Vilar to Marc’O, then director of the theater school of the American Center Boulevard Raspail. The director, looking for musicians to play rock n’ roll in his project Les Idols, hired Vilar along with jazz pianist Patrick Greussay, saxophonist Didier Malherbe (Gong, Clearlight), and guitarist Didier Léon who features on the Barney Wilen’s 1972 album Moshi. Stéphane then recruited jazz bassist Jacques Zins through Jérôme Savary. Les Idols is where the musicians who baptized The Rollsticks played. It was performed in 1966 and was later adapted for a feature film in 1968, where the same participants were joined by Valérie Lagrange. Stéphane Vilar then decided, together with his brother the painter Christophe, to create his own band which included some of the Rollsticks: Jacques Zins, Patrick Greussay, Didier Léon, drummer Alain Sirguy, and singer Danièle Ciarlet known as Zouzou. Model and muse of the Parisian night scene, Zouzou acted in Eric Rohmer’s Afternoon Love (1972). Considered to be the French Marianne Faithfull, she released two 45 EPs orchestrated by Jacques Dutronc. She represents the image of the liberated woman in France in the sixties. The group took the name of Jardin, and soon changed it to Calcium. Thanks to financial support from Sylvina Boissonnas, the group bought instruments and practiced and refined the compositions for a year before recording. Two recording sessions were held at the Davout studios in 1969. Christophe was replaced by guitarist Denys Lable who later recorded on Jean Claude Vannier’s L’enfant Assassin Des Mouches. After the recordings, Michel Taittinger, the heir of the namesake Champagne and television producer, obtained a contract with Pathé for the band. A single was put on the market without any promotion, resulting in poor sales. It’s now considered to be one of the rarest singles of French psychedelic rock. Due to the disinterest of the record company, which only wanted put Zouzou’s character forward to create a new Janis Joplin, the masters for the album were abandoned on a shelf for forty-eight years. Color vinyl; Includes two inserts; Edition of 1000 (numbered).
File Under: Psych, French
cosmicMichael Cosmic/Phill Musra Group: Peace in the World (Now Again) LP
“Potent mixes of spirituality, expressionist fire and electrified newness, these LPs are presented as the 7th entry in the Now-Again Reserve Edition, mastered from the original tapes. Contains download card for .Wav files of the full release — including bonus tracks by Phill Musra Group and World’s Experience Orchestra — and a booklet with extensive liner notes by jazz historian Clifford Allen, photos, show flyers and many other unpublished gems. In an homage to the original issues, both front and back cover feature hand-printed, pasted-on slicks.”File Under: Jazz, Spiritual
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crystalizedCrystalized Movements: Mind Disaster (Twisted Village) LP
Limited 2017 LP reissue of the first Cystalized Movements LP, Mind Disaster, in paste-on sleeve replicating the original 1983 edition — on the original label, Twisted Village. The Crystalized Movements were formed in 1980 by Wayne Rogers and Ed Boyden, two Tolland High School freshmen brought together by a mutual love of no wave and ’60s psychedelia. After three years of experimenting (and countless versions of “Gloria”), they decided in early 1983 that it was time to make an LP. They recorded loose duo versions of some of Wayne’s songs, and then promptly split up after graduating from high school in June of 1983. Wayne, under the spell of the Plastic Cloud and Randy Holden, then spent the summer piling on mounds of guitar overdubs. The results were issued as Mind Disaster at the end of that year in a bank-breaking edition of 130 (as Twisted Village #1001). After a minor stir in collectors’ circles, it was reissued on the UK Psycho label with a new cover in 1984. It was received by the “psychedelic revival” community with universal horror and quickly went out of print. Wayne, meanwhile, added new members to the band and it treaded on as a little-known Connecticut institution until 1992… The years have been kind to Mind Disaster, and its wah-wah and fuzz overload have made it a much sought after LP. After uncountable requests from our adoring public, Twisted Village finally reissue Mind Disaster, with its original cover. It is perhaps the last teenage garage-psych LP to be made in our time.File Under: Psych, Garage
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elderElder: s/t + Demo (Armageddon) LP
Elder’s self-titled debut album from 2007 was an impressive offering of psychedelia-tinged stoner rock and doom that set the tone for the band’s later progressive developments. In 2006, three longtime friends and members of the small music scene anchored in the port city of New Bedford, Massachusetts got together with the mission of making music that was heavier and more brutal than anything happening around. The first version of Elder was an interesting beast, combining sludgy riffs, primitive black metal vocals and Genghis Khan-themed lyrics. After toiling in these murky waters for a year, the band shed their extreme metal origins and emerged with their first proper album, Elder, an album that would already establish the band as some of the best riff-dealers this side of Birmingham. To celebrate the record’s 10 year anniversary, this reissue comes with a second LP containing the band’s first ever recordings from their early days.File Under: Metal, Stoner
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equinoxxEquiknoxx: Colon Man (Demdike Stare) LP
Colón Man is the debut album proper by visionary Jamaican dancehall artists Gavin Blair (Gavsborg) and Jordan Chung (Time Cow) plus their extended crew, aka Equiknoxx — once again for Demdike Stare’s label. Where their widely acclaimed Bird Sound Power primer compilation, issued on DDS in 2016, brought the rest of the world up to speed with the music produced between late ’00s and 2015, their first album now brings a 2020 sound into sharp, technoid focus through a baker’s dozen steely, heat-seeking riddims galvanized with clinical electronics and a Midas Touch approach to sampling. The record’s title, Cólon Man refers to a Jamaican tale (and song) about a mysterious character, whom, like Marcus Garvey, was one of over 100,000 Jamaicans who returned from working in Cólon on completion of the Panama Canal. In context of the album, Gavsborg and Timecow take the story as a metaphorical foundational for a roots and future sound, acknowledging the vital groundwork of previous generations of producers, whilst soundly contextualizing their mutant new advancements of Jamaican dancehall. Recorded between December 2016 and June 2017, the results of Colón Man form a stark, stripped down and conceptually blinding record. In tone and texture, the duo favor far colder, more abstract sounds, crucially lit up with sparingly used samples that lend the record its dissonant, harmonic color and bittersweet hooks, stylishly feeding forward their playfully weird sense of humor into a rugged, nutty, and even noisily imagineered set. Bookended by the gauzy, Detroit-compatible synth looks and acid hall grind of “Kareece Put Some Some Thread In A Zip Lock”, and the mesh of Motor City sleekness with Far Eastern strings on “Waterfalls In Ocho Rios”, they distill and diversify their bonds in myriad ways across the album. There’s a killer dancehall/trap hybrid in the percolate chorales and man trills of “Plantain Porridge”, along with the secretive dub-into-dancehall transfusion of Addis Pablo’s melodica in the belly rolling “Melodica Badness”, while “Ceremonial Eating Dog” and the hyaline designs of “We Miss You Little Joe” — a tribute to their pal Alty Nunes — are arguably the most forward Jamaican riddims you’ll hear in 2017, and “Enter A Raffle… Win A Falafel” uncannily recalls the clockwork mechanics of Haruomi Hosono’s “Alternative 3”, from his S-F-X LP (1984). Curated by Jon K and Demdike Stare. RIYL: Lenky, Haruomi Hosono, Errorsmith. Mastered and cut by Matt Colton at Alchemy.

File Under: Electronic, Dancehall
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fi

F/I: Space Mantra (Sorcerer) LP
Sorcerer Records present a reissue of F/i’s Space Mantra, originally released on RRRecords in 1988. First time on vinyl for nearly 30 years for this classic slice of American space rock. Milwaukee’s F/i have been an ongoing concern since 1981, pioneering a certain brand of experimental rock which encompasses elements of industrial and psychedelic space-rock sounds. Originally a purely electronic outfit heavily influenced by Throbbing Gristle and prolific in the underground tape scene, they made the transition to “rock band” in the mid ’80s, and for many, 1988’s Space Mantra LP remains the high point. With fuzzed guitars, metronomic rhythms, swirling synths, and occasionally bucolic forays into blissful acoustics, it’s a masterful take on cosmic music during the Reagan years. It was previously only ever released on LP once by the famed RRRecords label. RIYL: Hawkwind, Amon Düül, Causa Sui, Cluster. Edition of 500.

File Under: Psych, Kosmische
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flashback

Flashback #9 Magazine
Issue #9 of Flashback, Winter 2017. Features: Group 1850: Led by the charismatic Peter Sjardin and featuring the brilliant guitarist Dean van Bergen, Group 1850 were one of the most imaginative bands of their era — but it has taken decades for their legacy to be appreciated. Here their story is told in full for the first time… Jukebox: Reine Fiske of Dungen on 12 tracks that have inspired him… Disc & Music Echo: It may have been less esteemed than some of its rival pop weeklies, but that doesn’t mean this paper wasn’t packed with priceless information… First Person: The legendary Jeff Dexter takes us on a personal tour of ’60s London’s counter-culture… Fuchsia: An experimental union between a rock trio and three classical musicians at Exeter University yielded one of the era’s most enduring classics… The Love-In Festival: An eyewitness account of this landmark July 1967 event, with the aid of many rare photographs… Blonde On Blonde: This Welsh quartet played many remarkable gigs and made three fine albums, but their story has never been told until now… Nicholas Greenwood: The enigmatic bassist describes life in the Crazy World Of Arthur Brown, the making of his fabled Cold Cuts LP from 1972 (KIS 4046CD), and his stint with prog favorites Khan… Ben: Renowned for having made one of the rarest albums on Vertigo, this jazz-rock quartet give their first ever interview… Sweet Slag: This aggressively unique band combined driving rock, free jazz, and nihilistic lyrics, and give their first interview here… Overseas & Underground: 50 intriguing British albums that weren’t released at home, spanning pop, freakbeat, psych, jazz, prog, blues and more… Reviews: Thorough coverage of recent CDs, LPs, and books, taking in household names (The Beatles, Pink Floyd), cult heroes (The Zombies, Margo Guryan, Grapefruit), and ultra-obscurities (The First International Sex Opera Band, Majic Ship)… Crying To Be Heard: The poignant story of John Phillips and his sole album, released in 1969 and missing in action ever since…

haino butcher

Keiji Haino/John Butcher: Light Never Bright Enough (Otoroku) LP
Keiji Haino, one of the foremost exponents of the Japanese avant-garde, always provides a masterclass in constantly shifting improvisation. John Butcher is a saxophonist of rare grace and power, who has expanded the vocabulary of the saxophone far beyond the conventions of jazz and other musics, to encompass a staggering range of multi-phonics, overtones, percussive sounds, and electronic feedback. Haino and Butcher met when Butcher opened for Fushitsusha at the show Cafe Oto arranged at St. John, Hackney — five years ago. In 2016, they were invited to play two duo concerts — at The Empty Gallery in Hong Kong and at Cafe Oto in London. Otoroku present the audio documentation of their first UK meeting. Recorded live at Cafe Oto in July 2016, the results are an uncompromising milieu of swirling sound played out as a total union of these two legendary performers. Haino’s blues drenched guitar entices skittering notes from Butcher’s sax playing as numerous sonic clues unravel over the course of this unique and compelling journey. Personnel: Keiji Haino – vocal, guitars, etc.; John Butcher – saxophones and feedback.

File Under: Free Improv, Jazz, Experimental
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heron

Heron Oblivion: The Chapel (Heron Oblivion) LP
The Chapel was recorded live to analog tape at the Chapel in San Francisco on January 27th, 2017, capturing Heron Oblivion at peak stage powers and bookending nearly a year of performance and touring in support of their critically acclaimed self-titled debut for Sub Pop Records. The broad dynamics, beauty, noise and ferocious tangle of guitars that fans have come to love and expect from the band are all present, enhanced and oversized here by adrenaline, a hometown crowd and raw live energy. Featuring a fifty-one minute set of six songs from the debut album, The Chapel also has two new and previously unreleased tracks, including a smoldering eight minute cover version of Doug Sahm’s “At The Crossroads.” Engineers Chris Woodhouse (Thee Oh Sees, Fuzz) and Eric Bauer (Ty Segall, Heron Oblivion, White Fence) strike a perfect balance of bootleg in-the-red rawness and multi-track vintage analog fidelity to create a unique piece that fans will find essential as the band closes their first chapter and heads toward a new one with their second studio album for Sub Pop.

File Under: Psych
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hypon

Hypnotic Brass Ensemble: Book of Sound (Honest Jon’s) LP
With its cathedral-like, richly resonant acoustics, the new Hypnotic Brass Ensemble album Book Of Sound is a brilliant expression of this interplanetary principle. The album is by turns urgent and contemplative, funky and reflective, varied in its textures; but entirely of one piece. Underpinned by concepts of earth’s place in the cosmos, held in place by meditation, swirling with notions of history, science, theology, ancestry, there is a rich conceptual brew here. The album rings with what back in the 1950s the jazz critic Whitney Balliet called “the sound of surprise”. Book Of Sound makes you believe again in the validity of “spiritual jazz”. Talking to Cid, one of the Ensemble’s two trombonists, one phrase recurs: “back to the beginning”. “We wanted to go back to the beginning, when we were kids, real young, and our father would wake us up at 5AM to practice for two hours before breakfast.” One outcome — initially unplanned but subsequently embraced — is that unlike their two previous albums on Honest Jon’s, this is an album without a drummer. “When we started, as Wolf Pack, just brothers on the street with our horns, there wasn’t a kit in sight.” Book Of Sound retains plenty of rhythmic heft, but the absence of a drummer opens up space for a notably varied instrumental palette. Acoustic guitar, piccolo, synthesizer, alto sax — all have their place on the album. Most striking perhaps are the vocal lines that thread through the album and give it a palpable warmth. Sessions were recorded in Brooklyn and Chicago, and brilliantly mixed at Abel Garibaldi’s studio in the Loop, and it’s the Hypnotic’s hometown that permeates. For Cid this is a deeply Chicago record: “It’s got the vibe of the lake, the vibe of the prairies opening up to the west.” It also has the vibe of those Sun Ra Arkestra albums recorded in Chicago in the 1950s, and — of course — the Phil Cohran albums from the 1960s. It’s Phil Cohran (the father of all seven members of the Ensemble and their first teacher, and not just in music) who is the album’s guiding spirit. For Cid it’s a major regret that, in the months before their father’s death early in 2017, Phil was not well enough to play on the album. But Book Of Sound is a magnificent testament to their Cohran legacy.

File Under: Experimental, Rock, Noise
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jamal

Khan Jamal Creative Arts Ensemble: Drum Dance to the Motherland (Eremite) LP
Eremite presents the definitive vinyl edition of the most legendary private press underground jazz album of the 1970s. There’s not another record on the planet that sounds even remotely like vibraphonist Khan Jamal’s eccentric, one-of-a-kind masterpiece, Drum Dance to the Motherland. In its improbable fusion of free jazz expressionism, black psychedelia, and full-on dub production techniques, Drum Dance remains a bracingly powerful outsider statement forty-five years after it was recorded live at the Catacombs Club in Philadelphia, 1972. Comparisons to Sun Ra, King Tubby, Phil Cohran and BYG/Actuel merely hint at the cosmic otherness conjured by The Khan Jamal Creative Arts Ensemble and by sound engineer Mario Falana’s real-time enhancements. Originally issued by Jamal in 1973 in an edition of three hundred copies on Dogtown records, Drum Dance to the Motherland was effectively a myth until Eremite’s 2005 CD reissue (MTE 050CD). Eremite’s LP edition has been a long time coming. With the master tapes long vanished, the audio was transferred on the pneumatic Rockport table at Sony Music’s 54th street studio from a minty copy of the original LP, manually de-clicked, and remastered on Sony’s vintage outboard tube EQs by Ben Young and Andreas K. Myer. The LP is pressed on premium audiophile quality vinyl by RTI from a Kevin Gray lacquer. Alan Sherry at Siwa Studios screenprinted by hand every component of the package: the screenprinted labels and heavyweight Stoughton laserdisc jackets reproduce exactly the artwork of the original Dogtown release. A screenprinted insert with Ed Hazell’s detailed telling of Drum Dance’s incredible history and eremite’s signature retro-audiophile screenprinted dust sleeves are unique to this edition. 999 copies. Personnel: Khan Jamal – vibraphone, marimba, clarinet; Alex Ellison – drums and African percussion; Mario Falana – sound effects; Dwight James – drums, glockenspiel, clarinet; Billy Mills – fender bass, double bass; Monette Sudler – guitar, percussion.

File Under: Jazz, Free Jazz
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jay glass

Jay Glass Dubs: Dubs (Ecstatic) LP
One of the boldest new producers to broach the dub sphere in recent times, Jay Glass Dubs is subject of Dubs, a prime “early years” survey of his work, compiled by Alessio Natalizia (Not Waving) for his Ecstatic label, and released quick at the heels of their ace Trax Test set and Novoline album. Written during what Dimitris Papadatos, aka Jay Glass Dubs, describes as “an adventurous and bold period”, and holding material variously issued by Hylé Tapes, THRHNDRDSVNTNN, and Seagrave between 2015-2016, the Dubs compilation frames a singular, stripped-down take on classic dub forms, wherein Jay Glass Dubs perceptibly retains the sound’s heavy function and mystic qualities, but subtly updates its palette with a range of nods to shoegaze, darkwave synth styles, and weightless dynamics. The results form a sort of ghostly, filleted subtraction of classic dub architecture, all plasmic tones and diaphanous, boneless structures buoyed by an often overwhelming, yet somehow intangible bass presence. Beyond the obvious, thematic ligature that connects the material, which was all recorded within a very short period of time, the artist also suggests there is an underlying, encrypted similarity to the material which is “merely apparent to me”, and awaits much closer investigation from keen ears. From Jay’s eponymous 2015 debut for Hylé tapes, listeners will encounter the heaving smudge of “Definition Dub”, the serpentine, Coil-like digital delays of “Grumpy Dub”, and a grime drone drill “Depression Dub”. Off the II tape for THRHNDRDSVNTNN (2016) comes the darkwave synths and militant step of “Magazine Dub” recalling a gauzier Equiknoxx production, next to the bass-less scudder, “Detrimental Dub” and the shoegazing bloom of “Daria Dub”, while his III tape (2016) tees-up some abyssal highlights in the vertiginous “Hilton Dub”, the melancholy, Basic Channel-scoped scale of “Sieben Dub”, and the HTRK-eaque starkness of “Everlasting Dub”. Exclusive to the set is “Perfumed Dub”, recorded in 2017 and pointing to vast, layered, atmospheric directions for a timeless project which is only just hitting its stride. Recorded in Athens, Berlin and Paris between 2015-2017. First time on vinyl for all the material included. Cut by CGB at Dubplates & Mastering, Berlin.

File Under: Electronic, Dub
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kalkaba

Hamad Kalkaba & The Golden Sounds: s/t (Analog Africa) LP
180 gram vinyl; Includes eight-page booklet; Gatefold sleeve. Analog Africa on Hamad Kalkaba and His Golden Sounds 1974-1975: “I remember the day clearly. I was searching for treasures in a record shop in Yaoundé, the Capital city of Cameroon, when suddenly I came across a 7-inch record with a picture of a young man wearing a traditional hat and bearing the marks of several imposing vertical scars on the side of his face, carved when he was just a boy as a reminder of his heritage in the Musgum tribe of the northern part of the country. The record contained two songs — ‘Gandjal Kessoum’ and ‘Touflé’ — by an artist I had never heard of before named Hamad Kalkaba. Both cuts were raw classics of fuzzed-out bass, pin-sharp horns, built upon the unshakable foundation of Northern Cameroon’s mightiest rhythm: the Gandjal. The shop owner finally said to me ‘There is another single with a green cover of the same artist, if I am not mistaken’. Over the next six years I searched for that ‘green cover’ and finally found it in a record collection belonging to an old bar in Parakou in northern Benin. . . . These two records, plus a third simply named ‘Nord Cameroon Rhythms’ constitute the entire discography of Hamad Kalkaba. Neglected for decades by all but the most devoted collectors of Afro music, Hamad Kalkaba and the Golden Sounds at long last gathers together the body of work of one of Cameroon’s forgotten geniuses. But unlike many musicians who emerged from nowhere, recorded a few singles and vanished again, Kalkaba hadn’t disappeared. Far from it. He was a distinguished public figure, a retired Colonel in the army of Cameroon, and a former member of Cameroon’s Olympic Selection Committee. When we tracked him down he was serving as president of the Confederation of African Athletics. And although Kalkaba’s job kept him busy, and he seemed initially dismissive of the music he’d made as a young man, he turned out to be an enthusiastic ally in this project. He arranged interviews, helped fill in the blanks and, when we finally met him in Yaoundé in 2016, provided us with photographs, lyric sheets and notes.”

File Under: Funk, Psych, Afrobeat
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kang

Eyvind Kang: Plainlight (Abduction) LP
A gorgeous set of new tracks by the brilliant composer and multi-instrumentalist Eyvind Kang. It took him a decade and a half to revisit the vibe concocted on his masterpiece from 2001, Live Low To The Earth In The Iron Age, but the wait was worth it. It features an array of spiritually intoxicating instrumentation: tamboura, electric guitar, organ, trumpet, oboe, trombone, and Korean traditional instruments. Eyvind Kang on Plainlight: “In 2002 I wanted to make a kind of sequel to my first solo record on Abduction, Live Low To The Earth In The Iron Age. I found that the ‘weight’ of sounds seemed to evaporate the compositions. The last thing I wanted to make was a traditional shoegaze recording. 15 years later, I had a strange dream: a voice said ‘Because a plainlight has fallen in Heaven, heartbreak would cease.’ This statement then became a kind of guiding image and method. Thus, with Korean traditional instruments playing the ostinato and drone, things fell into place. I would like to thank all the musicians, Randall Dunn, Alan Bishop, and each and every listener.” Limited edition, one-time pressing; Edition of 400.

File Under: Electronic, Folk, Classical

kastel

Sylvia Kastel: Air Lows (Blackest Ever Black) LP
Air Lows is the debut solo album by Silvia Kastel. The Italian artist has been a fixture of the underground since her precocious teens, clocking up many miles in Control Unit with Ninni Morgia, including collaborations with the likes of Smegma, Factrix, Gary Smith, Aki Onda, and Gate (Michael Morley of The Dead C). Both solo and in her work with others, Kastel has explored the outer limits and inner workings of no wave, industrial, dub, extreme electronics, free rock, and improvisation. Air Lows is both her fullest and most refined offering to date, a work of vivid, isolationist electronics which draws deeply on her past experience but breaks new ground. Prompted by a late-flowering interest in techno and club music, Kastel sought to create something which combines a steady rhythmic pulse with the otherworldly sonorities of musique concrete, and avant-garde synth sounds inspired by Japanese minimalism and techno-pop (Haruomi Hosono’s Philharmony (1982) being a particular favouite). The formal artifice of muzak/elevator music, the intros and outros of generic popular songs, the extreme light-heavy contrasts of jungle, the creative sampling of hardcore, and the very “human” synths in the jazz of Herbie Hancock’s Sextant (1973) and Sun Ra: all were touchstones for Air Lows’ conception and composition, and all strains of music addressing — or complicating — the relationship between the human and the technological. Though used sparingly, Kastel’s voice remains her key instrument, whether subject to dissociative digital manipulations as on “Bruell”, delivering matter-of-fact spoken monologues, or providing splashes of pure tonal color. Recorded between her expansive Italy studio and a more compact, ersatz set-up in Berlin, Air Lows gradually takes on some of the character of the German capital: you can hear the wide streets and uninhabited spaces, the seep-age of never-ending nightlife, the loneliness. Air Lows is The Wizard of Oz in reverse: the glorious technicolor J-pop deconstructions of its first half leading inexorably to the icy noir of “Spiderwebs” and “Concrete Void”. These later tracks are reminiscent of 2015’s magnificent 39 12″, Kastel in the role of numbed, nihilistic chanteuse stalking dank, murky tunnels of reverb and sub-bass. But in fact there is contradiction and emotional ambiguity to Air Lows from the outset, and throughout — a sense of both infinite space and acute claustrophobia; energy and inertia; fluency and restraint.

File Under: Electronic, Experimental
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ladyjane

Lady June: Lady June’s Linguistic Leprosy (Mental Experience) LP
Mental Experience present the first vinyl reissue of Lady June’s Linguistic Leprosy, originally released in 1974. The legendary debut album by Canterbury scene pivotal figure, performance poet, painter, and experimental musician June Campbell Cramer, better known as Lady June. Produced by Kevin Ayers, who also plays on the album along with Brian Eno, Pip Pyle (Gong, Hatfield And The North), and David Vorhaus (White Noise). Originally released by Virgin’s budget imprint Caroline (home also of artist like Faust With Tony Conrad, Gong, Lol Coxhill, etc.), Lady June’s Linguistic Leprosy is a surreal, eccentric, psychedelic oddity of interest to fans of the Soft Machine-Gong-Canterbury family as well experimental/sound poetry/art-rock explorers. This cult album was included on the legendary Nurse With Wound list. Remastered sound; Insert with photos and liner notes by Ayers archivist Martin Wakeling. RIYL: Gong, Catherine Ribeiro, Laurie Anderson, Boards Of Canada, Mopsie Beans.

File Under: Jazz, Psych, Rock
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filles

Les Filles De Illighadad: Eghass Malan (Sahel Sounds) LP
Future Tuareg music from the female led avant-rock group Les Filles de Illighadad. Mixing traditional percussion with electric guitars, Les Filles brings ancient village folk music into the modern era. Drawing on traditional tende music, the forgotten inspiration of Tuareg guitar, Fatou Seidi Ghali and Les Filles breathe new life into the genre. Hypnotic guitar riffs, driving rhythm, and polyphonic resonant vocals combine to create organic sound, that is both timeless and natural. A wholly original project, from a band that just last year had never left their village. Eghass Malan is their first studio production. Les Filles are all from Illighadad, a secluded commune in central Niger. The sound that defines rural Niger is a music known as “tende”. It takes its name from a drum, built from a goat skin stretched across a mortar and pestle. It is a music form dominated by women. In the past years, certain genres of Tuareg music have become popular in the west. International acts of “desert blues” like Tinariwen, Bombino, and Mdou Moctar have become synonymous with the name “Tuareg”. But guitar music is a recent creation. In the 1970s young Tuareg men living in exile in Libya and Algeria discovered the guitar. Lacking any female vocalists to perform tende, they began to play the guitar to mimic this sound, replacing water drums with plastic jerrycans and substituting a guitar drone for the vocal call and response. In time, this new guitar sound came to eclipse the tende. If tende is a music that has always been sung by woman, the Tuareg guitar was its gendered counterpart. Fatou Seidi Ghali, lead vocalist and performer of Les Filles is one of the only Tuareg female guitarists in Niger. Sneaking away with her older brother’s guitar, she taught herself to play. While Fatou’s role as the first female Tuareg guitarist is groundbreaking, it is just as interesting for her musical direction. In a place where gender norms have created two divergent musics, Fatou and Les Filles are reasserting the role of tende in Tuareg guitar. In lieu of the djembe or the drum kit, so popular in contemporary Tuareg rock bands, Les Filles de Illighadad incorporate the traditional drum and the pounding calabash, half buried in water. Recorded on their debut tour in Europe after just a handful of concerts, Eghass Malan maintains a feeling that is spontaneous and inspired.

File Under: World, Tuareg
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lightmen

Lightmen: Free As you Wanna Be (Now Again) LP
“Drummer, bandleader and activist Bubbha Thomas had toured America with R&B revues, served as a session musician for Peacock and Back Beat Records, and played straight ahead jazz with legends before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane. Free As You Wanna Be predates the deep-set, maverick jazz issued by the likes of Tribe and Strata East and is a harbinger of best of the 1970s jazz underground, a collective voice of resistance to the musical and cultural status quo. This is the first time that Free As You Wanna Be has seen reissue, and it is presented in both the issued stereo and previously unissued mono mixes as a double LP. Bubbha and his band’s story is told in great detail by Houston music and cultural historian Lance Scott Walker (Houston Rap/Houston Rap Tapes) and Now-Again’s Eothen Alapatt, in a booklet that contains dozens of unpublished photographs.”

File Under: Jazz, Funk
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maskMask of the Imperial Family: s/t (Important) LP
Important Records present a reissue of The Mask Of The Imperial Family, originally released in 1981. Replica LP; housed in a screen-printed jacket. All copies are pressed on turquoise vinyl to match the sleeve. Edition of 200. Mutant Sounds on the album: “Both profound and profoundly jaw dropping, the esoteric moves of this massively rare and insanely obscure 300 copy Japanese marvel have until now remained the sole preserve of a handful of heavyweight collectors. It’s time to let the cat out of the bag on this one. The dankly cavernous and unsettling acid maneuvers of Dome circa their first three LPs (though absent vocals) are the nearest antecedent I can summon for the principal thrust of the sound here. So too, there’s a ritualistic dimension to this stuff that’s also a bit suggestive of something like Vasilisk or The Hybryds, though the arcane initiatory atmosphere here is far more penetrating that anything I’ve heard either of those two muster. Combine that with a Johan Hedran-like overlay of wafting, heat-warped systemic electronics and you’re at least in the general neighborhood, but these are only indicators pointing toward the occult sonic universe that The Mask Of The Imperial Family are enacting…”

File Under: Electronic, Experimental
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mcneil

Timothy McNealy: Funky Movement (Now Again) LP
Originally released for Black Friday RSD 2017. “Texas funk music is amongst the highest regarded styles in the genre, a unique mixture of jazz, blues, R&B and James Brown’s syncopation that evolved in metropolises like Houston (Kashmere Stage Band), San Antonio (Mickey and the Soul Generation), Austin (James Polk and the Brothers) and Dallas. Dallas birthed a variety of independent labels, Soultex and Doin Our Thing amongst them. But no one in Dallas, Texas or America, created a run of 7″ singles like Timothy McNealy did on his Shawn imprint. When it comes to heavy, funk music, in Dallas — in Texas — Timothy McNealy is king. This means that when it comes to funk music, in general, McNealy is hallowed. Yet McNealy’s music has never been collected as an album, nor reappraised in its totality. A series of 7″ single reissues have come out in the past 15 years, including his masterpiece ‘Sagittarius Black,’ a psychedelic funk instrumental that has been a cornerstone in every fan’s rediscovery of the genre for the past 20 years. But this is the first time that his music is presented in its totality, giving the enlightened fan an opportunity to hear the breadth and depth of his Funky Movement.”

File Under: Funk, Soul
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npvr

NVPR: 33 33 (Editions Mego) LP
NPVR is moniker taken on board by Pita, AKA Peter Rehberg, and Factory Floor’s Nik Void. Peter and Nik both share formidable reputations in the post-industrial shape-shifting world of sound and form with a vast range of releases and collaborative endeavors over a number of years. Together they tie together their collective experience into a vast array of sonic devices unleashing an album of pragmatic imbalance and psychedelic orientation. Blurring the lines of techno, ambient, avant garde, noise, etc. 33 33 positions itself in the nebulous realm of contemporary (dis)comfort presenting itself on the border of music and sound, the social and the private. Recorded and edited at The Premises, London, July 2017. Artwork by Nik Void; Photography by Georg Gatsas. Mastered by Russell Haswell at Haswell Studio, London, August 2017; Cut by CGB at Dubplates & Mastering, Berlin, September 2017.

File Under: Electronic, Industrial, Techno, Ambient

ocs

OCS: Memory of a Cut Off Head (Castle Face) LP
It is easy to forget (especially amidst the ringing of ears and aching of muscles after a typical Oh Sees show) that initially, OCS was a rather hushed affair. After the minimalistic brutality of Coachwhips, the band was the diametric opposite corner of John Dwyer’s musical world, quiet to the point of whispered in the wind, buffeted by the airy whirr of singing saw, soft and strange. Those early records especially had a rather contraband hush about them, as if the party had gone on all night and continued into the morning and everyone’s raspy from talking too much and agrees to whisper and pantomime as they watch the sun come up over the hills. Since then of course, things got gradually louder, faster, crazier…the band evolved into the Oh Sees everyone knows. For the 20th Oh Sees release, 100th Castle Face title, and 20th year doing it, Dwyer re-examines the quieter roots of it all in particularly baroque and homesteadly fashion. Memory Of A Cut Off Head was co-written with longtime collaborator and vocal counterpoint Brigid Dawson, recorded in total in Dwyer’s own Stu Stu Studio, and it’s lush, sumptuous in texture, but satisfyingly retains the gentle grace of the early stuff. There’s beautifully executed strings throughout, courtesy of Heather Lockie’s fine arrangements, horn arrangements courtesy of Mikal Cronin, and they even brought back the old saw—Patrick Mullins, that is—on saw and electronics. A return and a refinement of old forms, a few solemn meditations on life lived at high velocity, perhaps a respite from it…a softer side of JPD and distinguished company.

File Under: Psych, Folk
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rahbek

Loke Rahbek & Frederrik Valentin: Buy Corals Online (Edition Mego) LP
First outing for this collaborative effort from the prolific Posh Isolation mainstay Loke Rahbek and Frederik Valentin of KYO, also on the revered Danish label. As old friends circling around the same scene, this is the first time they have combined their respective perspectives. The results are an ambitious aquatic infused audio environment. Recorded near water at Valentin’s studio within the vicinity of the new aquarium in Copenhagen, Buy Corals Online channels the sensual floating aspects of such environments. “During Japan’s Edo period (1615-1868) the phrase ‘the floating world’ (ukiyo) evoked an imagined universe of wit, stylishness, and extravagance — with overtones of naughtiness, hedonism, and transgression. Implicit was a contrast to the humdrum of everyday obligation. The concept of the floating world began in the Japanese heartland, migrated eastward, and came to full flower in Edo (present-day Tokyo), where its main venues were popular Kabuki theaters and red-light districts.” –Wikipedia Buy Corals Online arrives as a suite of works embracing the joy of being close to something you don’t require interaction in order to experience. This enchanting aquatic infused audio hovers a sensual world rich in sensory experience. Loke Rahbek and Frederik Valentin’s debut outing conjurer’s a world both sensual and abstract as it moves casually alongside fantasy. Recorded 2016 & 2017, Copenhagen S, Natfabrikken. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin, Germany 2017.

File Under: Electronic, Ambient
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solid space

Solid Space: Space Museum (Dark Entries) LP
Dark Entries is honored to finally present the first ever official vinyl reissue of Space Museum by Solid Space. Solid Space was the British duo of Dan Goldstein (keyboards, vocals) and Matthew “MAF” Vosburgh (guitar, bass, keyboards, vocals) formed in 1980. Dan and Matthew met at the age of 11 while attending school in north London. In late 1978 at at the age of 14, they formed Exhibit ‘A’ with Paul “Platypus” and Andrew “Lunchbox” Bynghall. They recorded two EPs in 1979 and 1980, self-released on Irrelevant Wombat Records and appeared on The Thing From The Crypt compilation. After the dissolution of the group, Mathew started taking his guitar over to Dan’s house where he’d play his Casio MT-30 and they would record songs. Eventually a second hand drum machine and Wasp synthesizer were acquired from classified ads in Melody Maker and the Solid Space sound was born. By this time they were just turning 18 and finally found the freedom to make the music they’d had in their heads. Over the course of the next two years the band assembled eleven bedroom recordings that would become one of the most cherished DIY obscurities of its kind. Their debut album Space Museum was released in 1982 on cassette by In Phaze Records. The band’s music and lyrics were heavily indebted to science fiction, in particular the 1960s television series Doctor Who. Space Museum is an unveiling of atmospheric, minimalist post punk supported by bright melodies. The music combines drum machines and synths with acoustic guitar and toy drums whilst also experimenting with samples between tracks. Representing a bubbling spirit within the underground, they foreshadowed an entire world of independent music which would emerge across the ’80s and well into the ’90s. For this reissue we’ve included two bonus tracks from the band’s archive, “Platform 6” originally released on the B-side of the second single by Exhibit ‘A’, this song features only Dan and Matthew and is the first Solid Space track ever recorded. “Tutti Lo Sanno” is a cover of In Phaze label mates Marine Girls, though the lyrics have been changed to suit the gender of the new singer. Each song has been carefully remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is sleeved in a replica of the cassette artwork featuring the Cybermen and Jamie from the Doctor Who episode “The Wheel in Space”. Every copy includes a double sided 11×11 insert with lyrics, notes and never before seen photographs of the band taken by Maf as well as a postcard featuring an original advert for the cassette.

File Under: Minimal Wave, Cold Wave
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sun ra

Sun Ra & His Arkestra: Featuring Pharaoh Sanders & Black Harold (Superior Viaduct) LP
“To understand the significance of the word ‘featuring’ on Featuring Pharoah Sanders And Black Harold, consider how infrequently Sun Ra used it and the exact way it had been used. “The October Revolution in Jazz, organized by Bill Dixon in the West Village in 1964, presented a vivid cross section of approaches to the new music, including a sextet led by Ra. For the October Revolution’s continuation, titled Four Days in December, held at nearby Judson Hall on the last days of 1964, the Arkestra performance presented Pharoah Sanders as well as a flautist (who was and remained obscure thereafter) named Harold Murray, nicknamed Black Harold. “It wasn’t until long after Sanders had achieved worldwide acclaim with John Coltrane that Ra and manager Alton Abraham decided to issue the music they’d recorded at Judson Hall. After its first release in plain or hand-decorated covers in 1976, Featuring Pharoah Sanders And Black Harold remained an exceptionally rare item in the El Saturn discography, known to a few lucky collectors. “We’re lucky to have this glimpse of what Sanders sounded like in such a different context, galvanizing the large group and in turn being inspired to make his first significant contribution on record.” —John Corbett (excerpt from the liner notes)

File Under: Jazz
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thor

Thor & Friends: The Subversive Nature of Kindness (LM Duplication) LP
“The Subversive Nature of Kindness is the sophomore effort from Thor & Friends, the avant-chamber ensemble formed by its namesake, polymath percussionist Thor Harris. The album was recorded in Albuquerque, New Mexico, produced by Jeremy Barnes from A Hawk & A Hacksaw and engineered by Barnes and Deerhoof’s John Dietrich. It is hoped that the melodic meditations offered up will ease some of the terror of living in these uncertain times. The three primary members of the band are Peggy Ghorbani on marimba, Sarah ‘Goat’ Gautier on marimba, vibraphone, xylophone, organ, voice, mellotron and piano, and Harris on sundry percussion and wind instruments, including some of his own devising. The band has toured extensively over the past year and have performed live with many guest musicians. All these players have influenced the way the group hears its music and this had a significant impact on this new album. On this recording voice plays a more prominent role with the core trio being joined by several guest singers who provide wordless vocals: Stine Janvin Motland, an opera singer from Oslo, Norway; Michael Gira from Swans; Enrique Soriah, a throat singer from Oregon. It features more fully developed string arrangements by Barnes and Heather Trost. There are also contributions from similarly adventurous musicians including Jhno Delicateer on Armenian Duduk, violin improvisationist Aisha Burn, and Adam Torres, who provides finger-picked guitar. The band draws on classic Minimalist composers including Terry Riley and Steve Reich, but also amalgamates such diverse influences as Brian Eno, Aphex Twin, Moondog and The Necks. They embody utopian optimism by rooting their art and operation in both improvisation and the involvement of neighbors and friends in their process, making use of what and who is around at any given moment.”

File Under: Percussion, Experimental, Classical
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total control

Total Control: Laughing at the System (Alter) LP
“However you might try to find the words for it, Total Control’s caustic charm is stunning and oblique. A sensible account of the band typically focuses on its parts—the associated groups, the touring configurations, etc.—as if finding ways by which Total Control is divisible gleans critical information for breaking through their cryptic sheen. With tonic, wry twists, and forever employing aphoristic brevity for the comic/cosmic dynamite that it is best reserved for, the band seems to indulge this with each new release, or tour, or whatever’s put on the counter. The bands European tour tape from 2015 was a sure reminder of this. Their new 12″, Laughing At The System, is a succinct statement, but it feels like the sharpest thing they’ve ever assembled. Written and recorded over the past couple of years in various lounge rooms, bedrooms, and rehearsal studios, across Melbourne, regional Victoria, and Western Australia, Al Montfort, Daniel Stewart, James Vinciguerra, Mikey Young, and Zephyr Pavey are—for the record—all accounted for in the process. Laughing At The System is bookended by a title track in two parts. The scattered mania of the opener is an unsettling beginning, with cascading madhouse-riffs somehow finding a ricocheting unison. The closing part has the familiar head-charge of Total Control’s most gnashing moments, with the guitars balancing the equation between running-too-fast and drinking-too-fast in one queasy commitment. With a brilliantly acerbic wit, we’re implored to gather that there’s some equivalences here. And it’s this kind of impulse that’s kept up throughout the 12″. Drizzled with Vinciguerra’s fraught fills, which have the rare quality of being unmistakably his in both electronic and acoustic form, this punctuation comes in and out of focus between elegiac moments and breezy experimentation, the latter including the elated instrumental ‘Cathie and Marg.’ Throughout, Stewart scripts a tumultuous wake for a flatlining reality, forever nudging the listener to second-guess themselves about the sincerity and intent. Far from cynical, but earnestly neurotic, the potency of the atmosphere that Total Control has mustered across Laughing At The System registers as a deeply commanding, though bleak, psychedelicism for the future.”

File Under: Punk, Post Punk
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ulgyUgly Things #46 Magazine
“On the cover this time: The Equals the dynamic multi-racial London group famous for songs like ‘Baby Come Back’ and ‘Police on My Back,’ but whose catalog runs much deeper, as our lengthy interview with lead singer Derv Gordon explains. Also featured this issue, Curt Boettcher’s innovative folk-pop group The Goldebriars, Southern California biker rock badass Simon Stokes, The Byrds, The Balloon Farm (A Question of Temperature), pre-Dictators ’70s rockers Total Crudd, Harvey Kubernik’s examination of Bob Dylan’s John Wesley Harding album (which turns 50 in December), occult rocker Geof Crozier, Texas-to-California garage rockers The Visions, New Jersey’s Mods and the mysterious Revelation VII label, and a mad interview with the late, great Captain Beefheart. Also we reveal the 12 ‘rejected’ tracks from Lenny Kaye’s original Nuggets compilation, plus the Flamin’ Groovies saga continues into the ‘Shake Some Action’ years, and of course there’s our acclaimed, info-packed reissue and book review sections.” 152 pages; perfect bound; full-color glossy cover

zombyZomby: Mercury’s Rainbow (Modern Love) LP
After nearly a decade in the making, Zomby finally dispatches Mercury’s Rainbow, his astonishing and uniquely formulated dedication to Wiley’s series of Eskibeat releases, aka the cornerstone of grime. Originally recorded over an intense couple of weeks while suffering from circadian dysrhythmia, Mercury’s Rainbow documents Zomby riffing on intricately hand-programmed arpeggios, using theories of color and its relation to the sonic chromatic spectrum — the circle of fifths — to place an expressively avant spin on the Wiley Kat’s sliding Triton squares and frozen, post-garage drum patterns. Rather than simply imitating Wiley’s foundational unit of grime currency, Zomby innovates with a structure of bewildering, modal styles, refracting 16 diamond-cut permutations according to a color-sound spectrum of tonalities. In the process he effectively loosens up and liquefies the Eski riddim, rendering its bones and sinew in varying states of reactive, physical deliquescence or GIF-like micro-organisms. For dancers and DJs, the fluid contours and viscous, displaced rhythmic anticipation of Mercury’s Rainbow suggests myriad geometries for movement in-the-mix, and serves to single-handedly put to sleep a whole genre of also-ran, prosaic “future grime” through its methodical, inventively ground-up construction. While it’s difficult to say with certainty, if Mercury’s Rainbow was issued at the same time it was created, it may have arguably altered the course of UK grime instrumentals in much the same way Wiley’s original template coined a whole new genre, essentially making it the last word in grime futurism, proper. Master and lacquer cut by Matt Colton at Alchemy; Limited edition vinyl.

File Under: Electronic, Grime
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tokyoVarious: Tokyo Nights: Female J-Pop Boogie Funk (Cultures of Soul) LP
“Following successful disco excavation from the Caribbean to South Africa, Boston-based label Cultures of Soul booked a first class ticket to Narita to bring you the latest release, Tokyo Nights: Female J-Pop Boogie Funk: 1981 to 1988. This compilation presents 12 of the most memorable and sought-after songs of the era recorded by female artists. The music is a reflection of the unbridled optimism, technological achievement, excess and exuberance of Bubble-era Japan. More than catchy melodies and funky baselines, these are reflections of a time when Japan was the center, and future of the world. The Bubble can be characterized as an endless, extravagant party where personal and corporate wealth soared through the explosion of real estate and stock prices. Scores of young Japanese men and women moved to cities in search of affluence, transforming them into neon wonderlands. Changes in morals, values and gender roles followed suit. Prosperity leads to indulgence, and the taste for nightlife, from flashy restaurants to glitzy discotheques, was unquenchable. A soundtrack to this new, lavish lifestyle was necessary and the latest sound, City Pop (urban pop music for those with urban lifestyles), epitomized these attitudes. While influenced by American R&B and boogie, elements of fusion, YMO style Technopop, and adult-oriented rock (AOR) are front and center. Sung primarily in Japanese (with a word or two of English sprinkled in), City Pop is Japanese music for Japanese people. Producers like Tatsuro Yamashita, Toshiki Kadomatsu, and Haruomi Hosono were quick to embrace the latest studio equipment and technology. Synthesizers like the Yamaha DX7, Roland Juno-60, ARP Quadra, Moog Polymoog and Oberheim OB-8, as well as drum machines like the Linndrum, were prevalent. Digital reverb was applied liberally. Compiled by Eli Cohen (Alliance Upholstery) and Deano Sounds (Cultures of Soul), Tokyo Nights includes tracks by Hitomi Tohyama, Junko Ohashi, Mizuki Koyama, Kaoru Akimoto, Aru Takamura, Mariko Tone, Rie Murakami, RA MU, Kikuchi Momoko and Yumi Seino. Each selection celebrates the unique traits and meticulous production that define the sound. Think sandy beaches and metropolitan skylines; illumination and romance. Embrace the feeling of movement, from a coastal highway stretching towards the horizon or the city sprawling into the future. Turn on the hi-fi and slip into these Tokyo Nights.”

File Under: Funk, J-Pop

…..Restocks…..

Laura Baird: I Wish I Were A Sparrow (Ba Da Bing) LP
Binker & Moses: Journey to the Mountain… (Gearbox) LP
Cactus Blossoms: You’re Dreaming (Red House) LP
Alice Coltrane: A Monastic Trio (Superior Viaduct) LP
Crass: Feeding of the 5000 (Crass) LP
Current 93: Thunder Perfect Mind (Spheres) LP
Mac Demarco: Salad Days (Captured Tracks) LP
Efterklang: Tripper (Leaf) LP
Elder: Dead Roots Stirring (Armageddon) LP
Harmonia: Musick Von Harmonia (Gronland) LP
King Gizzard & the Lizard Wizard: I’m In Your Mind Fuzz (Castle Face) LP
Gigi Masin: Talk to the Sea (Music From Memory) LP
Drew McDowell: Collapse (Dais) LP
Jonny Nash/Lindsay Todd: Fauna Mapping (Island of the Gods) LP
National: Alligator (Beggars) LP
Oh Sees: Orc (Castle Face) LP
Oh Sees: Help (In The Red) LP
Orb: Naturality (Castle Face) LP
Arvo Part: Fur Alina (Mississippi) LP
Radiohead: Amnesiac (XL) LP
Ty Segall Band: Slaugherhouse (In The Red) LP
Sheer Mag: Compilation (WRC) LP
Sheer Mag: Need to Feel Your Love (WRC) LP
Sonic Youth: Daydream Nation (Goofin) LP
Pauline Anna Strom: Trans-Millenia Music (ReRVNG Intl) LP
Suicide: s/t (Superior Viaduct) LP
Sun Ra: Space is the Place (Jackpot) LP
Midori Takada: Through the Looking Glass (WRWTFWW) LP
Wolves in the Throne Room: Thrice Woven (Diadem) LP

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…..news letter #823 – eleven…..

Well folks, time is getting tight. If you haven’t started your xmas shopping, what are you waiting for?! Some nice stuff coming in this week and lots of restocks. We are just about completely out of time to special order anything, but you never know….

And if you are looking to outdo that special music lover on your list, or just want to spoil yourself, don’t forget about the awesome REGA promotion runnning right now! $200 off Planar 1 and Planar 2 turntables and $200 off the Brio amp!

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…..pick of the week…..

visible cloaks

Visible Cloaks: Lex (RVNG Int.) LP
Visible Cloaks’ Lex proposes a utopian dream language and its accompanying sound, a limitless, delicate space developed by fluid musical techniques and subconscious voices. The six pieces comprising Lex simulate a more peaceful future, their mysteries telling a new tale in an unknown but imaginable melodic language. Visible Cloaks are the Portland-based musicians Spencer Doran and Ryan Carlile. Utilizing software-based composition rooted in randomization, MIDI-translation and chance operations, the duo has established an improbable humanist mode of music from esoteric processes. Following their self-titled debut, Visible Cloaks offered Reassemblage, an album simultaneously honoring the post-Yellow Magic Orchestra school of avant musical adventure and diverging from it. Veering from the paths cleared by Japanese and Italian electronic pop and ambient artists of the mid-80s / early- 90s, Reassemblage established Visible Cloaks’ own camp in a forest of deep sound canopied by trees grown from synthetic seeds. The sound represented on Lex is webbed with sculptural arrangements and interpolated by the sounds of alien speech. These strange and serene utterances were created by Doran feeding a chain of multiple dialects and accents through a language translation software to create an auditory poetry of an evolved place and time. Lex features both the final version of this process and earlier, simplified experiments with it (“Keys”). “The idea – building on ‘fourth world’ or ‘global village’ type concepts – was to create a projected language that was a fusion of many,” Doran explains. “The result was a very disorienting form of non-language that amplifies the lapses in meaning that occur with the inaccuracy of auto-translation software.” Permutate Lex, a companion short film to Lex made by Visible Cloaks in collaboration with artist Brenna Murphy (who also created the artwork for Reassemblageand several virtualist videos for the album), is an integral counterpart, both visualizing an aesthetic alive with human form and guiding the sonic experience of the first five pieces: “Wheel,” “Frame,” “Transient,” “Keys,” and title track “Lex.” “World,” the longest piece presented on Lex, is redrawn from a generative composition originally produced for an installation Doran made with Murphy. The original work incorporates LFOs and randomized MIDI-information, and was intended to variate indefinitely. In this ‘fixed’ version, “World” provides a more conclusive view into the impossible musical environments Visible Cloaks make real. Longer than any track on Reassemblage, “World” expresses the deepening, patient intimations suggested by Lex. Doran says the Lex “attempts to communicate the essence of a world distant enough that it can’t be captured or comprehended from the present, appearing only surreal and inscrutable.” The statement reveals a broader musical philosophy fueling this new moment; an awakened voice woven through complex melodic shapes and phrases establishes communication between listeners and the unknown, here presented by Visible Cloaks as sounds coloring the very edge of the envisionable.

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

certain

A Certain Ratio: The Graveyard & The Ballroom (Mute) LP
A Certain Ratio was one of the first groups to sign to the legendary Factory Records in Manchester. Whilst many credit New Order and The Happy Mondays as the groups who brought dance music into the sound of Manchester (later Madchester!), it was in fact A Certain Ratio who were there from the beginning. Mute is pleased to present a vinyl reissue of The Graveyard and The Ballroom, the band’s landmark 1980 debut which shows off A Certain Ratio’s legendary early mix of angular, bass-heavy post-punk. Produced by Martin Hannett, the album contains 14 tracks: 7 demo songs from a session recorded at Graveyard Studios in September 1979 and 7 songs from a gig at the Electric Ballroom in October 1979. The album captures A Certain Ratio at their best – raw, dark and funky and contains early versions of future classics like “Do The Du” and “Flight.”

File Under: Post Punk
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BB

Beastie Boys: Hot Sauce Committee: Part Two (Capitol) LP
The Beastie Boys were once upon a time the court jesters of rap. Wearing the label loud and proud, the New York trio lived by their own set of rules and ignited controversy wherever they set foot. Besides their daring-to-be-different and non-conforming attitudes, Adam “Ad-Rock” Horovitz, Michael “Mike D” Diamond and Adam “MCA” Yauch were considered pretty influential musicians too – the group were inducted into the Rock and Roll Hall of Fame in 2012. The cheekily titled Hot Sauce Committee: Part Two (2011) is the group’s eighth and final studio effort, originally intended as a two-part set and released a year before MCA’s death from cancer. Home to the swansong singles – “Lee Majors Come Again,” “Too Many Rappers” featuring Nas, “Make Some Noise” and “Don’t Play No Game That I Can’t Win” featuring Santigold – it debuted at No. 2 on the Billboard 200 and finds the Beasties reveling in their elder statesman status and offering up entertaining and engaging hip-hop beholden to know trends or styles but their own.

File Under: Hip Hop
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bb2

Beastie Boys: To The 5 Burroughs (Capitol) LP
The Beastie Boys were once upon a time the court jesters of rap. Wearing the label loud and proud, the New York trio lived by their own set of rules and ignited controversy wherever they set foot. Besides their daring-to-be-different and non-conforming attitudes, Adam “Ad-Rock” Horovitz, Michael “Mike D” Diamond and Adam “MCA” Yauch were considered pretty influential musicians too – the group were inducted into the Rock and Roll Hall of Fame in 2012. To the 5 Boroughs (2004) served as the group’s sixth studio effort overall and first since 1998’s Hello Nasty. An expertly crafted homage to New York littered with the trio’s signature humor and political fire, the platinum-certified album debuted at No. 1 on the Billboard 200 and spawned the hit “Ch-Check It Out.”

File Under: Hip Hop
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beatles

Beatles: Sgt. Peppers 2017 Mix (Apple) LP
Hear the Acclaimed 2017 Beatles Sgt. Pepper Lonely Hearts Club Band Stereo Mix by Giles Martin and Sourced Directly from the Four-Track Session Tapes: 180g Vinyl LP Pressed at QRP. Produced by Giles Martin for 2017’s universally heralded Sgt. Pepper Anniversary Edition releases, the Sgt. Pepper’s Lonely Hearts Club Band’s new stereo mix on this QRP-pressed 180g vinyl LP is sourced directly from the original four-track session tapes and guided by the original, Beatles-preferred mono mix produced by Giles’ father, George Martin. Praised by fans and music critics around the world, The Beatles’ Sgt. Pepper Anniversary Edition is 2017’s most celebrated historical music release and an ideal gift for Beatle people here, there, and everywhere! It was just over 50 years ago when The Beatles’ astonished and delighted the world, ushering in the Summer of Love with Sgt. Pepper’s Lonely Hearts Club Band, a groundbreaking masterwork that became popular music’s most universally acclaimed album. “It’s crazy to think that 50 years later we are looking back on this project with such fondness and a little bit of amazement at how four guys, a great producer and his engineers could make such a lasting piece of art,” says Paul McCartney. “Sgt. Pepper seemed to capture the mood of that year, and it also allowed a lot of other people to kick off from there and to really go for it,” Ringo Starr adds.

 File Under: Rock, Pop
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daphni

Daphni: Joli Mai (Jiaolong) LP
Earlier this year Daphni (aka Caribou, aka Dan Snaith) released a very special FABRICLIVE mix made up of 23 original, unreleased Daphni tracks and four new Daphni edits to widespread critical acclaim. Today he has followed up with the announcement that he’ll be releasing a new full-length album, Joli Mai, on 6 October (NB vinyl coming later..) comprised of extended versions of the tracks from the mix as well as new, unreleased track ‘Vulture’.

File Under: Electronic
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downie

Gord Downie: Introduce Yerself (Arts & Crafts) LP
Gord Downie’s Introduce Yerself is a double-album of twenty-three new songs inspired by the people in his life. The music was recorded swiftly over two four-day sessions in January 2016 and February 2017, with the final album often reflecting first takes. Introduce Yerself continues the collaborative relationship that brought the music of the Tragically Hip frontman’s historic Secret Path to life, with Broken Social Scene’s Kevin Drew producing the album and co-writing a number of the new songs.

File Under: Rock, Tragically Hip
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downie2

Gord Downie: Battle of the Nudes (Arts & Crafts) LP
Available for the first time on vinyl and remastered especially for the format, Gord Downie’s sophomore 2003 solo album, Battle Of The Nudes, “ranges from some sublime spoken word pieces to straightforward rock songs.” (PopMatters). Featuring a backing band credited as Country of Miracles including Julie Doiron, Josh Finlayson and members of experimental blues-rock band The Dinner Is Ruined, the album leaned closer to more traditional rock than its predecessor, but no less filled with Downie’s singular poetry.

File Under: Rock, Tragically Hip
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downie1

Gord Downie: Coke Machine Glow (Arts & Crafts) LP
Lush and sprawling, Coke Machine Glow is the 2001 solo debut from Tragically Hip frontman Gord Downie who passed away from cancer on October 17, 2017. Featuring the singles “Chancellor” and “Vancouver Divorce,” the album’s backing band was credited as “the Goddamned Band” and included contributions from musicians Julie Doiron, Steven Drake (The Odds), Kevin Hearn (Barenaked Ladies), Josh Finlayson, director Atom Egoyan, and members of The Dinner Is Ruined. Coke Machine Glow highlights Downie’s singular poetic story-weaving over sparse, loose production and subdued instrumentation. First ever vinyl pressing (gatefold 2LP) remastered for the format.

File Under: Rock, Tragically Hip
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ibm

Johann Johannsson: IBM1401: A User’s Manual (4AD) LP
Never before pressed on vinyl, IBM 1401, A User’s Manual, is one of Jóhann Jóhannsson’s most beloved works. Released in 2006, the decade since its release has seen Jóhann establish himself as one of the most important composers in the world, notably scoring movies such as Arrival, Blade Runner 2049, Sicario and The Theory of Everything. Johann’s scores have been nominated for two Academy Awards, two Golden Globes, a Grammy and three BAFTA awards. He was awarded the Golden Globe for Best Original Score for The Theory Of Everything. Inspired by the work his father did in the ’60s when chief maintenance engineer of one of Iceland’s first computers, Jóhann originally wrote IBM 1401, A User’s Manual to accompany a dance piece by long-standing collaborator and friend, Erna Ómarsdóttir. For the album release, he rewrote the piece for a 60-piece string orchestra, with a new final movement (built around a poem by Dorothy Parker) and incorporating both electronics and reel-to-reel recordings made by his father and friends in 1971 of the IBM 1401 mainframe computer singing the hymn “Ísland Ögrum Skorið” by Sigvaldi Kaldalóns as it was being decommissioned. The first ever pressing of IBM 1401, A User’s Manual comes as a colored 2LP-set in a deluxe gatefold sleeve, reworked by Chris Bigg (v23) from his original design. The package comes complete with two live bonus tracks recorded with the City of Prague Philharmonic Orchestra.

File Under: Ambient, Classical
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gizzKing Gizzard & The Lizard Wizard with Mild High Club: Sketches of Brunswick East (ATO) LP
FINALLY IN TOMORROW!…. King Gizzard & The Lizard Wizard returns with their third album of 2017, Sketches of Brunswick East, a jazz and Tropicalia infused collaboration with Mild High Club. It’s a soothing balm of a record, a chance to get to know King Gizzard’s sunny, playful side. Where previous albums have slipped down sonic worm-holes to explore distant galaxies, this one is an examination of (and homage to) the Melbourne suburb in which King Gizzard write and record in their own studio, and from where they run their planet-spanning psychedelic operation. A knowing nod to Miles Davis’s Sketches of Spain, this album also sees the band further exploring a Tropicalia element their music only ever previously hinted at. The group’s various sketches about time and place were reworked and pieced together, akin to “sampling-culture, in which old ideas are reshaped and suddenly things make sense,” explains lead singer Stu Mackenzie. “It was like we were continually jamming with ourselves.” Sketches Of Brunswick East is the third of five projected albums to be released by King Gizzard in 2017. “We don’t expect everyone to like everything that we release, but I hope people can view these five records as one body of work,” adds Stu of this grand creative undertaking. “They’ve been made at the same time, by the same people, in the same place, and they all overlap.”

File Under: Psych
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bladerunner

OST: Blade Runner 2049 (Epic) LP
The original motion picture soundtrack fnor Blade Runner 2049 highlights the entrancing, ethereal, and enigmatic original score composed by Academy Award winner Hans Zimmer (Inception, The Dark Knight, Gladiator, The Lion King) and Golden Globe and Emmy nominee Benjamin Wallfisch (It, Hidden Figures, Annabelle: Creation). Original and classic compositions round out this sci-fi noir masterpiece which concludes with an original song by Grammy Award nominee Lauren Daigle. Over a backdrop of cyber-infused soul production, she delivers a hypnotic and haunting performance. Together, Zimmer and Wallfisch sought to continue the incredible musical legacy of the original 1982 Blade Runner by Vangelis, while imparting a piece of themselves upon the score. In order to do so, they implemented vintage synths such as “the star of the score” a Yamaha CS80 from the late seventies as well as modern technological innovations, yielding a rich sonic palette wholly cognizant of this world and the vision of director Denis Villeneuve. “First of all, I realized that Denis is a director who has a vision; he has a voice,” says Zimmer. “Remember, I’ve done a lot of movies with Ridley Scott. So, it was important that this was an autonomous piece of work. Let’s just be honest. Ridley is a hard act to follow – as is Vangelis. While Ben was four-years-old, I had actually experienced all of this. We watched and literally, as we stopped watching, we decided on the palette. We decided this wasn’t going to be an orchestral thing. The story spoke to us.” “We all know what Blade Runner feels like and what that experience is to watch this incredible masterpiece,” adds Wallfisch. “The first question we asked ourselves was, ‘How can we reinvent and make it fresh and new, but still be in that world?’ The mission from the beginning was this idea of finding the heart of the film – what is its soul? When you discover the simplest possible theme, it sums up humanity almost. I feel like that’s what we were all striving for towards the beginning of the process.” In a feature detailing the film’s Oscar potential, Variety highlighted the aural balance that Zimmer and Wallfisch achieve writing, “Zimmer and Wallfisch’s score maintains proper reverence for and distance from Vangelis’ iconic original work.”

File Under: OST
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stranger

OST: Stranger Things: The Music From (Sony) LP
Sony Legacy presents a 30 track 2LP compilation album gathering a range of beloved 1980s hits and classic tracks featured in the Duffer brothers 18x Emmy-nominated hit Netflix series Stranger Things and its highly-anticipated second season, Stranger Things 2. The album features nineteen songs and eleven audio clips from the show. Artists and original hit recordings appearing on Stranger Things – Music From The Netflix Original Series include Toto (“Africa”), the Bangles (“Hazy Shade of Winter”), Corey Hart (“Sunglasses at Night”), The Poice (“Every Breath You Take”), The Clash (“Should I Stay or Should I Go”), Duran Duran (“Girls On Film”), Devo (“Whip It”), Cyndi Lauper (“Time After Time”) and Scorpions (“Rock You Like A Hurricane”). Gatefold 2LP-set with an 8 x 12 mini-poster and a crack-and-peel sticker.

File Under: Rock, OST
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u2

U2: Songs of Innocence (Universal) LP
Songs Of Experience is the companion release to 2014’s Songs Of Innocence, the two titles drawing inspiration from a collection of poems, Songs of Innocence and Experience, by the 18th century English mystic and poet William Blake. While Songs of Innocence charted U2’s earliest influences and experiences in the late-1970s and early-1980s, the new album is a collection of songs in the form of intimate letters to places and people close to Bono’s heart i.e. family, friends and fans. The original thirteen-track album features the previously released tracks “You’re The Best Thing About Me” and “The Blackout” as well as “The Little Things That Give You Away,” which U2 debuted during their Joshua Tree 2017 tour. The song “American Soul” is a fleshed-out version of “XXX,” the band’s collaboration with Kendrick Lamar that was featured on the rapper’s Damn album. The front cover features a photograph of band members’ teenage children Eli Hewson and Sian Evans as photographed by U2’s long-time visual collaborator Anton Corbijn.

File Under: Pop
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…..restocks….

Arcade Fire: Neon Bible (Sonovox) LP
Marc Barreca: Music Works for Industry (Freedom to Spend) LP
Big Brave: Ardor (Southern Lord) LP
David Bowie: Blackstar (Columbia) LP
Leonard Cohen: The Future (Columbia) LP
Daft Punk: Tron Legacy (Disney) LP
Dead Kennedys: Gimme Convenience… (Manifesto) LP
Dead Kennedys: Fresh Fruit… (Manifesto) LP
Liam Gallagher: As You Were (Warner) LP
Vince Guaraldi Trio: A Charlie Brown Christmas (Fantasy) LP
Lauryn Hill: Miseducation of (Universal) LP
Jason Isbell: The Nashville Sound (Sony) LP
Medusa: First Step Beyond (Numero) LP
Nine Inch Nails: Broken (Nothing) LP
Jim O’Rourke: Eureka (Drag City) LP
Pink Floyd: The Wall (Columbia) LP
R.E.M.: Automatic For The People (Universal) LP
Steve Roach: Structures from Silence (Telephone Explosion) LP
Rural Alberta Advantage: Mended With Gold (Paper Bag) LP
Smiths: s/t (Rhino) LP
Talking Heads: Remain in Light (Rhino) LP
Tragically Hip: Fully Completely (Universal) LP
Tragically Hip: Live Between Us (Universal) LP
Tragically Hip: Phantom Power (Universal) LP
Tragically Hip: Up To Here (Universal) LP
Visible Cloaks: Reassemblage (RVNG Intl) LP
Lucinda Williams: This Sweet Old World (Sony) LP
Various: Eccentric Soul: Deep City Label (Numero) LP
Various: Eccentric Soul: Sitting in the Park (Numero) LP
Various: Soul Stabs Vol 1 (Colemine) LP

 

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…..news letter #822 – claimed!…..

Sorry to inform all you hopefuls holding out, but the RP1 has been claimed. But, good news, Rega is running a killer promo this month, $200 off of the Planar 1, Planar 2, and Brio amp, making them very nicely priced. We’ve got a bunch showing up tomorrow, but interest is already high, so don’t wait too long to take advantage of this deal.

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…..picks of the week…..

lucianiMaria Teresa Luciani: Sounds of the City (Finders Keepers) LP 
Welcome to the parallel musical universe of Miss Maria Teresa Luciani, a landscape of sonic architecture and theoretical composition constructed by a family of engineers that reinvented the wheel before the vehicle even began the journey. Imagine, if you will, the musical equivalent of Peter Cook’s Archigram group or the soundtrack to Charles and Ray Eames’ private sketchbooks, hinting at a new municipal, utopian metropolis just hours before the blueprints are suspiciously misplaced by the courier and mainstream pop building regulations piss on our asbestos bonfire. These 1972 constructions of progressive, cyclic, proto-industrial colour music were never intended for public habitation. These are the Sounds Of The City in a galaxy far, far beneath our radar and above your expectations that was never built. Pseudo-futurist pop music? Cubic folk? Tape-op-art? Sì, grazie! Before the needle hits the first groove, the story of Maria Teresa Luciani reads like an Alphaville caper full of foreign intrigue, low intensity identification fraud, secret codes, family bonds, mistrust and wanderlust… Naturally, you are holding a genuine Finders Keepers article. To say this rare Italian concept album is “unbelievable” is justified on multiple levels. This multi-storey storage facility of found sounds, radiophonic samples, tape loops, early electronic music experiments, mechanical folk, cinematic vision, sound design, educated music theory, political pop and high concept art-as-noise successfully layers more musical ideas within its unique structure than one would think possible for a solo artist within any musical genre. This is why Sounds Of The City presents us with a brand new genre defying compositional framework, pre-dating sampling culture, cut ‘n’ paste plunderism and industrial music in the process. Pre-digital, indefinable and genuinely unbelievable. But who is Maria Teresa Luciani? On hearing this record respected collectors and enthusiasts have suggested “the female answer to Basil Kirchin,” or “the Italian Daphne Oram”. Both with justified cause. Mystery, myth, legend, teacher, artist, inventor, author, musician, psychologist, daughter, and (possibly most importantly) sister.

File Under: Ambient, Experimental, OST
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rogerson

Tom Rogerson & Brian Eno: Finding Shore (Dead Oceans) LP
Tom Rogerson’s new solo album Finding Shore features 13 elegant and evocative tracks assembled in collaboration with Brian Eno. Finding Shore is the sound of Rogerson distilling the essence of what he does after a protracted musical journey from childhood up until now. He took the traditional route of music lessons and learning notation before starting composing “properly.” Eno’s influence on Finding Shore was to enable Rogerson to overcome his fear of committing to any one piece and turning it into an album, an issue he says he shares with many improvisers. Eno suggested that they try experimenting with the Piano Bar, an obscure piece of musical equipment. This works by using infrared beams focused on each piano key. These are then broken as the keys are played, transforming the piano’s note into a midi signal that can then be used to trigger or generate new, digital sound. “It immediately puts a frame around what I do, which is what all improvisers need,” Rogerson says. The first day in the studio was instructional in terms of what was to come. Eno had already mic’d up a piano and asked Rogerson to do what he’d normally do at a gig. Rogerson describes what he played as “very emotional, very cathartic, me wailing and screaming, getting quite out there. I thought ‘wow that was just such a perfect 45 minute thing we could just release that’.” But Eno had other ideas, eventually zooming in on just 30 seconds of music, cutting it up and looping it to a form inspired by Eric Satie. The result is the three-minute-long “An Iken Loop,” which is now Rogerson’s favorite on the record. Other Eno-devised systems included playing along to an arpeggiator, cut-ups of chord sequences written down and pulled out of a hat, or placing Midi and physical sounds in juxtaposition. “It was never anything other than pleasurable,” says Rogerson of the experience. “We had plenty of experiments that didn’t work, but it never feels like you’re failing. He’s quite egoless as well about his own ideas.”.

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

akhtar

Nahid Akhtar: I Am Black Beauty (Finders Keepers) LP
“I am black beauty… love me!” A forthright enough request, one would think, from an artist whose music was indeed loved, revered and which played a hugely influential and omnipresent role in Lahore’s vibrant cinematic patchwork that covered the late 1970s and early 1980s. However, until now, it seems that this lost love letter to a potential global audience of millions of sonic suitors has been caught up in the pesky Pakistani postal system. Nahid Akhtar needs a connection. Don’t blame the Khyber Mail. In a neat and tidy career that spanned exactly ten years, Nahid Akhtar came, saw and conquered, then relatively disappeared without even thinking about buying the t-shirt. Disrobing the vibrant finery that interweaved textures of Ghazals, classical music, Punjabi folk songs and Qawwalis (not forgetting a wide range of progressive pop music penned for the Pakistani picture house) from which this records track list is lovingly gathered. It is virtually unfathomable that the multifarious music of Nahid Akhtar, combining textures, tempos, technologies, global influences and multi-cultural languages (and all this within the opening seconds of a song!), didn’t open the door to international stardom to match that of Asha Bhosle or Lata Mangeshkar from India. In the last few years the music of Lollywood’s golden era has enjoyed a marked resurgence amongst outernational music fans, with labels like Finders Keepers remastering and compiling the work of the Tafo Brothers and M. Ashraf for a global market with wide critical acclaim. Hopefully, with this collection as a sturdy stepping stone to a widely rewarding expanse of further listening, the music of Nahid Akhtar can find a place alongside your favourite international songbirds and her original love letters to the world of music will command a much justified RSVP.

File Under: World, OST
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beastieboys

Beastie Boys: In Sound From Way Out (Capitol) LP
In tomorrow… The Beastie Boys were once upon a time the court jesters of rap. Wearing the label loud and proud, the New York trio lived by their own set of rules and ignited controversy wherever they set foot. Besides their daring-to-be-different and non-conforming attitudes, Adam “Ad-Rock” Horovitz, Michael “Mike D” Diamond and Adam “MCA” Yauch were considered pretty influential musicians too – the group were inducted into the Rock and Roll Hall of Fame in 2012. The group’s excellent 1996 compilation The In Sound From Way Out! (which pays homage to the title and cover of Perrey and Kingsley’s 1966 Vanguard album) shows off some of those musical chops and collects funky instrumentals from Check Your Head and Ill Communication plus a few new cuts.

File Under: Hip Hop
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bjork

Bjork: Utopia (One Little Indian) LP
Bjork returns on One Little Indian Records with her ninth studio effort Utopia, co-produced by Venezuelan DJ Arca. It follows-up her 2015 breakup record Vulnicura and celebrates her reemergance on the other side of heartache. “The last album, we sort of call it ‘hell’ – it was like divorce. So we are doing paradise now. Utopia,” the enigmatic artist explains. “Vulnicura was about a very personal loss, and I think this new album is about a love that’s even greater. It’s about rediscovering love – but in a spiritual way…” Transcendent lead single “The Gate” serves as a fitting introduction to a record about Bjork’s romantic renaissance. The eye-catching cover art was designed by artist Jesse Kanda with creative direction from Björk and her longtime collaborator James Merry.

File Under: Experimental, Pop, Electronic
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boris

Boris: Live at Third Man (Third Man) LP
There’s no better way to celebrate the 10-year anniversary of your best record than playing it in full, 19 nights in a row. Hailing from Tokyo, beloved psych-doom shredders Boris performed their critically acclaimed album Pink in full, live in the Blue Room at Third Man Records. They recorded it direct to 8 track, 2″ tape, providing an incredibly high fidelity document of an unforgettable night. Local weekly The Nashville Scene reviewed this show as “at least in that moment…by far the greatest show Third Man Records has hosted to date.” It’s hard to disagree. Atsuo, Takeshi and Wata filled the room with foreboding smoke, dark red light reflecting off of the blue walls and, to this date, was Third Man’s loudest performance yet. This is almost certainly the only time that they handed out and required earplugs for every single audience member upon entry. And now you can keep the celebration of Pink going with the choicest tracks of the night – get this record!

 File Under: Metal
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butthole

Butthole Surfers: Locust Abortion Technician
(5 Music) 10″
Butthole Surfers first release since the 2007 compilation Pioughd/Widowermaker is a vinyl reissue of the band’s masterful 1987 EP Locust Abortion Technician, considered a Top 50 album of all time by the late Kurt Cobain and featured in Robert Dimsey’s 1001 Albums You Must Hear Before You Die. It reached No. 3 on the UK Indie Chart and its influence led to the birth of grunge music.

File Under: Punk, Experimental
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ciani

Suzanne Ciani: Help, Help, The Globolinks! (Finders Keepers) LP
As faithful guardians of the Ciani Musica Inc. studio vault Finders Keepers Records twist the key and return to their collaborative series of previously unreleased music from one of the most important and influential composers in the history of multi-disciplinary electronic music. Open-minded, unpretentious, enigmatic and consistently inspiring, Suzanne Elizabeth Ciani would shatter the mould and invert the stereotype of electronic composers in the early 1970s with a bona fide education in classical music, a clear understanding of technology and a genuine will to communicate and naturalise electronic music. All of these unique attributes, coupled with her natural charm and generosity, would win her success and notoriety in the colliding worlds of art, film, advertising, theatre, dance and eventually popular recorded music in the latter part of the 21st century – a multifarious achievement which remained unrivalled by any of her contemporaries, regardless of gender, conquering many male-dominated platforms and breaking creative ground in the process. It is exactly these key factors that would form the basis for this multifaceted musical project that is stored within the grooves of the record you are now holding. This electronic soundtrack for an operatic, ecological, scholastic, science fiction theatre production for children of all ages not only further reveals Suzanne’s vibrant and versatile skills as an experimental musician and narrative sound designer but also highlights her European heritage – working to the script of Milanese librettist Gian Carlo Menotti and a cast of forward-thinking fellow Italian-American creatives (including Giorgio Armani and Fiorucci in the wardrobe department). Originally written and performed in 1968, and gaining worldwide acclaim throughout the 1970s, Gian Carlo Menotti would update and revise his play for the turn of the 80s which called for a new approach to the music and sound effects – all of which would make their world premier in New York high school theatres in April of 1980. “I was honoured to have been selected to create a new electronic score for Gian Carlo Menotti’s opera for children,” Suzanne told Finders Keepers. “The original production had been in 1968 and I felt that the electronic music component could be more playful and less abrasive than the original production.” For this task Suzanne would approach the brief with the same zeal and tenacity that she continues to apply to all her work by reinventing the process, challenging convention and supplying the audience with something they have never experienced before. For Help, Help The Globolinks Ciani would give Menotti’s well-travelled aliens a brand new voice and with reinvention she communicated with a young audience keen to hear the genuine sounds of the future while retaining melodicism and personality quite potentially overshadowing the “human” casts exceptional abilities and challenging the director’s and writer’s authority in true Ciani style: “I recall meeting with Maestro Menotti at his home in New York City,” recalls Suzanne. “Later I was told that he was upset by the size of my credit on the poster.” Unlike many successful electronic composers, Suzanne, as a serious and genuinely revolutionary artist, managed to evade the obvious typecasting of her music through the medium of shlock sci-fi cinema (Swiss composer Bruno Spoerri readily observes that all the best space film scores veered from this pairing) but within the realms of opera and education Suzanne found her perfect channel (scratching her other cosmic cinematic itches with android music in The Stepford Wives and as “the first female composer to score a major Hollywood movie” with The Incredible Shrinking Woman release one year after The Globolinks redux debut). Furnishing a plot of an ecological alien intervention worthy of a Magma youth starter pack and realigning early pioneering electronic operas such as Karl-Birger Blomdahl’s Aniara or Remi Gassman’s Electronics for family consumption, this virtually undocumented work by the hardest working woman in VCO business is finally preserved after just a handful of exclusive theatrical airings over 35 years ago. Having honed her craft in the close company of late synthesiser designer Don Buchla (a company of whose development she played a key role) it is plain to see how the young Suzanne Ciani combined roles as an abstract artist and an astute technician in equal measures, a rare duplicity which would be essential The Globolinks and all our musical quests for a brighter future.

File Under: Electronic, OST
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earth

Earth: Live at Third Man (Third Man) LP
The Blue Room at Third Man shook with the sludge-drone majesty of Olympia, Washington’s Earth. Anchored by wife-husband duo Adrienne Davies and Dylan Carlson, this band has an integral spot in American music by bringing a low-frequency uproar and six-string extremism to the forefront of the experimental, punk metal underground. More concisely, they are widely considered the pioneers of drone metal. The band built their reputation on widely respected albums, starting with Sub Pop and moving to current home Southern Lord. Using the device of repetition, the band disarms and transforms first impressions with a performance so plodding and insistent that each song is stretched to its limits. The set spanned their catalog with four first-class compositions, employing powerful guitar drones and Davies’ precise, slow-motion percussion swirling throughout.

File Under: Metal, Stoner
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kaynatan

Gokcen Kaynatan: s/t (Finders Keepers) LP
The missing component in the history of Turkish pop and one of the earliest exponents of Turkish electronic music alongside İlhan Mimaroǧlu and Bülent Arel, Gökçen Kaynatan electrified the rock and roll scene of the late 50s/early 60s – sending teenagers wild with his custom built guitars and back lines – helping charge the climate for the birth of Anatolian rock. Then, from the sanctuary of his private studio, he revolutionised the industry with his pioneering use of electronics whilst hanging the sonic wallpaper in the living rooms of an entire generation of telly addicts as in house composer of choice for Turkey’s first national television channel TRT 1.  Despite having a modest discography of only four 7” singles to his name his influence is a major current that flows through over 50 years of Turkish pop culture. Compiled with unparalleled access to his private studio vault, Finders Keepers proudly presents the first-ever collection of Gökçen Kaynatan’s pioneering early electronic works. Featuring a selection of his experimental pop and rock recordings dating from as early as the 1968 it features both of the highly sought after 1 Numara singles – including a never before heard extended version of Evren – as well as previously unheard archive material and songs recorded for and broadcast exclusively on TRT 1 – most of them never to be repeated. In helping Gökçen end his self-imposed 44-year exile from the record industry we can now share with you the first of these important recordings from a genuine maverick who helped shape the face of modern Turkish music, as well as shedding some light on the rise of one of Anatolian rock and pops must fruitful and experimental periods that began with the arrival (and subsequent explosion) of domestic synthesisers on the Turkish scene.

File Under: Turkish, Electronic, Funk, Psych
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binaural

Pearl Jam: Binaural (Legacy) LP
With ex-Soundgarden drummer Matt Cameron replacing Jack Irons, Pearl Jam cut their sixth LP, Binaural, in 2000. The record’s title referred to new producer Tchad Blake’s adoption of the binaural recording technique, wherein two microphones are used simultaneously to try and simulate the experience of being in the room with the band. Lyrically, this dark, brooding album frequently railed against injustice, with tracks such as Eddie Vedder’s “Grievance” inspired by the anti-corporate World Trade Organization protests in Seattle in 1999 and Stone Gossard’s “Rival” based on the Columbine High School massacre. Going gold, Binaural peaked at No. 2 on the Billboard 200.

File Under: Rock
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riot actPearl Jam: Riot Act (Legacy) LP
In tomorrow… Devastated by the tragic death of nine fans during their set at Denmark’s Roskilde Festival in 2000 and the September 11, 2001 terrorist attacks, Pearl Jam considered splitting up, but eventually poured their emotions into the making of their seventh album, 2002’s Riot Act. Perhaps inevitably, ruminations on death loomed large in the record’s lyrics, though the gold-certified album also included some of the band’s most sublime material, courtesy of the folksy “I Am Mine,” the Beatles-y psychedelia of “Love Boat Captain” and the looming art-rock of “Save You.”

File Under: Rock
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pearljam

Pearl Jam: s/t (Legacy) LP
In tomorrow… Having concluded their Epic contract with the self-explanatory anthology set Rearviewmirror (Greatest Hits 1991-2003), Pearl Jam initially opted to self-release new records, including the single “Man Of The Hour” and rarities collection Lost Dogs. Eventually, however, they signed a short-term deal with Sony subsidiary J Records for 2006’s long-awaited Pearl Jam (aka Avocado), an exhilarating hard rock album which Rolling Stone cogently declared was “as big and brash in fuzz and backbone as Led Zeppelin’s Presence.” With the band’s loyal fanbase in wholehearted agreement and the impassioned singles “World Wide Suicide,” “Life Wasted” and “Gone” in rotation, Pearl Jam debuted at No. 2 on the Billboard 200 and climbed to No. 5 in the U.K.

File Under: Rock
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pile

Pile: Live at Third Man (Third Man) LP
Prominent members of the Boston music scene and post-rock specialists, Pile began as the brainchild (and solo project) of Rick Maguire in 2007. In it’s earliest incarnations, the songs were the broken bones of bigger ideas: the impassioned, ramshackle work of one dude with a momentous sense of riff and mood. In the time between then and now, the band has enjoyed a steady output and expanded to include Kris Kuss, Matt Connery, Matt Becker and, from time to time, Chappy Hull. In the Spring of 2017, their new critically-acclaimed LP A Hairshirt of Purpose was given a rare 10/10 by The AV Club, citing the record is “still pushing the (rock music) form to its outermost limits,” and fortunately, Third Man’s live LP was recorded right after its release, capturing them at a distinctly creative peak and unparalleled energy. This record is somehow chilling and explosive – to say nothing of a surprise Blonde Redhead cover. It stands shoulder to shoulder with the rest of their catalog and will no doubt remain a shining example of Third Man live series for years to come.

File Under: Rock
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stapleton

Chris Stapleton: From a Room Vol 2 (Mercury) LP
Chris Stapleton’s From A Room: Volume 2 takes its name from Nashville’s historic RCA Studio A (the capital “A” in From A Room) where it was recorded with Grammy Award-winning producer Dave Cobb. Along with Stapleton on vocals and guitar and Cobb on acoustic guitar, the album features Morgane Stapleton on harmony vocals as well as longtime band-members J.T. Cure on bass and Derek Mixon on drums. In addition to seven songs co-written by Stapleton, the album features versions of Kevin Welch’s “Millionaire” and the Homer Banks/Lester Snell-penned song made famous by Pops Staples, “Friendship.” Volume 2 follows the release of From A Room: Volume 1, which debuted earlier this year at #1 on the Billboard Country Albums chart, #2 on the Billboard Top 200 chart and, with its RIAA Gold certification, remains the #1 best-selling country album of 2017. Stapleton’s 2015 double platinum, Grammy-winning solo debut, Traveller, is currently the #2 best-selling country album of the year.

File Under: Country
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sza

Sza: CTRL (Sony) LP
In tomorrow… SZA, one of the redefining voices of today’s contemporary music era, entered the music scene in 2012 with her first critically acclaimed EP, See.SZA.Run. Following that, she released S in 2013 and Z in 2014, both to rave reviews. In 2013, SZA signed to Top Dawg Entertainment, being the first female artist to join the label. SZA wrote and performed on Rihanna’s Anti single “Consideration” in 2016 and helped write Nicki Minaj and Beyonce’s “Feelin Myself” in 2014. Born in Maplewood, NJ as Solána Rowe, SZA grew up listening to classic and avant-garde jazz, alternative, and rap. She renamed herself finding inspiration within the Supreme Alphabet: the ‘S’ stands for savior or sovereign, the ‘Z’ for zig-zag, and the ‘A’ for Allah. On the strength of hit lead single “Love Galore,” SZA’s major label debut Ctrl claimed the No. 3 spot on the Billboard 200 albums chart and entered at No. 1 on Billboard’s R&B Albums and No. 2 on the R&B/Hip Hop Albums charts. The long-awaited Ctrl is revered for its raw and honest lyrics and features guest appearances by Kendrick Lamar, Travis Scott, James Fauntleroy and Isaiah Rashad. Noisey describes Ctrl as “14 tracks of the dreamy R&B lusciousness that we’ve come to know and love the New Jersey singer-songwriter for.” NPR calls Ctrl “a resolutely confident and skillful R&B album that explores the notions of control and honesty,” while The Shade Room proclaims, “‘Ctrl’ is actuals! Imagine ‘The Miseducation of Lauryn Hill’ tailored for our generation.”

File Under: Funk, Soul
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umen

U-Men: s/t (Sub Pop) Box
“The U-Men are one of the best bands I’ve ever seen. They were hypnotic, frenetic, powerful and compelling. It was impossible to resist getting sucked into their weird, darkly absurd world. They effortlessly blended The Sonics, Link Wray, Pere Ubu, and Captain Beefheart. Their shows were loose-limbed, drunken dance parties and no two shows were alike. The U-Men were avant-garage explorers and, most importantly, they fucking rocked. I was lucky enough to live in their hometown and I saw them every chance I could. “From 1983 to 1987, the U-Men were the undisputed kings of the Seattle Underground. No one else came close. They ruled a bleak backwater landscape populated by maybe 200 people. They were the only band that could unify the disparate sub-subcultures and get all 200 of those people to fill a room. Anglophilic, dress-dark Goths; neo-psych MDA acolytes; skate punks who shit in bathtubs at parties; Mod vigilantes who tormented the homeless with pellet guns; college kids who thought college kids were lame; Industrial Artistes; some random guy with a moustache; and eccentrics who insisted that they couldn’t be pigeonholed: all coalesced around the U-Men. “Sub Pop co-founder, Bruce Pavitt released the first record by the U-Men, a 4-song 12″ EP on Bombshelter Records. By the time they had recorded songs for another record, Bruce was too broke to release it on his proto-Sub Pop label, so he hooked them up with Gerard Cosloy at Homestead Records. This was a big deal. Homestead had a heavy rep at the time with recent releases by Foetus, Nick Cave, Sonic Youth, and Big Black. I was sure that the release of their second 12”, Stop Spinning, would propel the U-Men into the ranks of those. “Homestead acts and the worldwide underground would get hip to Seattle’s finest. Following the departure of bassist Jim Tillman (replaced by Tom Hazelmyer of Amphetamine Reptile Records, and then Tony Ransome), the band recorded two fantastic singles, and recorded their one full-length album, Step on a Bug, for Black Label, which was run out of Fallout Records. They became increasingly disenchanted with the direction the Seattle underground was heading and called it quits in 1989. “The U-Men had nothing to do with grunge. They were their own unique thing. I loved them and I still miss them. I remember thinking at the time that most of their recordings were a little soft and didn’t capture the power of the band live. Now, thirty years later, their records sound great to me and we are lucky that they exist. I’m stoked that Sub Pop complied these long out-of-print records and scrounged up some unreleased songs so that everyone has a chance to take a trip back to old weird Seattle.” – Mark Arm

File Under: Rock, Proto-Grunge
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muddy waters

Muddy Waters: Electric Mud (Third Man) LP
As a continuing collaboration with Chess Records/Universal Records and the estate of Muddy Waters, Third Man Records is proud to present the reissue of Muddy Waters’ fifth studio effort Electric Mud. The album, which Chess originally released in 1968 has not seen a legitimate domestic vinyl release since 2002, despite its enormous influence on generations of blues rockers. It features members of Rotary Connection as Muddy’s backing band and was very controversial upon its release for its fusion of electric blues with psychedelic elements. The album is now recognized as a forward-thinking classic, sampled extensively by artists like The Black Keys and Gorillaz. Pressed at Third Man Pressing in Detroit, with a beautiful gatefold jacket in its original black-on-white color scheme, and a four-panel foldout poster.

File Under: Blues
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weezer

Weezer: Pacific Daydream (Crush) LP
In tomorrow… Following the release of Weezer (The White Album), the band began working on what they called The Black Album, but as they worked, they found the songs they were writing felt more like reveries from a beach at the end of the world. Instead of forcing a different direction, they began an entirely new album; Pacific Daydream was born. Pacific Daydream – an album full of the melodic mastery and craftsmanship for which Weezer are beloved – is a record that navigates the uncertainty between reality and dreams, blurring the line between the listener knowing if they are daydreaming the world of the album, or if the world of the album is daydreaming them. It’s a record about finding the gray area between the black and the white, about escaping the everyday into the fantasy of what may be just down the line, but also maybe isn’t. It’s an album that sounds like the Beach Boys and The Clash fell in love by the ocean and had one hell of an amazing baby.

File Under: Rock
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yeah yeah

Yeah Yeah Yeahs: Fever To Tell (Interscope) LP
In tomorrow… Nearly 15 years after its original release, the Yeah Yeah Yeahs’ impassioned (and long out of print) debut album Fever To Tell is getting a remastered reissue in 2017. Fusing together blistering garage rock with punk’s attitude and danceable rhythms, the Yeah Yeah Yeahs brought rock music back to the dance floor here. While The Strokes may have lit the fire of New York’s nascent rock revival, the Yeah Yeah Yeahs kept it burning in the boroughs, setting the scene for the city’s DIY rock scene and introducing the rest of the world to one of the most formidable frontwomen in music history, Karen O. Released in 2003, Fever To Tell would become the blueprint for the countless indie-rock that emerged in early-2000s and beyond. Thanks to Nick Zinner’s propulsive guitar and Brian Chase’s thunderous drums the New York trio could produce gritty bangers like “Date With The Night” and “Y Control” to scorching love anthems like “Maps,” that coincidentally put them on the map after it got serious play on MTV. The album would go on to be nominated for a Grammy Award for Best Alternative Music Album and was certified gold in both the US and the UK. While the band would go on to release three additional critically and commercially acclaimed albums, Fever To Tell will always remain their lightning a bottle moment. This single LP version features a new remastering by Stephen Marcussen on black 180g vinyl and includes and five newspaper lyric posters with exclusive photos by Nick Zinner, Spike Jonze, Lance Bangs, Julian Gross, Patrick Daughters and Cintamani Calise.

File Under: Rock
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…..restocks….

Bad Religion: Christmas Songs (Epitaph) LP
David Bowie: Blackstar (Columbia) LP
Nick Cave: Boatman’s Call (Mute) LP
Suzanne Ciani: Buchla Concerts (Finders Keepers) LP
Suzanne Ciani: Lixiviation (Finders Keepers) LP
Miles Davis: Kind of Blue (Columbia) LP
Miles Davis: Round About Midnight (Columbia) LP
Bob Dylan: The Basement Tapes (Columbia) LP
Bob Dylan/The Band: Before the Flood (Columbia) LP
Bob Dylan: Nashville Skyline (Columbia) LP
Funkadelic: s/t (Westbound) LP
Tim Hecker: Harmony in Ultraviolet (Kranky) LP
Tim Hecker: Ravedeath, 1979 (Kranky) LP
Here Lies Man: s/t (Riding Easy) LP
Joseph: Merry Christmas to You (Numero) LP
LCD Soundsystem: American Dream (Sony) LP
Melvins: Eggnog/Lice All (Boner) LP
Melvins: Houdini (Third Man) LP
OST: The Elder Scrolls (Sony) LP
Pink Floyd: The Wall (Columbia) LP
Propaghandi: Victory Lap (Epitaph) LP
Rural Alberta Advantage: Wild (Paper Bag) LP
Quasimoto: The Unseen (Stones Throw) LP
Stars of the Lid: And Their Refinement of the Decline (Kranky) LP
Stars of the Lid: Tired Sounds of (Kranky) LP
Visible Cloaks: Reassemblage (RVNG Intl) LP
Mike Watt: Contemplating… (ORG) LP
Jack White: Lazaretto (Third Man) LP
Various: Bollywood Bloodbath (Finders Keepers) LP
Various: Disco Dildar (Finders Keepers) LP
Various: Wayfaring Strangers: Cosmic American (Numero) LP

Tagged , , , , , ,

…..new letters #821 – unclaimed…..

Holy moly what a weekend! Thanks a lot to everyone who came out last weekend and picked RSD items and took advantage of our annual anniversary sale, making it our biggest one yet! We feel so loved and appreciate your appreciation of what we do here.

So far, no one has claimed the REGA RP1 we are giving away… AGAIN. Check your tickets people… if you have # 3788993 you have won! If you don’t claim it by 11 am on Monday, we will be re-drawing.

…..pick of the week…..

nicole

Jun Fukamachi: Nicole (86 Spring & Summer Collection) (WRWTFWW) LP
Cut at Emil Berliner Studios; Housed in a kraft sleeve similar to the original promo-only release. WRWTFWW Records present the release of Jun Fukamachi’s highly coveted Nicole (86 Spring And Summer Collection – Instrumental Images) album, originally recorded in 1986 for celebrated fashion designer Mitsuhiro Matsuda’s Nicole clothing brand. Never officially available before, Nicole was only distributed as a limited promotional item offered to attendees and participants of the 1986 fashion show for the Nicole brand’s Spring and Summer collection. Fukamachi’s moody magnum opus has become a sort of holy grail for fans of Japanese ambient, jazz, and synth music alike –and rightly so. Meticulously conceived, smooth and subtle, Nicole sounds like it came from an ethereal land where Erik Satie and Art of Noise lived together, a sublimely cinematic listening experience perhaps best described by renowned Japanese music writer Masaharu Yoshioka, aka The Soul Searcher: “If you are driving down the Autobahn at 160 km/h, or even 80 km/h, and Jun’s music starts playing on the car stereo, the windshield will instantly turn into your own personal silver screen.” Made in cooperation of the artist’s estate; Includes new liner notes by Masaharu Yoshioka.

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

pansonic

Barry Adamson + Pan Sonic + Hafler Trio: The Hymn of the 7th Illusion (Cold Spring) LP
Pan Sonic, arranged and edited by Barry Adamson, with an additional re-arrangement by The Hafler Trio. Here, Barry Adamson and Pan Sonic have composed a 12-minute music piece that is performed by the Hljomeyki Choir and Pan Sonic. Originally released on CD by Icelandic label Kitchen Motors in 2001, now released on vinyl for the first time by Cold Spring. Produced by Barry Adamson, Jóhann Jóhannsson, and Pan Sonic. The cover art features Icelandic electronic composer Magnús Blöndal Jóhannsson having a brain scan performed while listening to this disc. 180 gram vinyl with matte card sleeve; Includes download card. “…a blend of an Icelandic choir performing Barry’s (treated) microtonal, urgent score is slowly infiltrated, first with an electronic breath and then by well-rounded bass that evolves into a satisfactory crescendo before the scary humhum returns… highly successful” –Vital Weekly.

File Under: Electronic, Classical
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ab

Alvarius B/Sir Richard Bishop: Strange Fruit (Unrock) 10″
Limited edition four-track split vinyl 10″ featuring legendary Sun City Girls Alan and Richard Bishop, celebrating Unrock’s 25th anniversary. It features the first new recordings by Sir Richard Bishop since his 2015 Tangier Sessions and two exclusive pearls by Alan Bishop, aka Alvarius B. All tracks are exclusive to this “Unrock 25” release. Includes printed lyrics sheet. Limited one-time pressing.

File Under: Experimental, Rock, Sun City Girls
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causa

Causa Sui: Vibraciones Doradas (El Paraiso) LP
Mint green vinyl. Each of these four epic tracks is a testament to the fact that Causa Sui have carved out a singular niche for themselves, where vintage Sabbath-isms are filtered through a distinctively post-modern ethos. Causa Sui’s brand of rock conveys everything that’s so great about fuzzed-out heaviness, yet there’s something about it that makes the listening experience far from trivial. In stark contrast to the standards of the stoner/doom scenes, Causa Sui manage to be weighty and peaceful at the same; forceful, yet vulnerable, ecstatic yet thoughtful. On opener “The Drop”, the band drives a thick John Bonham groove into Can-esque freeform ecstasy before liquefying the groove into a warm ocean of shoegaze-y guitars and wistful synths. On 11-minute centerpiece “El Fuego”, they create a sonic river that seems be channeling Popol Vuh as much as Palm Desert stoner rock. And the closing title track can best be described as sounding like that Sonic Youth sludge-metal record that never was.

File Under: Psych
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cortini

Alessandro Cortini: Forse 1 (Important) LP
2017 repress. “Deluxe double LP. Alessandro Cortini (Nine Inch Nails/How To Destroy Angels) composed the Forse series using a Buchla Music Easel. Forse, meaning ‘maybe’ In Italian, is a series of three double LP releases Cortini recorded for Important to release in 2013. ‘All pieces were written and performed live on a Buchla Music Easel, in the span of one month. I found that the limited array of modules that the instrument offers sparked my creativity. Most pieces consist of a repeating chord progression, where the real change happens at a spectral/dynamic level, as opposed to the harmonic/chordal one. I believe that the former are just as effective as the latter, in the sense that the sonic presentation (distortion , filtering, wave shaping, etc.) are just as expressive as a chord change or chord type, and often reinforce said chord progressions. Of all the years with Nine Inch Nails the period spent writing and recording the instrumental record Ghosts I-IV is probably the one which changed my approach to music making the most. After that record I started getting more into instrumental composition, although I tried to approach it in a different way. While we had a vast array of tools and instruments at our disposal then, I decided to approach my pieces limiting myself to one instrument only, as I found myself being more decisive when faced with a limited creative environment.'”

 File Under: Electronic, Ambient
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mike&phoebe

Descendants of Mike & Phoebe: A Spirit Speaks (Everland) LP
Everland Jazz present a reissue of The Descendants Of Mike And Phoebe’s A Spirit Speaks, originally released in 1974. “This delightfully eclectic LP is a prime example of ’70s soul jazz. It is an early fusion record combining elements from jazz, gospel, soul and blues. It even has an edge of classical music, to be heard in the clear soprano voice of lead singer A. Grace Lee Mims on several tracks. As such it is a great sign of the times, the early seventies when musical experimentation and coalition was all abound. Bass player and band member Bill Lee would later gain fame as being the father of controversial filmmaker Spike Lee and worked as musical director/conductor on four of his son’s excellent movie soundtracks. For sure you can already hear the early influences here! This is the best sounding reissue of A Spirit Speaks since its original release in 1974 and comes in an exact replica of the great original cover art.” –Marc Janssen Licensed by Strata-East Records.

File Under: Jazz, Soul Jazz
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dwarfs

Dwarfs of East Agouza: Both Sides of the Curtain (Unrock) LP
Dadawahn Bishopesque taken to just another level. Beirut, Lebanon…. three major players: Alan Bishop (Sun City Girls, Invisible Hands, Alvarius B) Osama Shalabi (Karkhana, Shalabi Effect, etc.), and Maurice Louca (Karkhana, Lekhfa). Delicate improvised freeform recorded live in Beirut in spring of 2017. Improvisation on the highest level. Organic, never arty. Hot. Released in association with Mophradat. Cover art made exclusively for this release by Mariana Castillo Debal. Deluxe gatefold sleeve. Limited edition, one-time pressing.

File Under: Rock, World, Jazz

ew

Electric Wizard: Wizard Bloody Wizard (Spinefarm) LP
Wizard Bloody Wizard is the ninth studio effort from Electric Wizard. Produced by Jus Oborn and Liz Buckingham, and mixed by Oborn, this stripped back, all-analogue affair sees the band rising above convention and genre to construct their own vision of classic heavy rock…a sound harking back to the dreaded days when ‘heavy’ meant Grand Funk and Black Sabbath, and ‘rock’ meant drugs, groupies and mountains of amplification. Wizard Bloody Wizard: 43 brain-damaging minutes, six savage hymns to death, drugs, sex and violence, music dragged (and drugged) back from the grave…The line is drawn. In blood.

File Under: Metal, Stoner
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eleh1

Eleh: Home Age (Important) LP
Home Age is the first proper Eleh full-length since 2012’s Homage To The Pointed Waveforms. These three new pieces seek to expose the inherent musicality of pure electrical currents via high resolution Serge STS synthesizers. Like early Eleh work, Home Age is inward looking, domestic, and deliberate, but also slowly emotional and revealing as if peering blurry-eyed through a window. Melody, harmony, and counterpoint are suggested but not revealed. Packaged in a deluxe gold-on-black, heavy-duty letterpress jacket made by Studio On Fire in Minneapolis; Edition of 500.

File Under: Electronic, Drone, Ambient

eleh

Eleh/Christina Kubisch: Split (Important) LP
Christina Kubisch contemplates Nicolai Tesla and his concept of electrical remoteness as it applies to the modern world. In this piece, Kubisch considers whether this is the future Tesla envisioned and what remoteness means in an age where remoteness hardly exists at all. “Tesla’s Dream” includes electromagnetic field recordings from tramways, analog machines, light systems, power stations, airports, banks, security systems, advertising, and the sounds of discharges and activities of Tesla’s own devices. Eleh’s composition “Ohmage/Resistor” utilizes a new kind of spaciousness and was composed for piano and Serge STS modular synthesizers. Letterpress printed jacket; Edition of 500. From Christina Kubisch: “The figure of Nikola Tesla has fascinated me since a long time. He was the person who imagined wireless communication in an era when there was hardly electricity. . . . Tesla had invented and patented the first telephone amplifier in 1882 in Budapest and, without knowing about its origin I used a simple telephone amplifier with incorporated small coils to listen to the sounds in my installations. Later on my work with electromagnetic induction had developed into the series ‘Electrical Walks’, city walks with special headphones which make audible the usually hidden electromagnetic fields around us. In 2012, I visited the small museum of science in the city of Kosice in Slovakia. The museum had many Tesla devices in their showroom and I got a special permission to test tem. I listened with my special induction headphones to the Tesla machines and was fascinated: a thunderstorm of electromagnetic noise. It was the moment when I got inspired to make a piece about electrical remoteness. . . .’Tesla’s Dream’ opens with the magnetic fields recorded in an old Austrian train station followed by the electrical melodies of old Tatra tramways in Bratislava (now almost disappeared). The sounds of discharges and activities of Tesla’s devices gradually come in. During the piece the electromagnetic signals change gradually from the sounds of analog machines to the more actual fields of light systems, security systems, power lines, banks, subways, airports, power stations etc. Various electrical signals of digital communication slowly merge in and change again the sound structure. . . . The glass armonica (an original instrument from the 19th century) was recorded at the Musikinstrumentenmuseum in Berlin. All other recordings were made with electromagnetic headphones and other custom made devices developed by Christina Kubisch.”

File Under: Electronic, Drone, Ambient

franceFrance: Occitanie (Aguirre) LP
Aguirre Records present the first vinyl edition of France’s Occitanie, originally released in 2009. Savage pulsating drone-rock from France, the trio of Jeremie Sauvage on electric bass, Mathieu Tilly on drums, and Yann Gourdon on amplified hurdy-gurdy. They play one note/one rhythm, producing energetic performances reminiscent of the early collaborations between Faust and Tony Conrad. Creatively recycled influences result in intense shows with pounding overtones and repetitive pulsing rhythms. Loud, straight, and trance-inducing. On Occitanie, in the mass of sound, the rhythmic repetition and the elongated drones. The hurdy-gurdy forces you deeper, highlighting points of microtonal flux, cracking open the single note, the nodding rhythm, to imply the presence of every note, every sound, inside it. The insensible evolution lurks in a corner of noise and finally imposes itself slowly on careful listening. The band members of France perform in various other projects: Tanz Mein Herz, Toad and Jérico, all are member of the collective La Novià, an organization based in Haute-Loire which brings together professional musicians and acts as a place for reflection and experimentation around traditional and or experimental music. In 2009, France was invited to play in Pau, a city far south-west of France, next to Spain, by the people running Pagans Musica, a like-minded traditional-oriented group of people, also bent on educational issues concerning the local music and dialect: Occitan and on fusing traditional musics and rock related sounds and instruments. They had set up a show for France and their band Artus and originally wanted to have Acid Mothers Temple join the bill. The Japanese band had done versions of songs coming from their village, but weren’t touring near France so instead they invited Duo Ancelin-Rouzier as the third act, a band both Artus and France were also very fond of. Pagans had everything set-up for the concert to be recorded and as France had plenty of time for sound-check, they went on to record the Pau album (2011) in the afternoon, taking a thirty seconds pause in the middle of the session so as to mark both sides of the vinyl. Occitanie is a recording of the live set later that night, with no cut and a longer, more savage performance. Artwork by Standard In-Fi Visuals. Recorded live by Tòmas Baudoin and Yannick Prévost; Mastering by Kris Delacourt. High-glossy sleeve; Edition of 500.

File Under: Psych, Experimental
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function

Function: Recompiled II/II (A-Ton) LP
Manhattan to Berlin: Dave Sumner, better known as Function, had found a new path in techno, and as he obsessively talked about the British Murder Boys and the work of Mika Vainio, he focused in on his latest influence: Sleeparchive. Elements of Plastikman’s take on jacking raw rhythms collided with Sähkö bleeps for a powerful post-Jeff Mills form of techno. After a laptop, Battleship-like session in Berlin with Dave and Karl O’Connor, better known as Regis, Dave decided to move to “techno Mecca”. He returned to NYC to get ready, and three months later, on the day he moved to Berlin, his record was released as Isolation on Sandwell District and was named DJ Magazine’s 12 Inch of the Month. He then set up his studio in the warehouse of Tony Vieira. Sandwell District: Sandwell District is a literal place — the Black Country — where the industrial revolution began. It’s one of the many Dadaesque references in the Integrale catalog. The whole thing has this major punk DIY spirit. Sandwell District quickly evolved from a label into a music project with a distinctly egoless and mysterious approach. They functioned around the motto of “Decentralizing the artist ego, blurring the lines between the artist, label and DJ; re-arranging the DNA of modern dance music.” The first record on Sandwell was by Regis, followed by records from Juan Mendez as Silent Servant and Dave as Function; soon they would all release collectively. Sandwell District was a more mature response, the second stage of a career with the disparate influences absorbed, digested, and slowed down, yet somehow more emotional. Later, Rrose would become an integral part of Sandwell, right before they broke up at the height of their popularity, in the spirit of their heroes Big Black. Dave then went on to record his debut solo album Incubation for Ostgut Ton and revived Infrastructure. The Next Phase: Sometimes the only way forward is to look backwards. Those who cannot remember the past are condemned to repeat it, as the saying goes. Recompiled I/II  and II/II is an attempt to understand what has happened and to liberate the artist from the burden of their own oeuvre. Moving forward, Function is still connecting the dots with his DJing around the globe, with residencies at Berghain in Berlin and Bassani in Tbilisi, Georgia.

File Under: Electronic, Techno
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gordon

John Gordon: Erotica Suite (Everland) LP
Everland Jazz present an official reissue of John Gordon’s Erotica Suite, originally released in 1978. One of the rarest albums on Strata-East Records. a great later label effort under the leadership of trombonist John Gordon — with work by James Spaulding on alto and flute, John Miller on piano and keyboards, Waymond Reed on trumpet, Lyle Atkinson on bass, and Frank Derrick on drums and bells; The whole thing has a very spiritual feel, and it features the long “Erotica Suite”, plus “Ora Lee Tingle”, “Blue Na”, and “Neleh”. Licensed by Strata-East Records.

File Under: Jazz
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graham

Davy Graham: Folk, Blues & Beyond (Bread & Wine) LP
“One of the most influential figures in the 1960s British folk scene, Davy Graham inspired many practitioners of the fingerstyle acoustic guitar of the era, notably Bert Jansch, John Martyn and Jimmy Page. Graham is probably best known for his acoustic instrumental ‘Anji’ and for popularizing DADGAD tuning, later widely adopted by many acoustic guitarists. Not one to be categorised, Graham could be seen covering the genres of folk, blues and jazz. Graham was an entirely British phenomenon in the sixties, none of his early records were originally issued in the U.S. Originally released in January 1965, this edition of Folk, Blues & Beyond is its official, American debut. It remains perfectly named, a stunning introduction to the breadth of Graham’s craft and seeking at the peak of his impact.”

File Under: Folk, Blues
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graham1

Davy Graham: Large as Life and Twice as Natural (Bread & Wine) LP
“Large As Life And Twice As Natural is unique in Graham’s work for Decca. The album’s three extended instrumentals two immersive ragas and a wickedly knotty homage to the be-bop piano titan Lennie Tristano were the most Graham wrote for any of his Sixties LPs. And Graham never played with a better, bigger studio band. Jon Hiseman, recently out of John Mayall’s Bluesbreakers, was leading his own progressive-rock unit Colosseum; Danny Thompson was the earthy, incisive bassist in Britain’s folk supergroup, Pentangle, with guitarists and Graham acolytes Bert Jansch and John Renbourn. Large As Life And Twice As Natural was Graham’s only album from his most important decade to be released in the U.S., which at the time went unnoticed.”

File Under: Folk, Blues
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haino

Keiji Haino/Jim O’Rourke/Oren Ambarchi: This Dazzling, Genuine ‘Difference’ Now Where Shall It Go? (Black Truffle) LP
Black Truffle presents the eighth full-length release from the trio of Keiji Haino, Jim O’Rourke, and Oren Ambarchi. Over the course of four LP sides, the October 2014 concert documented here ranges from rock power trio dynamics to maelstroms of analog electronics. Once again, the three demonstrate their commitment to pushing into new areas of instrumental exploration and group interaction. Where their previous releases featured extended vocal workouts from Haino, his vocalizations here are restricted to the occasional impassioned cry, putting the focus squarely on instrumental interplay. More than ever before, this feels like the work of three equals, with O’Rourke or Ambarchi taking the lead role as often as Haino does. The four pieces presented here each focus on extended development. The first side is propelled by Ambarchi’s busy, Jack DeJohnette-esque cymbal and tom work, which provides a skittering yet insistent pulse over which Haino and O’Rourke’s FX-saturated strings rise and fall, momentarily converging for passages of near stasis before wandering through areas of gently sour discord; O’Rourke’s use of a six-string bass here boosts the harmonic density of the music and often makes his contribution difficult to distinguish from Haino’s guitar. On the second side, O’Rourke uses his pedals to make his bass near unrecognizable, generating a squelching, harmonically unstable riff that Ambarchi accompanies with a semi-martial snare pattern. Haino moves between frenetic octave-doubled fuzz riffing and streams of feedback. The third side is the most abstract; Continuing Haino’s explorations of new instruments, the side opens with a long passage of toy piano. Alongside occasional vocal interjections from Haino (singing in English), Ambarchi creates delicate textures on cymbals and metallic percussion while O’Rourke, for the first time in this group, performs on the EMS Synthi. With Haino joining in with his own electronics, the side eventually builds to a chaotic climax. Beginning with a sequence of “fourth world” drums and flute, the final side unfolds an epic build-up over a hypnotic foundation of pounding toms. Moving from flute to vocals to electronics, Haino eventually picks up the guitar in the second half of the piece, igniting a spectral blur over driving rhythms from bass and drums that eventually builds to a frenzied climax. Cover image by Traianos Pakioufakis; Live action pics by Mike Kubeck. LP design by Stephen O’Malley; Gatefold sleeve. Mastered and cut by Rashad Becker at Dubplates & Mastering.

File Under: Experimental, Rock, Noise

holden

James Holden & The Animal Spirits: The Animal Spirits (Border Community) LP
Electronics guru James Holden and his newly-expanded band The Animal Spirits transport its listeners to a magical other world with this third album: a bold new set of synth-led folk-trance standards, fusing elements of psychedelia, krautrock, world, and spiritual jazz with Holden’s usual propulsive melodic vigor into his most ambitious — but also most accessible — work to date. The synth-and-drum core of Holden’s Inheritors-era live touring outfit has picked up several members along the way, incorporating saxophone, cornet, recorder, and cosmic percussion, all recorded live together in one room under the direction of band leader Holden to produce a genre-blending new form of universal music that feels inherently fluid and alive.

File Under: Jazz, Electronic, Experimental
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konstrukt

Konstrukt & Keiji Haino: A Philosophy Warping… (Karlrecords) LP
Turkish free jazzers Konstrukt and the Japanese avant-garde/noise icon Keiji Haino present their first collaboration album. Formed early 2008 in Istanbul, Konstrukt have since been gaining high reputation and an ever-growing audience within European improvised music circles. Over the past decade, the Turkish free jazzers not only released a couple of superb albums under their own name — they also regularly invite significant musicians like Peter Brötzmann, Joe McPhee, William Parker, Akira Sakata, Marshall Allen, Evan Parker, Thurston Moore, Michael Zerang, Alfred Harth, or Alexander Hawkins for recording sessions and/or concerts (a.o. at festivals like A L’arme, .Konfrontationen Nickels-Dorf, Krakow Jazz Autumn). Their latest work A Philosophy Warping, Little By Little That Way Lies A Quagmire sees Konstrukt team up with Keiji Haino — and besides all the elements you may well expect from such a musical meeting like Konstrukt’s “acerbic razor-edged sound” (Mark Corroto, All About Jazz) and Haino’s unmistakable voice/guitar explosions, there’s also some real surprises… 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, airsynths. Cover painting “Escape” by Artur Trojanowski. Recorded and mixed by Ozan Öner at Pür Recording Studio, Istanbul. Mastered by Rashad Becker at Dubplates & Mastering, Berlin.

File Under: Free Jazz

leach

Mary Jane Leach: Pipe Dreams (Blume) LP
Milan based imprint Blume offer two incredible archival works from the 1980s American composer Mary Jane Leach, never before released. Mary Jane Leach is a definitive model of the American avant-garde and experimental composer — creatively brilliant, tragically underrecognized, yet always there, rigorously plumbing the depths, issuing challenges, venturing toward the unknown. Leach’s creative practice began at the crossroads of the modern and post-modern — with the death of the American dream, its hegemonic point of view, and with the irreconcilable reductive legacies of their predecessors, the minimalists. Leach pursued the physicality of sound and acoustic phenomena — investigating their properties, and interactions with space. Despite being incredibly active, during the 1970s and ’80s Leach failed to offer a single commercial release. She instead instigated a singular body of work which is conceptually centered around live acoustic phenomena and performance. In effect, there are two dynamic components of her work — the notes, structures, and relationships which make up a composition, and a secondary series of difference, combination, and interference tones, generated by a work’s relationship to the space in which it is conceived and performed. Pipe Dreams represents a turning of the tide — a means through which to offer the composer the attention she has always righty deserved. Comprised of two incredible works — “4BC” and “Pipe Dreams” — this LP is a brilliant entry point into Mary Jane Leach’s sprawling body of composition and investigatory work. Like all of her efforts, they are temporal snapshots, incapable of being fully reproduced. They are singular and unique. “4BC” is a work for four bass clarinets, recorded during 1984. It is part of Leach’s large body of compositions which employs long tones (drone) within a constrained tonal palette. “Pipe Dreams”, written for, and recorded on, the organ in St. Peter’s in Köln, Germany, during 1989, was realized by, and as a direct response to, the unique environment for which it was made. St. Peter’s organ has two sets of pipes at opposite ends of the church, each having separate sounds and stops that can generate microtonal intervals. The work is a structured improvisation, exploring antiphony and the specific sounds of that organ, extra-musical as well as musical. These pieces help illuminate Leach as one of the most important voices in her generation.

File Under: Drone, Neo Classical
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lockwood

Annea Lockwood: Tiger Balm (Black Truffle) LP
Black Truffle presents a new issue of Annea Lockwood’s classic 1970 tape piece “Tiger Balm”, unavailable on vinyl for over thirty years, accompanied by two exquisite unreleased works for percussion and voice. “Created while Lockwood was living in the UK, the side-long ‘Tiger Balm’ is a singular work within the canon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman’s breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern. The B side presents two pieces for percussion recorded here for the first time. ‘Amazonia Dreaming’ (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures. ‘Immersion’ (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams, and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood’s belief in the complexity that deep listening can reveal within seemingly simple sounds” –Francis Plagne. Comes in a deluxe gatefold sleeve with archival pictures and liner notes by Annea Lockwood; Includes the score to “Amazonia Dreaming”; LP design by Stephen O’Malley; Mastered and cut by Rashad Becker at Dubplates & Mastering.

File Under: Electronic, Minimal
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nadma

N.A.D.M.A.: Uno Zingaro Di Atlante Con Un Fiore A New York (Die Schachtel) LP
Die Schachtel present the first vinyl reissue N.A.D.M.A.’s (Natural Arkestra Da Maya Alta) Uno Zingaro Di Atlante Con Un Fiore A New York, originally released in 1973. Comprised of Davide Mosconi, Franco Pardi, Gustavo Bonora, Inez Klok, Marco Cristofolini, Marino Vismara, Mino Ceretti, Otto Davis Corrado, and Talia Toni Marcus, within the history of the Italian avant-garde, N.A.D.M.A is as obscure as they come. Mosconi later came to note as a solo artist and photographer, and Pardi and Vismara within the worlds of visual arts, but beyond a scattering of releases, Uno Zingaro Di Atlante Con Un Fiore A New York is the lone document to have surfaced from most of its contributors. Details surrounding the band and the record are incredible scarce. Despite the mystery, with hindsight, they rise as a definitive gesture of the movement to which they belonged. The Italian avant-garde is among the most rigorously democratic of any of the movements within 20th century sound. Like their more well know peers in Aktuala, N.A.D.M.A grew from this spirit, but realized it in far more radical forms. They are among the wildest of those connected to the movements of free-improvisation and jazz. The group’s lone 1973 release is unlike anything else of its day. Soulful as hell, it blends a remarkable range of instrumentation and cross-cultural reference — a wild imagining of the potentialities of modal folk traditions, gathered in the writhing aggressive form of free-jazz. It is an album so remarkable and striking — among the greatest and most accomplished European efforts within the form — that there is no explanation for why it has remained so unacknowledged through the years. It is a towering, bubbling, brilliant achievement in sound. Uno Zingaro Di Atlante Con Un Fiore A New York is among the greatest documents of Italian music, and among the most important within the canon of European free-jazz. As seminal as they come. Not to be missed on any count. Edition of 500.

File Under: Free Jazz
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plummer

Bill Plummer & The Cosmic Brotherhood: s/t (Captain High) LP
Captain High Records present a reissue of Bill Plummer & The Cosmic Brotherhood, originally released in 1968. Long thought to be lost to only the most industrious of crate diggers, Bill Plummer’s 1968 album Bill Plummer & The Cosmic Brotherhood makes its triumphant return on Captain High Records. Already an accomplished jazz bassist at the time of the album’s release, Bill Plummer turned heads on The Cosmic Brotherhood with heavy Eastern and psychedelic influences that challenged contemporary ideas about jazz. Original compositions like “Journey To The East” and “Arc 294” are colored by striking sitar sounds, rhythmic chanting, and melodic improvisation, while Plummer lends his distinctive touch to songs by The Byrds (“Lady Friend”) and Burt Bacharach (“The Look of Love”). The result is an album that reflects a musician at the peak of his creative powers, unafraid to explore new ideas and sounds that meld into a cohesive, spectacular album.

File Under: Jazz, Psych, Space Age
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satoshi

Satoshi & Makoto: CZ-5000 Sounds & Sequences (Safe Trip) LP
An unidentified life source on the release: “We write to you with the conclusions of our investigation into the synthesized audio transmissions picked up by the deep space telescope at irregular intervals since 1986. After many years, we pinpointed the source of the ear-pleasing frequencies. They were being transmitted from a secluded building in ‘Kawasaki’, Japan. A key to their origin was found on the video-sharing site, ‘YouTube’. When we visited the building, we discovered identical twins, huddled around a synthesizer manufactured by the Casio Corporation. The twins told us that their names were Satoshi and Makoto, and that the synthesizer model number was CZ-5000. We were still puzzled about the music we had heard, which was largely ambient in nature, positive in tone, and possibly extra-terrestrial in origin. Under interrogation, Satoshi and Makoto claimed that they had created every melody, drumbeat and musical phrase using this one piece of Japanese-made musical hardware. We doubted their version of events, so asked for a demonstration of their working method. Once they had shown us how they shaped, played, and sequenced sounds, we accepted that the transmissions we had received were indeed created entirely using the CZ-5000. Satoshi and Makoto said that the audio transmissions we were investigating had been mostly been created throughout the 1990s, under the influence of early Japanese techno, the Orb, YMO, Kraftwerk and ‘lots of soul’. We asked to be provided with a collection of these transmissions, which had never before been made available to the public. Satoshi and Makoto kindly provided us with a compact disc, on to which was scribbled the code ‘st006’. We believe it is in the public interest to make these remarkable synthesizer compositions available for wider research. We have therefore passed them on to the ‘Safe Trip’ organization. They will make suitable arrangements for public release.”

File Under: Electronic, Synth
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sunra

Sun Ra: My Brother the Wind Vol 1 (Cosmic Myth) LP
Double LP version. “My Brother The Wind, Vol. 1 captures Afrofuturist visionary Sun Ra’s initial 1969 encounter with the Moog synthesizer. The album has been meticulously remastered from archival session tapes and includes rare and previously unreleased studio material. Recorded in 1969 and self-released by Sun Ra in 1970 on his independent Saturn label, My Brother The Wind is one of several albums that showcase Ra’s initial reckonings with the then-recently introduced Moog synthesizer. Although the Astro Infinity Arkestra is credited on the original Saturn LP sleeve, only three sidemen were on the session — reed players Marshall Allen, John Gilmore, and Danny Davis, with Moog performance pioneer Gershon Kingsley serving as synth programmer and technical consultant. The original 1970 Saturn release featured four tracks, which are included on this remastered edition. Features the complete tracking session of Ra’s Moog-centric single ‘The Perfect Man,’ with three full takes of the title, including two previously unissued versions and the monumental 18-minute ‘Space Probe,’ an outrageously freewheeling Ra solo work recorded on a Moog (or two) around the same time. The remastered editions include liner notes by Moog historian Brian Kehew. Technical notes are provided by jazz historian Ben Young, who also restored and remastered the album with Joe Lizzi.”

File Under: Jazz
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sunra1

Sun Ra: Space is the Place (Jackpot) LP
“In the endless ocean of Sun Ra recordings, Space Is The Place ranks among the very best but more importantly stands as the most immediately understandable of his records. This masterpiece touches flawlessly on elements of many of Ra’s multiple phases and provides both a mission statement for and a gateway to his immaculate body of work. Originally released in 1973; Tip-on Gatefold Jacket; Original Artwork; Limited Transparent Blue Colored Vinyl.”

File Under: Jazz
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studio

Piero Umiliani: Studio Umiliani (Four Flies) LP
Four Flies Records strikes again, releasing their first archive compilation of Piero Umiliani’s work and the first compilation focussing on the Maestro’s legacy in years. “Studio Umiliani” is a collection of sunken treasures and hidden beauties yet to be re-released, and of stunning unpublished works surprisingly unknown for quite some time. The project, born from the initial effort of Andrea Fabrizii, who has far and wide been exploring Umiliani’s soundtracks before anyone else, led Four Flies research to seek for new unreleased recordings at the Maestro’s archive. A challenge that Pierpaolo De Sanctis from Four Flies Records accepted without hesitation – with the help of the Umiliani family. His two daughters Alessandra and Elisabetta Umiliani, true keepers of their father’s memory, together with their husbands Francesco Argento and John Linkowski, and of course, Piero’s wife Stefania Baffa, have been pivotal in compiling this exciting project. The result is a cross-cutting portrait of Umiliani’s activity during the golden years of his Sound Work Shop, the studio- laboratory where he has been playing, creating and experimenting with total freedom from 1969 to 1983.

File Under: Library, Funk, Jazz, Psych

world

World’s Experience Orchestra: As Time Flows On (Now Again) LP
“World’s Experience Orchestra’s As Time Flows On has not been available as a stand-alone vinyl release since first being issued as a private pressing out of Boston in 1980. And those pressings where in small runs — set in motion by a visionary, bassist/composer/arranger John Jamyll Jones. Jones is a magical type, who communicates with his instrument, his ensembles, and jazz’s ancient lineage in a manner so profound that his late-’70s album are out of time with jazz’s trajectory, but timeless when presented today. By the late ’90s the music of World’s Experience Orchestra was circulating throughout the collections of esoteric jazz fans, the likes of Gerald ‘Jazzman’ Short and Gilles Peterson, who played WEO for those, the Coltrane-enthralled searching for something new, something different. Something spiritual and honest. As interest in spiritual jazz and WEO grew, Now-Again set about an ambitious plan to reissue Jones’ landmark works. ‘I knew it was going to happen, but I didn’t know when,’ says Jones of the road to seeing his music re-issued. ‘It’s 35 years or more now, and I’ve been waiting for this, and I’m quite sure I’m not the only one.'”

File Under: Jazz
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…..Restocks…..
So many restocks…

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…..new letters #820 – AnniversaRSD…..

Well, it may not be Thanksgiving here today, but thanks to the fine folks at Record Store Day central, they’ve turned Black Friday into a mini-RSD event to drive shoppers to small mom & pop shops rather than just the big box stores. And of course they are doing that with a nice stack of exclusive releases, and fortunately pretty much all of them are available to us up here in Canada. Below you will find a list of all the exclusives  (as well as some brand spankin’ new stuff we’re putting out with the RSD stuff) we’ll have on the shelf tomorrow when we open (10 am!).

While that’s exciting and all though, more exciting is that we are celebrating our 16th anniversary! 16 years of slinging wax. It’s hard to believe how far we’ve come, from our humble beginnings with a handful of half full bins to the overflowing bins and boxes of records everywhere we are surrounded with today. Thanks to our fine customers we’ve been able to grow in to what we like to think is a pretty darned fine shop with something for everyone. And so to thank you all for another year of support this weekend not only will we have RSD tomorrow, we’ll be having a big ol’ sale all weekend too! THANK YOU!

….picks of the week…..

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To thank you all for another year of support we are giving you 20% off all new and used records and CDs all weekend long! Starting at 10am Friday until 5pm Sunday!

Rega RP1s are $399 (reg. $449)

*Sale excludes Record Store Day exclusives, Brand Fucking New Arrivals, special orders and holds, local releases, and consignment items. All other gear and accessories are 10%.

rega

As usual, we’re giving away a Rega RP1 turntable to one lucky shopper this weekend! Come in buy everyone records for Christmas so you can win a turntable.

…..Record Store Day Releases…..

Dan Auerbach: Good Sound Comes Back Around (Warner) 7″
Chris Bell: Complete Chris Bell (Omnivore) 6LP Box
Big Star: Big Star’s Third Live Stroke It Noel (Concord) LP
Black Label Society: Room of Nightmares (Warner) 7″
Death From Above 1979: Freeze Me/Keep It Real Dumb (Last Gang) 7″
Doors: Absolutely Live (Elektra) LP
Steve Earle: El Corazon (New West) LP
Electric Wizard: Wizard Bloody Wizard (Spine Farm) LP
Fleet Foxes: Electric Lady Session (Nonesuch) 10″
Aretha Franklin: Respect (Atlantic) 7″
Free Design: Kites Are Fun (Light in the Attic) LP
Grateful Dead: Grateful Dead Records Collection (Grateful Dead Productions) 5xLP
Richard Hell & The Voidoids: Blank Generation (Rhino) LP
John Lee Hooker: Black Night is Falling (Justin Time) LP
Iggy Pop: New Values (Friday Music) LP
Julie & The Wrong Guys: s/t (Dine Alone) LP
Kreator: Hail to the Hordes (Nuclear Blast) 12″
Paul McCartney: Wonderful Christmastime (Capitol) 7”
Jason Molina: Black Sabbath Covers (Secretly Canadian) 7″
Willie Nelson: Spirit (Modern Classics) LP
Willie Nelson: Yesterdays Wine (Friday Music) LP
Nine Inch Nails: Broken (Nothing) LP
Nine Inch Nails: Downward Spiral (Nothing) LP
Nine Inch Nails: Fragile (Nothing) LP
Nine Inch Nails: Fragile Deviations (Nothing) LP
Nine Inch Nails: Not the Actual Events (Nothing) LP
OST: Alien (Mondo) LP
OST: Guardians Inferno (Disney) Pic Disc
Rush: Closer to the Heart (Ole) 7″
Son Volt: Straightways (Rhino) LP
Sparks: Check Out Time 11AM (BMG) 7″
Sufjan Stevens: Blue Bucket of Gold (Asthmatic Kitty) LP
Tangerine Dream: Electronic Meditation (Varese) LP
U2: Blackout (Third Man) 12″
Townes Van Zandt: Rear View Window (Fat Possum) LP
Venom: Eine Kleine Nachtmusik (Sanctuary) LP
Bernie Worrell: All the Woo In the World (Tidal Wave) LP
Hiroshi Yoshimura: Music for Nine Post Cards (Empire of Signs) LP
Neil Young: Harvest Moon (Reprise) LP
Various: Christmas On Death Row (Death Row) LP
Various: Jazz Dispensary Moon Rocks (Concord) LP

Late but on the way… maybe tomorrow…

Tori Amos: Native Invader Russia (Verve) 12”
Boris: Live @ Third Man (Third Man) LP
Bros: A Very Bros Christmas (Dine Alone) 7”
Don Cherry & Albert Ayler: Vibrations (ORG) LP
Earth: Live @ Third Man (Third Man) LP
Isaac Hayes: Spirit of Memphis (Concord) LP
Delvon Lamarr Organ Trio: Concussion (Colemine) 7”
Shawn Lee’s Ping Pong Orchestra: Tech Star (Silver Fox) LP
Madvillain: Four Tet Remixes (Stones Throw) 12″
OST: Elder Scrolls V: Skyrim (Spacelab9) LP
Nathaniel Rateliff: Baby It’s Cold Outside (Stax) 7”
Various: Garage Daze (ORG) LP

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…..new letters #819 – thuuuursday…..

This is probably getting close to being the last news letter that will have any new releases for the year. From here on out it’s gonna be mostly Christmas music and reissues and boxsets. But everybody loves a good boxset so hip hip hooray!

And as I’m sure you know, next Friday is Black Friday in the US, which really is nothing here, but they have created a little Black Friday Record Store Day, which means, exclusive releases… discounts, aaaaaand.. we’re PROBABLY gonna give away a turntable again, cuz, you know, that’s how we roll. You could always check out the Facebook page for the event here…

…..pick of the week…..

roach

Steven Roach: Structurs from Silence (Telephone Explosion) LP
“Steve Roach is one of the defining American artists of new age music, perpetually on a quest for silence and the suspension of time in his music. Structures From Silence is his third album originally released in 1984, and is his first purely textural album, with a smooth, dark, gentle atmospheres unlike any of his other albums. ‘Full of purring drones and high notes that shimmer and fade. Like a desert mirage, these structures hover forever at the horizon, an oasis from the din surrounding it’ –From Pitchfork’s ‘Best Ambient Albums Of All Time’. ‘Steve Roach’s Structures From Silence remains one of the most important ambient albums ever crafted. It isn’t as high profile as similarly poised records from Brian Eno, but its enduring influence has been unmistakably visible in the three decades since its release.’ –FACT Magazine. Remastered from the original tapes, this is the first vinyl reissue of the album since its initial release in 1984.”

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

askew

Ed Askew: Art & Life (Tin Angel) LP
Ed Askew is a painter and singer-songwriter who resides in New York City. Born in Stamford, Connecticut the Yale-educated hippie painter has hitchhiked, taught at art school and been working on new music in New York City for the past three decades. Following a re-discovery in the early Aughts, releases of classic recordings by De Stijl and Drag City, and tours with Bill Callahan and the Black Swans, Askew is fully on the scene. He released For The World, his first ever non-solo album, in the summer of 2013 to critical acclaim. Pitchfork and many other high-profile music media have praised his work, labeling him as a NY legend. He returns in 2017 on Tin Angel Records with his newest body of work, Art and Life, featuring Josephine Foster and Mary Lattimore.

File Under: Folk
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hex

Bark Psychosis: Hex (Fire) LP
“The Best Post-Rock Album Of All Time” Fact Mag // “Their influence is perva-sive” The Quietus // “Mysterious, haunting, and breathtakingly visionary” Allmusic // Bark Psychosis were one of the most innovative bands of their time and as legend has it, saw the first use of the term ‘post-rock’ by music critic Simon Reynolds. Following several singles and EPs, the avant-garde soundscapes built around drones and samples of 21-minute stand-out track ‘Scum’ arrived just two years before their seminal debut ‘Hex’ (1994). Their sound was born out of their improvisations at makeshift studio within St John’s Church in Stratford. Taking a year to complete ‘Hex’ left the band on the brink of collapse and by the time of its release they had dissolved. Breaking down their songs and rebuilding them in the studio brought distinguishing ambient soundscapes and an atmospheric experimental sound. Last year Fact Magazine deservedly gave the album further recognition with it claiming top spot in their ’30 Best Post-Rock Albums Of All Time’. Newly remastered in 2017 from the original analogue tapes at Metropolis Studios by Graham Sutton and Stuart Hawkes, and reissued officially for the first time.

File Under: Post Rock
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bird

Andrew Bird: Echolocations: River (Wegawan) LP
Recorded under the Hyperion bridge in Los Angeles, California’s Atwater Village, Echolocations: River is the second piece in a series of short films and recordings documenting site specific compositions. Performed by Andrew Bird and filmed by Tyler Manson in remote and acoustically interesting natural and urban environments, the first installment, Echolocations: Canyon, was originally released in 2015.

File Under: Indie Rock
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bajas

Bitchin’ Bajas: Bajas Fresh (Drag City) LP
Bajas Fresh is on the beach here in 2017, existing and thriving in the same wrecked world as you and me. It’s been over three years since the last proper Bitchin Bajas album – a natural paradise of woodwinds, droning organs, analog synths, field recordings, and an ever-expanding sense of more (and less). In between then and now came a series of collaborative LPs, and each time these varied external stimuli came into contact with the Bitchin Bajas’ achromatic process, it left the group with expanded perimeters to traverse. So 2017 – what’s new? Everything and nothing, probably! The pursuit is still the same: a perfect continuous flow. The means to attain it are in full, fluid transition, woven into the strands that unspool so peacefully. The use of percussion and even drumkit is evident for the first time ever. Plus a horn section, a cover song…but before you start thinking that this Bajas Fresh is some kind of whole-cloth change, recall to your mind that the nature of equilibrium around Bitchin Bajas is such that new properties tend to melt into the surrounding texture, providing vivid sonics without uprooting the mindset. And they do. On Bajas Fresh, the cellular system of Bitchin Bajas continues to synthesize amid an external ecosystem also of the Bajas’ making, both growing naturally together into a state maybe not that far removed from its former incarnation, while still essaying refreshing new tones for new zones. Succulent half-speed mastering done at Abbey Road gives the LP pressing greater depth, extension and resonance than all previous Bajas incarnations.

 File Under: Electronic
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body

Body & Full of Hell: Ascending a Mountain (Thrill Jockey) LP
The Body & Full of Hell are both unique and influential forces in heavy music. Both artists welcome challenges and eschew self-promotion. Each artist seems driven to take risks and push boundaries of what is considered heavy. A clear example being that on recent tours The Body have performed without any live guitar or drums. Both artists enjoy the creative growth and music and good times that come out of collaborations. Each has collaborated often with other unique but like-minded musicians such as Thou, The Haxan Cloak, Krieg, Merzbow, The Bug and the list goes on. Despite their obvious differences in songwriting, The Body & Full of Hell are unified by their shared aesthetic, catharsis through the manipulation of emotions transformed by visceral noise and fueled by an inescapable sense of dread. They have returned to collaborate again not because of their commonalities but because of their differences and what those differences yield in performance. With Ascending a Mountain of Heavy Light, The Body & Full of Hell have integrated a love for electronic noisescapes with abrasive, precise sonic assaults into a sound unlike anything either has produced before. Written and recorded in one week at Machines with Magnets in Providence, the music of Ascending… draws from unexpected sources such as reggaetón and jungle (“Master’s Story”). There are some familiar guests to The Body fans, namely vocalist Chrissy Wolpert (Assembly of Light Choir) and Ben Eberle (Sandworm), as well as first-time collaborator drummer Brian Chippendale (Lightning Bolt, Black Pus), whom both bands share a strong aesthetic of individualism. Samples, synth, saxophone, and a drum orchestra all throb, and sputter, coagulating under the weight of the two bands. Programmed drum patterns and loops taking cues from hip hop are bent and twisted throughout, flawlessly emboldening the distortion drenched guitars and howling vocals. Each element, though meticulously crafted, is visceral, as the exhilaration of improvisation has not been curtailed by editing. Ascending a Mountain of Heavy Light casts aside the dogmas of heavy music. Extremity in The Body & Full of Hell’s music is not based on macho musings or competitive trendiness, but rather is an integral tool to exploring the anxieties of modern life and the bridges between personal and political strife. As leading voices in DIY and underground music communities, The Body & Full of Hell, along with peers such as Thou, are expanding the possibilities of extreme music by shaping worlds of sound with a palette of diverse influences seldom seen in “heavy music” today.

File Under: Metal
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escapeism

Escape-ism: Introduction to Escape-ism (Merge) LP
Introduction to Escape-ism is the first “solo” record by Ian Svenonius – of groups The Make-Up, Chain & the Gang, The Nation of Ulysses, XYZ, Weird War, etc. and author of underground bestsellers such as The Psychic Soviet, Supernatural Strategies for Making a Rock ‘n’ Roll Group, and Censorship Now!! – and as such, it’s profound, prophetic, perverse, and poetic. It’s introverted glitter, violence against the state, obsessive desire; it stomps on convention, shreds constitutions, clobbers pre-conceived notions of what a record can be. Yes, that’s right: a single-person performance by I.F. Svenonius – recognized by Performer Magazine as the “greatest performer on the planet” – Introduction to Escape-ism is a bite into a one-banana bunch. A drum box, a guitar, a cassette player, and a single slobbering, sinful voice singing out…for a way out. Live, it’s a new paradigm of performance: raw, gestural, idiotic, sublime, revolutionary, poetic, faux naïf, unknowing, a drainage pipe that leads to who knows where.

File Under: Indie Rock, Experimental
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feathers

Charlie Feathers: Best of the Sun Records (ORG) LP
This newly compiled collection of recordings from rockabilly pioneer Charlie Feathers showcases the influential Memphis performer’s work at Sun Records (and related labels). Feathers started his musical career as a session musician at Sun Studios under Sam Phillips. His theatrical, hiccupping vocal style inspired a later generation of rock vocalists, including Lux Interior of The Cramps and Tav Falco, who contributed extensive liner notes and photos for the insert of this release. Pressed at Pallas Group in Germany.

File Under: Rockabilly
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four tet

Four Tet: New Energy (Text) LP
Four Tet expands on the new age meditations of his recent singles with a freshly focused New Energy. Fully formed within the endlessly possible creative confines of Ableton Live, New Energy follows on from 2015’s Morning / Evening and features contributions from Tom Baker and Kaitlyn Aurelia Smith. Mixing his usual classic trip-hop leanings with a digitized melodic and at times melancholic edge, New Energy neatly pulls together the lighter ends of Beautiful Rewind’s house moves and Morning / Evening’s lush atmospherics. Half-speed mastered and pressed onto 100% virgin audiophile-quality vinyl.

File Under: Electronic
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frightnrs

Frightnrs: More to Say Versions (Daptone) LP
It’s rare for a debut album, especially one in such a polarizing genre like reggae, to garner the kind of universal fanfare The Frightnrs’ 2016 long player Nothing More To Say received. Mainly because it’s a record that transcends genre specific qualifiers and rhetoric that pigeonhole many albums. It is in the truest sense of the phrase, a great record. Shortly after its release a single for “Dispute” (a featured track) was pressed, and like many classic reggae singles, it included a Dub (version) on the B-Side courtesy of famed reggae producer Victor “Ticklah” Axelrod. The single was a smash success which in return inspired Axelrod to produce Dub versions for all the songs on Nothing More To Say. The result is More To Say Versions.

File Under: Dub, Reggae
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jonesSharon Jones & The Dap-Kings: Soul of a Woman (Daptone) LP
Sharon Jones & the Dap-Kings’ final studio album, Soul of a Woman is a lush, orchestral masterpiece. A true testament to the life and career of Daptone’s fearless leader and one of the world’s greatest performers. In the year prior to her death from pancreatic cancer in 2016, Sharon Jones toured and performed tirelessly, and was also the subject of Miss Sharon Jones!, an acclaimed documentary by Oscar-Winning director Barbara Kopple. Yet somehow, the beloved and heroic soul singer found time to complete a studio album. Soul of a Woman features eleven songs which reveal that the emotion, dynamics, and drama of Jones’ voice remained at full power until her final days. The songs on Soul of a Woman exemplify two distinct sides of the band’s sound. Side One showcases the grittier, bluesier material like “Matter Of Time” and “Sail On” giving Sharon the room to flex her vocal prowess, creating a “liveness” that few studio albums posses. Side Two takes on a more sophisticated orchestral mood. Tracks like “When I Saw Your Face” and “These Tears (No Longer For You),” capture a soft vulnerability in Sharon’s vocals that draws you deep inside, and yet they remain nuanced with the signature toughness that never allow you to forget she’s steering the ship. The finished product is an album that captures a band and a singer at their peak.

File Under: Soul
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nin

Nine Inch Nails: Add Violence (Nothing) LP
In tomorrow… Nine Inch Nails’ new five-song EP, Add Violence, is the second in a series of three related EPs. The first, Not The Actual Events, was released in December of 2016. Add Violence finds the band (Trent Reznor and Atticus Ross) becoming more accessible and impenetrable at the same time. The sonic palette expands significantly from Not The Actual Events, incorporating elements of beauty into the dark dissonance. The narrative arc linking the three records begins to emerge through the disassociated lyrics and the provocative and clue-filled cover artwork.

File Under: Electronic, Rock
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waits

Tom Waits: Bad As Me (Anti) LP
2011’s Bad As Me served as Tom Waits’ first studio album of all new music in seven years. This pivotal work refines the music that has come before and signals a new direction. Waits, in possibly the finest voice of his career, worked with a veteran team of gifted musicians and longtime co-writer/producer Kathleen Brennan. From the opening horn-fueled chug of “Chicago,” to the closing barroom chorale of “New Year’s Eve,” Bad As Me displays the full career range of Waits’ songwriting, from beautiful ballads like “Last Leaf,” to the avant cinematic soundscape of “Hell Broke Luce,” a battlefront dispatch. On tracks like “Talking at the Same Time,” Waits shows off a supple falsetto, while on blues burners like “Raised Right Men” and the gospel tinged “Satisfied” he spits, stutters and howls. Like a good boxer, these songs are lean and mean, with strong hooks and tight running times. A pervasive sense of players delighting in each other’s musical company brings a feeling of loose joy even to the album’s saddest songs.

File Under: Rock
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dancehall

Various: Dancehall (Soul Jazz) LP
Soul Jazz Records issue a new 2017 edition of their classic compilation album Dancehall: The Rise of Jamaican Dancehall Culture. The long-out-of-print collection is now available on triple-vinyl and offers up a lightning-flash selection of definitive dancehall fare as well as a stellar assortment of more obscure tracks. Featuring Yellowman, Tenor Saw, Sister Nancy, Ini Kamoze, Chaka Demus & Pliers, Michigan & Smiley, Super Cat, Cutty Ranks, Eek-A-Mouse, Gregory Isaacs and more, Dancehall: The Rise of Jamaican Dancehall Culture boasts a treasure trove of non-stop floor-filling party tune rockers!

File Under: Reggae, Dancehall
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mirwood

Various: Mirwood Northern Soul (Kent) LP
Mirwood Records’ second release was Jackie Lee’s ‘The Duck’, an uptempo soul swinger that became a big hit and established the Mirwood sound. The house team of producer Fred Smith, arranger James Carmichael, songwriter and backing voices arranger Sherlie Matthews, along with contributions from veteran singer/songwriters Bobby Relf and Earl Nelson (Bob & Earl), made for uptempo soul perfection and they played that beat throughout 1965 and 1966. Here’s 14 vital mid-60s dance records from acts like Jackie Lee, The Bob & Earl Band, The Olympics, Richard Temple, Bobby Garrett, Jimmy Thomas, The Mirettes and more, which exemplify why Mirwood is a byword for the best of Northern Soul.

File Under: Soul, Northern Soul
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blackmans

Various: Studio One: Black Man’s Pride (Soul Jazz) LP
Black Man’s Pride is the striking new Studio One collection of deep righteous reggae, featuring Horace Andy, Alton Ellis, The Gladiators, Sugar Minott, The Heptones, Freddie McGregor, Cedric Brooks and more. While the righteousness of blackness is at the heart of the Rastafarian faith, this collection illustrates how black pride remained a central theme, if not the defining essence, at the very core of all the music created at Studio One Records under the direction of Clement ‘Sir Coxsone’ Dodd. In order to understand the centrality of black identity in the music created at Studio One, you need look no further than Clement Dodd who created the first black-owned record company in Jamaica. In similar fashion Alton Ellis’s defining “Black Man’s Pride” brings up emotions that are at the heart of many of these uplifting songs. Ellis’ birthplace was the Trench Town ghetto of Kingston, also the birthplace of The Wailers, Ken Boothe and many other Studio One luminaries. Clement Dodd established a musical empire firmly rooted by the core musicians working at Studio One, many of whom came out of the Alpha School for Wayward Boys, essentially an orphanage run by Roman Catholic nuns, whose luminaries include Don Drummond, Johnny Moore, Leroy ‘Horsemouth’ Wallace, Cedric Brooks, Vin Gordon, Tommy McCook and more. Many of the songs featured here come from the transitory phase in reggae at the start of the 1970s, after the exhilaration of ska and following the cooling down of rocksteady. While reggae awaited the arrival of roots, Studio One’s vocalists were already producing some of the moodiest music imaginable. Here are 18 heavyweight tunes, both classic cuts and super-rare.

File Under: Reggae

…..Restocks…..

Badbadnotgood: IV (Arts & Crafts) LP
Can: Singles (Mute) LP
Captain Beefheart: Clear Spot (Reprise) LP
Miles Davis: Kind of Blue (Legacy) LP
Destroyer: Ken (Merge) LP
Destroyer: Streethawk (Merge) LP
Funkadelic: Maggot Brain (Westbound) LP
Loscil: Monument Builders (Kranky) LP
Porcupine Tree: Fear of a Blank Planet (Kscope) LP
Lou Reed: Transformer (Legacy) LP
Joseph Shabason: Aytche (Western Vinyl) LP
Jackie Shane: Any Other Way (Numero) LP
Shooting Guns: Flavor Country (Riding Easy)
Sigur Ros: Takk (KrunK) LP
Weakerthans: Reconstruction Site (Epitaph) LP
Various: World Psychedelic Classics 3: Love’s a Real Thing (Luaka Bop) LP

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…..news letter #818 – stooooooon…..

Not as much in this week as last, but two HEAVY reissues! Both extremely essential in my opinion. Some killer Pharoah Sanders reissues, the much needed Necessaries (Arthur Russell) reissue and the kosmische sounds of Pauline Anna Strom. And that new Wolf Parade finally showed up. All in all a pretty great week for new tunes, so come fill your ears.

…..picks of the week…..

timemachines

Coil: Time Machines (Dais) LP
“4 Tones to facilitate travel through time.” So begins the listeners’ journey into what has become one of the most treasured and revered pieces of Coil history ever released. Each of the four pieces on Time Machines is named after the chemical compound of the hallucinogenic drug that they were composed for, and the album was meticulously crafted to enable what John Balance referred to as “temporal slips” in time and space, allowing both the artist and audience to figuratively “dissolve time”. Inspired by long form ceremonial music of Tibet and other religions, where the intent is to lose oneself in the music—to meditate or achieve a trance state—Time Machines became Drew McDowall, Balance, and Peter Christopherson’s “electronic punk-primitive” answer to this tribal concept. Starting as a rough demo tape recorded solely by Coil member Drew McDowall, Time Machines started to take full form when McDowall enthusiastically delivered these demo recordings to Balance and Christopherson as sketches for a new Coil project with the primary goal of shifting Coil’s sound further into a more conceptually abstract direction. Largely recorded in 1997 using single takes with minimal post production, these four drones contain every intended fluctuation and tone, along with every glitch of the original – “Artifacts generated by your listening environment are an intrinsic part of the experience.” The reissued double vinyl LP features deluxe double pocket gatefold, printed matte with gloss overlay with printed eurosleeves inserts.

File Under: Drone, Ambient, Electronic, Industrial
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kaira

Geinoh Yamashirogumi: Akira (Milan) LP
Set in the year 2019 in Neo-Tokyo, the world is still recovering from the ravages of World War III. One night, teen delinquent Kaneda has his biker gang hurtle through the busy city. Kaneda’s friend, Tetsuo, is seriously injured during an accident and is taken to an army hospital. There the military notice Tetsuo’s potential psychic power, so they transfer Tetsuo to a secret government laboratory to awaken his latent abilities. When Kaneda gets involved in an anti-government guerrilla movement, he encounters Kei, a member of the revolutionaries, and learns that the goal of the fighters is to infiltrate a secret laboratory – the very one where Tetuso is being held. The experiments to awaken Tetsuo’s powers are a terrifying success as he begins to wield psychic energy he cannot control – reminiscent of the emergence of the legendary esper boy Akira, which triggered World War III. The stage set, a fierce battle begins between Kaneda, Kei, the army and Tetsuo with the destiny of Earth at stake. The symphonic music to AKIRA was composed by Dr. Shoji Yamashiro, head of the beloved Japanese musical collective Geinoh Yamashirogumi, and performed by the group. Rerecorded and remastered using the most advanced audio techniques available, this release of the unforgettable score of AKIRA is peerless in quality and audio fidelity. To celebrate the long-awaited release of AKIRA on the vinyl format, Milan has pressed the soundtrack on a pair of 180 gram black vinyl discs for an optimal listening experience. The discs are housed in a pair of high quality eurosleeves displaying artwork from the film which are in turn packaged in a gatefold jacket featuring the beautiful skyline of Neo-Tokyo. A download card including a lengthy commentary by Dr. Yamashiro on topics ranging from AKIRA to Geinoh Yamashirogumi to his work in advanced brain studies is also included.

File Under: Electronic, Classical, Soundtrack
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…..new arrivals…..

baker

Julien Baker: Turn Out The Lights (Matador) LP
Julien Baker’s solo debut, Sprained Ankle, was one of the most widely hailed works of 2015. The album, recorded by an 18-year-old and her friend in only a few days, was a bleak yet hopeful, intimate document of staggering experiences and grace, centered entirely around Baker’s voice, guitar, and unblinking honesty. With Turn Out the Lights, she returns to a much bigger stage, but with the same core of breathtaking vulnerability and resilience. From its opening moments – when her chiming, evocative melody is accompanied by swells of strings – Turn Out the Lights throws open the doors to the world without sacrificing the intimacy that has become a hallmark of her songs. The album was recorded at the legendary Ardent Studios in her hometown of Memphis, TN, and mixed by Craig Silvey (The National, Arcade Fire). This evolution from Sprained Ankle’s intentionally spare production allows Baker – who is still the album’s sole producer and writer – greater scope and freedom. Strings and woodwinds now shade the corners of her compositions, and Baker takes to piano rather than guitar on several tracks, pushing the now 21-year-old’s work to cinematic heights of intensity.
File Under: Indie Rock, Folk
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dirtysongs

Dirty Songs: Play Dirty Songs (Audika) LP
Directed and produced by David Toop, Dirty Songs Play Dirty Songs reacts against our poisonous present, inspired anti-nostalgically by similarly reactive records and live performances from the 20th century: The Soft Machine and Pink Floyd 1967-68, The MC5’s Kick Out the Jams, The Stooges, Sun Ra’s Cosmic Tones For Mental Therapy and The Heat Is On by The Isley Brothers. Dirty Songs Play Dirty Songs is the musical offshoot of a project conceived by artist Maxime Rossi, originating in (among other things) speculations on the (then unreleased) legendary Pink Floyd “John Latham” recordings (1967) and FBI investigations (1964) into subversive and obscene messages supposedly buried within the recorded lyrics of The Kingsmen’s “Louie Louie.” Developed through conversations between Maxime Rossi and David Toop and through support from Fondation Fiminco & MRAC, these ideas metamorphosed into the band and recordings known as Dirty Songs, existing both as audio recordings and audio-visual elements of Maxime Rossi’s installation Christmas On Earth Continued, exhibited at MRAC in November 2017. Dirty Songs is David Toop (bass, guitar, digital electronics, VCS3 synth), Phil Minton (voices), Evan Parker (soprano and tenor saxophones), Steve Beresford (Farfisa organ, VCS3 synth), and Mark Sanders (drums). 16 track vinyl LP. Package designed by Tom Recchion.
File Under: Experimental, Rock
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kllo
Kllo: Backwater (Ghostly) LP
Kllo, an electronic pop collaboration between Melbourne cousins Chloe Kaul and Simon Lam, waded in figurative backwater for much of 2016, amidst an extensive world tour. These were exciting times; the duo’s Well Worn EP furthered the promise of 2014 EP Cusp, receiving millions of streams and landing Kllo on festival stages as well as Artists-to-Watch lists. Nonetheless, the stretch kept them far from home, isolated and vulnerable, treading through perpetual uncharted territory while yearning for the comforts of the familiar. Kllo have officially come out the other end of the stilted estuary with twelve compositions cultivated to feel timeless and crafted, and equally current. The duo’s debut full length – and their most realized work to date – Backwater celebrates the ephemeral and the enduring changes in emotion, the downfalls and the dissolves. It’s an album that parts course with its flow, and flourishes in a lowland. The LP format finds Kllo with more room to breathe and sync their rhythms with emotions. Kaul’s smoky voice emanates with assurance and leisure. Lam’s production invents brooding, steely undercurrents hemmed with charming crescendos. They use these warm-cool dynamics to convey strain; see the bubbling arpeggiated synth lines of the closure-seeking “Last Yearn” or the solace afforded by the tender piano ballad, “Nylon” to experience the bewitching confluences. “Virtue” has it all at once. Slow to arc, the lead single hushes, stutters, and syncopates before locking into a club-ready groove in its second minute. The title track is a transitional drift; a wordless translation of looping in place, free from the forward moving constraints of the current. “Making Distractions” addresses the inaction head-on, with Kaul opting not to lay down until satisfied as Lam surrounds a downtempo beat with low-lit atmospherics and a bedside music box of samples.

File Under: Electronic, Indie Pop
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walker
Bill Mackay & Ryley Walker: Spiderbeetlebee (Drag City) LP
Drag City presents the second volume of Bill MacKay and Riley Walkers’s MacKay and inspired collaboration. It’s been nearly two years since their much-admired 2015 debut, Land of Plenty (Whistler Records), and SpiderBeetleBee more than makes up for lost time with rich, resonant performances that elevate the sound of the guitar duo as they work with an ever-widening panorama of styles. SpiderBeetleBee radiates forth with equal parts austerity and whimsy, opening with an almost-baroque dance before giving way to a Celtic theme, both featuring MacKay and Walker’s acoustics in rambling conversation, picking through intricate passages as though they were exchanges, thoughts and afterthoughts. Adorned with Bill MacKay’s colorful and wilfully primitive cover-art, SpiderBeetleBee wanders through styles, landmasses and hemispheres, capturing the further adventures of MacKay and Walker with spellbinding snapshots that only bloom larger the longer you take them in.
File Under: Folk
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necessariesNecessaries: Event Horizon (Be With) LP

Event Horizon is one of the best Arthur Russell albums you’ve probably never heard. The criminally underrated 1982 debut album by The Necessaries – comprised of Arthur Russell and members of the Modern Lovers and Red Krayola – is finally getting a well-deserved reissue. The Necessaries were made up of lead singer Ed Tomney, the Modern Lovers’ Ernie Brooks on bass and ex-Red Krayola member Jesse Chamberlain on drums. Produced by Bob Blank, their only album, Event Horizon, also features trombone from Peter Zummo – a key fixture in New York’s DownTown Ensemble and one of Russell’s frequent collaborators. Russell contributed keyboards, guitar, cello and some vocals to the power-pop quartet and wrote half of the album, including its two standout tracks – ‘Driving and Talking at the Same Time’ and ‘More Real.’ A one-off, melody-rich gem, Event Horizon has somehow managed to escape the attention of many Arthur Russell fans for decades – hopefully until now.
File Under: Rock, New Wave, Arthur Russell
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olsen

Angel Olsen: Phases (Jagjaguwar) LP
How do you best describe Angel Olsen? From the lo-fi, sparse folk-melancholy of her 2010 EP, Strange Cacti, to the electrified, polished rock ‘n’ roll bursting from 2016’s beloved and acclaimed My Woman, Olsen has refused to succumb to a single genre, expectation, or vision. Impossible to pin down, Olsen navigates the world with her remarkable, symphonic voice and a propensity for narrative, her music growing into whatever shape best fits to tell the story. Phases is a collection of Olsen’s work culled from the past several years, including a number of never-before-released tracks. “Fly On Your Wall,” previously contributed to the Bandcamp-only, anti-Trump fundraiser Our First 100 Days, opens Phases, before seamlessly slipping into “Special,” a brand new song from the My Woman recording sessions. Both “How Many Disasters” and “Sans” are first-time listens: home-recorded demos that have never been released, leaning heavily on Olsen’s arresting croon and lonesome guitar. The B-sides compilation is both a testament to Olsen’s enormous musical range and a tidy compilation of tracks that have previously been elusive in one way or another. Balancing tenacity and tenderness, Phases acts as a deep-dive for longtime fans, as well as a fitting introduction to Olsen’s sprawling sonics for the uninitiated.
File Under: Indie Rock, Folk
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sanders3

Pharoah Sanders: Tauhid (Anthology) LP
“Pharoah Sanders is Spiritual Jazz, is Devotional Music, is the greatest living link between John Coltrane, Kamasi Washington, and the next generation of this great lineage. His Tenor Sound, his Singing Voice, his compositions, and his recordings have already stood the test of time, in his time, endured, ever-aged so finely, and have now (in my opinion) surpassed critique. Pharoah Sanders is a giant, an innovator, colorful, prayerful, and worthy of all our attention, celebration, and enthusiastic, even ecstatic accolades!”—Carlos Niño (Spaceways Radio, Leaving Records, Dublab). Anthology Recordings is honored to announce the reissue of three of Pharoah Sanders’ most significant albums: Tauhid, Jewels of Thought and Summun Bukmun Umyun (Deaf Dumb Blind).
File Under: Jazz, Spiritual Jazz
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sanders1

Pharoah Sanders: Jewels of Thought (Anthology) LP
“Pharoah Sanders is Spiritual Jazz, is Devotional Music, is the greatest living link between John Coltrane, Kamasi Washington, and the next generation of this great lineage. His Tenor Sound, his Singing Voice, his compositions, and his recordings have already stood the test of time, in his time, endured, ever-aged so finely, and have now (in my opinion) surpassed critique. Pharoah Sanders is a giant, an innovator, colorful, prayerful, and worthy of all our attention, celebration, and enthusiastic, even ecstatic accolades!”—Carlos Niño (Spaceways Radio, Leaving Records, Dublab). Anthology Recordings is honored to announce the reissue of three of Pharoah Sanders’ most significant albums: Tauhid, Jewels of Thought and Summun Bukmun Umyun (Deaf Dumb Blind).
File Under: Jazz, Spiritual
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sanders2

Pharoah Sanders: Summun Bukmun Umyun (Anthology) LP
“Pharoah Sanders is Spiritual Jazz, is Devotional Music, is the greatest living link between John Coltrane, Kamasi Washington, and the next generation of this great lineage. His Tenor Sound, his Singing Voice, his compositions, and his recordings have already stood the test of time, in his time, endured, ever-aged so finely, and have now (in my opinion) surpassed critique. Pharoah Sanders is a giant, an innovator, colorful, prayerful, and worthy of all our attention, celebration, and enthusiastic, even ecstatic accolades!”—Carlos Niño (Spaceways Radio, Leaving Records, Dublab). Anthology Recordings is honored to announce the reissue of three of Pharoah Sanders’ most significant albums: Tauhid, Jewels of Thought and Summun Bukmun Umyun (Deaf Dumb Blind).
File Under: Jazz, Spiritual
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savageA. Savage: Thawing Dawn (Dull Tools) LP|
The debut solo album from A. Savage (aka Andrew Savage of Parquet Courts). “The songs on Thawing Dawn form a guided tour through the romantic environs of A. Savage’s mirrored mind. While some were written recently, other tunes were penned over the past decade. For one reason or another, these compositions didn’t land with any of Savage’s other groups, and instead are presented now as a distinct collection… These ten songs were recorded by a cast of friends in Jarvis Taveniere’s Thump Studios in Brooklyn. Members of Woods, Ultimate Painting, PC Worship, EZTV, Sunwatchers and Psychic TV all lend their talents. Savage’s voice, once shouted into mosh pits, now glides confidently above its backing band. Thawing Dawn marks the arrival point for Savage as a sensitive and skilled vocalist. Limited first edition of 500 copies housed in tip-on jackets. Includes a download.

File Under: Indie Rock
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strom

Pauline Anna Strom: Trans-Millenia Music (ReRvng) LP
Otherworldly and anomalous, hushed and hallucinatory, Pauline Anna Strom’s unique style of inner space music reaches across time to futures and pasts far from our own. Trans-Millenia Music compiles eighty minutes of Strom’s most evocative work, composed and recorded between 1982 and 1988, for the first authorized overview of the enigmatic Bay Area composer. Exemplary passages were selected from the three full-lengths originally issued on vinyl in addition to a group of four full-lengths self-released on cassette. This substantive body of work challenges the canonization of new age and ambient music as one-size-fits-all categories. Strom’s music induces a dynamic range of listening that captivates and intrigues, a cinematic experience rather than a meditation for passive listening. An open invitation to earlier worlds and a trans-temporal philosophy for living, Trans-Millenia Music is available here on double LP with original artwork by visionary Karma Moffett, printed inner sleeves and a booklet with extensive liner notes scribed by Britt Brown.
File Under: Electronic, Ambient
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wolfparade

Wolf Parade: Cry Cry Cry (Universal) LP
In tomorrow… The soaring choruses, rousing anthems, sprawling guitars and chaotic keys that make up Wolf Parade are on proud display over the course of Cry Cry Cry, the band’s thunderous first album in seven years. That unique combination of sounds and influences, spearheaded by electric co-frontmen Spencer Krug and Dan Boeckner – a complex yet relatable, energetic brew of glam, prog, synth-rock, and satisfying discomfort – helped define 2000s indie rock with three critically celebrated albums, and propelled a growing Wolf Parade fandom even after the band went on a then-indefinite hiatus in 2010. Their return marks the band’s first to be produced by Pacific Northwest legend John Goodmanson (Bikini Kill, Sleater-Kinney, Unwound) at Robert Lang Studios outside of Seattle, and is accompanied by a renewed focus and the creativity of a group that took their time getting exactly where they needed to be. It’s also a homecoming to Sub Pop, which released all three of the band’s previous albums. In the time apart, the band scattered geographically and focused on family and other work – Spencer on his solo project Moonface, Dan on his bands Handsome Furs, Operators, and Divine Fits (with Spoon’s Britt Daniel), and Dante De Caro on records with Carey Mercer’s Frog Eyes and Blackout Beach. And that time allowed for an even stronger, tighter band to emerge. Wolf Parade have always tended to make albums that react against their previous work. Compared to 2010’s relatively sparse rocker Expo 86, Cry Cry Cry is more deliberate in its arrangements and embrace of the studio process, as evidenced by songs like “Valley Boy,” a Bowie-inflected anthem for which Spencer wrote lyrics after Leonard Cohen died the day before the 2016 election. “You’re Dreaming,” also influenced by the election and the spinning shock that followed, is driving, urgent power pop that draws from artists like Tom Petty and what Dan calls one of his “default languages” for writing music. The swirly, synth-heavy crescendo of “Artificial Life” takes on the struggle of artists and at-risk communities. The album carries a sense of uprising that is not unrelated to Wolf Parade’s renewed determination to drive the band forward in uncertain times. Welcome to Cry Cry Cry.
File Under: Indie Rock
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zappa

Frank Zappa: Zoot Allures (Zappa) LP
In tomorrow… Shattering conventions – musical, social, political – was the life’s work of Frank Zappa, the iconoclastic musical genius, rock legend and intellectual firebrand of the late twentieth century whose work is equally revered by hardcore rockers and serious musical scholars. The more minimalist approach taken on 1976’s Zoot Allures brings old tropes back into the fold: doo-wop and blues-rock in particular. Disco, German culture and sexual stereotypes all crop up in the lyrics, but for dark social commentary lock into “Wind Up Workin’ In A Gas Station,” where the sardonic dismantling of the work ethic manages to be blackly comic.
File Under: Rock
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bA1

Various: Brown Acid – The Fifth Trip (Riding Easy) LP
The hits just keep coming—for this fifth lysergic journey, Riding Easy assembles ten heavy slabs of obscure rock the likes of which have never been seen before… not in this form, anyhow. And as usual, the tracks from these impossibly rare records have all been fully cleared through the artists themselves. Great lengths were gone to in order to get the best possible master sources, the worst case scenario being an original 45. The legendary Captain Foam kicks off this trip like an anvil to your skull with a rollicking stomper sounding like The Who with Matt Pike’s thunderous guitar tone. “No Reason” wasn’t easy to find, but lo and behold, the super sleuths located him and got his blessing to include the A-side of his sole single. Good luck finding an original copy of the record. It’s rarer than raw beef—and that’s just the tip of the iceberg. The other nine tracks continue the onslaught in typical Brown Acid form: George Brigman’s charmingly disjointed bedroom-fi production of “Blowin’ Smoke,” Finch’s way out of time and place grungeadelic anthem “Nothing In The Sun,” Cybernaut’s heavy prog, Fargo’s hallucinogenic BBQ-sauce soaked “Abaddon,” Mammoth’s fittingly beefy eponymous riff-monger, Flasher’s “Icky Bicky” boogie, Ohio-based screamers Lance, Zebra’s gritty rendition of “Helter Skelter” and finally, the mysterious and previously unheard Thor appears here exclusively and for the first time ever with their unknown 45 track “Lick It.” – Limited opaque yellow vinyl.
File Under: Rock, Metal, Stoner, Psych
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…..Restocks…..
Afghan Whigs: Uptown Avondale (Sub Pop) LP
Afghan Whigs: Up In It (Sub Pop) LP
Afghan Whigs: Congregation (Sub Pop) LP
Animal Collective: Merriweather Post Pavillion (Domino) LP
Beach House: Depression Cherry (Sub Pop) LP
Beach House: Bloom (Sub Pop) LP
Beach House: Teen Dream (Sub Pop) LP
Beach House: Thank Your Lucky Stars (Sub Pop) LP
John Bender: I Don’t Remember Now (Superior Viaduct) LP
Big Black: Atomizer (Touch & Go) LP
Black Keys: The Big Come Up (Alive) LP
Colleen: A Flame My Love.. (Thrill Jockey) LP
Gal Costa: s/t (4 Men With Beards) LP
The Cure: Pornography (Rhino) LP
Decemberists: Picaresque (Kill Rock Stars) LP
Earth: Earth 2 (Sub Pop) LP
Eric’s Trip: Love Tara (Sub Pop) LP
Father John Misty: Fear Fun (Sub Pop) LP
Father John Misty: I Love You Honey Bear (Sub Pop) LP
Fleet Foxes: s/t (Sub Pop) LP
Fleet Foxes: Helplessness Blues (Sub Pop) LP
Fugazi: Repeater (Discord) LP
Fugazi: The Argument (Discord) LP
Serge Gainsbourg: L’Homme a Tete Du Chou (4 Men With Beards) LP
Liam Gallagher: As You Were (Warner) LP
Goat: Commune (Sub Pop) LP
Goat: Requiem (Sub Pop) LP
Iron & Wine: Creek Drank The Cradle (Sub Pop) LP
Iron & Wine: Endless Numbered Days (Sub Pop) LP
Iron & Wine: Shepherd’s Dog (Sub Pop) LP
Jets To Brazil: Perfecting Loneliness (Jade Tree) LP
Metallica: Master of Puppets (Blackened) LP
Metallica: Woodstock 1994 (Parachute) LP
Mogwai: Hardcore Will Never Die (Sub Pop) LP
Nirvana: Bleach (Sub Pop) LP
OCS: Orc (Castle Face) LP
Os Mutantes: s/t (Lilith) LP
OST: It Follows (Milan) LP
Pack A.D.: Dollhouse (Cadence) LP
Pink Floyd: Dark Side of the Moon (Pink Floyd) LP
Porcupine Tree: Fear of a Blank Planet (Kscope) LP
Postal Service: Give Up (Sub Pop) LP
Scientist: Big Showdown (Mirmur) LP
Scientist: Wins the World Cup (Mirmur) LP
Scientist: Encounters Pac-Man at Channel One (Mirmur) LP
Sebadoh: Bake Sale (Sub Pop) LP
The Shins: Oh, Inverted World (Sub Pop) LP
The Shins: Chutes Too Narrow (Sub Pop) LP
The Shins: Wincing the Night Away (Sub Pop) LP
Gwen Stefani: You Make It Feel (Universal) LP
Sunn/Boris: Alter (Southern Lord) LP
Shooting Guns: Flavour Country (Riding Easy) LP
St. Vincent: Masseduction (Universal) DLX LP
Tragically Hip: Live Between Us (Universal) LP
Scott Walker: Scott (Mercury) LP
Scott Walker: Scott 4 (Mercury) LP
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…..news letter #817 – ugh winter…..

Heavy week here! So many killer things in to stick in your ear, it’s hard to just pick just 2 picks of the week, but it’s only fair. Unlike winter, just sneaking up all of a sudden on us. At least there’s plenty of new tunes to keep you occupied while you bunker down at home now.

…..picks of the week…..

tears

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

File Under: Folk, Psych, Japan
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hasselJon Hassell: Dream Theory in Malaya (Tak:Til) LPFirst reissue of Jon Hassell’s “Fourth World” masterpiece, originally released in 1981. Featuring contributions from Brian Eno, Daniel Lanois (U2, Peter Gabriel), and Michael Brook (Nusrat Fateh Ali Khan). Beautifully remastered, with a bonus track (“Ordinary Mind”) and liner notes written by Hassell himself. “Fourth World is a viewpoint out of which evolves guidelines for finding balances between accumulated knowledge and the conditions created by new technologies” –Jon Hassell. From his time studying with Stockhausen in Cologne and a passage through the New York minimalist sphere with Terry Riley, La Monte Young, and Philip Glass to his mentorship with the Indian vocal master Pandit Pran Nath and collaborative excursions with Eno, the Talking Heads, Peter Gabriel, David Sylvian, Björk, and Ry Cooder, Jon Hassell has pursued a continuous questioning of the dichotomies between North and South, sacred and sensual, primitive and futurist. These cross-pollinating influences and pan-cultural musical educations led Hassell to the gradual development of musical concepts and gestures that he grouped under the “Fourth World” umbrella theory. “I wanted the mental and geographical landscapes to be more indeterminate — not Indonesia, not Africa, not this or that. . . . What would music be like if ‘classic’ had not been defined as what happened in Central Europe two hundred years ago. What if the world knew Javanese music and Pygmy music and Aborigine music? What would ‘classical music’ sound like then?” In the late 1970s in New York, Hassell began to produce a series of astonishing albums on which his trumpet explored both non-Western modalities and dramatic sound processing (deftly rendered by nascent digital effects like the AMS Harmonizer). Brian Eno, who was living New York at the time, was thrilled by Hassell’s 1978 debut album, Vernal Equinox, and sought out its creator. Together they produced the classic 1980 album Fourth World Vol. 1: Possible Musics, before Eno charged headlong into “Fourth World”-ish collaborations with a new partner, David Byrne, on Remain in Light (1980) and My Life in The Bush of Ghosts (1981). Hassell began to feel that they were at least borrowing concepts and sounds to which he had introduced them, and at worst, that a full-scale appropriation was taking place. As Hassell undertook the process of recording and finalizing Dream Theory in Malaya: Fourth World Volume Two — the follow-up to Possible Musics — Brian Eno was again present, as both mixer and musician, but this time the back cover credits leave no room for interpretation or confusion: “All compositions by Jon Hassell. Produced by Jon Hassell.”

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

alessandroni

Alessandro Alessandroni: La Terrificante Notte Del Demonio (Cinedelic) LP
Directed by Patrice Romme, The Devil’s Nightmare (1971) was an Italian-Belgian production and featured main performers Jean Servais alongside a sensual Erika Blanc; also noteworthy is the disturbing presence of the graceful and filiform silhouette of Daniel Emilfork in the role of Satan. The film’s components are typical of the Euro-horror genre of the time: a gothic castle, eroticism, and bloody murders — all in a spectral and dense photograph. It is the music of maestro Alessandro Alessandroni, who needs no introduction, to indelibly mark the listener, starting with the hypnotic, psychedelic opening theme to which the harpsichord and his faithful Fender Stratocaster add the acid and fuzz, overlapping the silly wordless vocals of his companion Giulia De Mutiis. In the ranking of the 100 Best Horror Soundtracks, compiled by FACT Magazine, The Devil’s Nightmare is ranked ninth. First time on vinyl; Edition of 500 (hand-numbered).

File Under: Library, OST, Horror, Psych
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alessandroni1

Alessandro Alessandroni: Ritmo Dell’Industria N.2 (Sonor) LP
Sonor Music Editions present a reissue of Alessandro Alessandroni’s Ritmo Dell’Industria N.2, originally released in 1969. An absolute Italian mood music grail and one of the best library music recordings ever. Alessandroni’s Ritmo Dell’Industria N.2 is a true legend in the field. This is the maestro’s most prized and sought-after album, produced in 1969 on the small Grand Prix label. A mind-melting record featuring some of the most killer driven beats ever — dark vibes and haunting atmospheres with constant and moody industrial rhythms, filled with tons of drum breaks, trippy scat vocals, and Eastern inspired obsessive grooves. Music has been remastered from the original stereo master tape. Back sleeve features deluxe liner notes written by Jonny Trunk. Holy grail alert! Edition of 500.

File Under: Library, Italian. Funk, Psych
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ab1

Alvarius B: With a Beaker on the Burner and an Otter in the Oven Vol 1 (Abduction) LP
You know, how can a guy NOT copy and paste a write up that talks about how lazy copy and pasting writes ups is… Alvarius B. on With a Beaker on the Burner and an Otter in the Oven – Vol. 1 Natural Wonder: “Volume One of three new LPs I am releasing simultaneously called Natural Wonder, this is the more melodic, savvy one and you might like it. Maybe I’m lying and it’s the innocent, straight record so maybe you should get Vol 3 instead if you’re in a darker mood. But that’s not really true either. Or maybe it’s one of those records that grows on you the more you continue playing it… like a cancer. The musicians who played on all three albums don’t deserve to be involved in these kamikaze promotional descriptions so don’t blame them for any of this. They played so well on these records, in fact they play much better than you do, and their performances deserve a ‘Whammy,’ which is the awards show where I’m in charge and the winners get to shoot members of the music industry academy dead in their seats. That’s where it’s all headed you know. . . . The modern world of record making has become so fucking dull and obedient that someone has to ram a poison dagger up your asses and since you’re all under hypnosis, I promise you won’t feel a thing. I could pay Dougie Jones to write this piece to match your intellect or hire a publicity company to promote it but who really gives a fuck? I’m still making records for myself and the rest of humanity doesn’t speak my language anyway. By deciding to write my own album promos, I can perform some market research. For example, this album description text will undoubtedly be copy/pasted by most online retailers onto their respective sites because they don’t write their own new album reviews or get too excited about music, they simply want to create the illusion that they’re in business to sell records. So I could put something like: Fuck all website retailers that copy/paste this description onto their site because they are too fucking cheap, lazy or chicken shit to have an opinion to write individual album reviews — and they probably wouldn’t even notice while doing it. Anyway, back to my new album. These songs are pretty good, most likely way better than your songs, and I don’t even have time to be a real songwriter, so what does that say about you? It says that you suck. And most of you do. But you should buy my new three album set because it’s probably as good or better than any other LPs that will be released this year. But if you aren’t ready to go all-in with confidence, then forget it. I don’t want any mudskipper sub-species of the crayfish to buy my records. There are always a few speculators who’ll pick up the extra copies you won’t buy anyway.” One-time pressing; Includes printed inner sleeve with lyrics and credits.

File Under: Folk, World, Psych, Sun City Girls
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ab2

Alvarius B: With a Beaker on the Burner and an Otter in the Oven Vol 2 (Abduction) LP
Alvarius B. on With a Beaker on the Burner and an Otter in the Oven – Vol. 2 A Mark Twain August: “This is Volume Two of my new three LP set, and it’s called A Mark Twain August. Now don’t go asking me what the fuck that title means but I will say that it may be my favorite of the three. My ‘fans’, all 133 of them, are pretty smart. I used to think only 67 people mattered on earth, now it could be far less, but it’s beginning to trouble me how I’ve actually accumulated 133 fans. So if you’re not a moron, I don’t mind if you buy this record. I made more copies than I have fans so I need to expand on the audience a bit but I don’t want fucking idiots buying my albums. A brand new car loses value the moment you drive it home, but my records will always go up in value (like my Dodge Ram Van which tripled in value when I drove it off the lot) so this is also an investment opportunity. If you were to walk slowly on a hot bed of coals you may discover that Don McLean never actually drove his Chevy to the levy and that the singer-songwriter is dead, just like all the poets. What do contemporary poets and the entire Indonesian population have in common? Most of you cannot name even one of them. Homo Sapiens now love to complain and act as if they know how the world works by ‘expressing’ themselves on their social media networks — that’s become the new poetry. And I think there are only nine people writing songs today that I respect, I’d have to check to make sure. And the Thinking Fellars were a great band — I could name a dozen more from the past 30 years that I’d call contemporaries, but that’s about it. . . . And I almost forgot to mention that Mark Twain’s old banjo appears on this record. Oh and this is better than that Wolf King of LA album by Papa John Phillips, for all those who got mesmerized by it 30 years after it came out. There’s only three or four good tracks on that and A Mark Twain August has six great tracks on it, at least. One-time pressing; Includes printed inner sleeve with lyrics and credits.

File Under: Folk, World, Psych, Sun City Girls
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ab3

Alvarius B: With a Beaker on the Burner and an Otter in the Oven Vol 3 (Abduction) LP
Alvarius B. on With a Beaker on the Burner and an Otter in the Oven – Vol. 3 Heathen Folklore: “Serial killing was one of history’s greatest art forms. Now it’s becoming almost impossible to get a skull-drilling startup off the ground unless you murder for the corporations or governments where you have highly organized protection from any enforceable law but at the expense of sacrificing all the glory for the anonymity required to maintain employment. So, unfortunately, the days of any zit topography random commoner being able to string together a few killings to hit the big time before being caught has almost come to an end. Sad. This record, the third and final volume of my new three-LP set called Heathen Folklore, could serve as somewhat of a manual of inspiration on how one could start such a career, as risky and unpopular as it is. It gets much more fucked-up than the previous two LPs, and sometimes I think it’s the best one due to that aspect. I’d have to give it one more listen but I also think this is the LP with coded messages that could trigger an unsuspecting listener to start his/her career in extreme behavior. But killing isn’t everything you know. There are many more ways to express yourself and reach the top of the charts these days. In fact, I saw Burt Bacharach three weeks ago gripping a huge fucking machete while chasing modern dance music architects off his champion ship and into deep water where they hopefully became shark bait. And to set the record straight, Jimi Hendrix did not fake his death and become Morgan Freeman nor was Hunter S. Thompson directing snuff films. But most of that other weird shit you hear about these days is probably true. And I’m working on a film called ‘Being Alvarius B.’ where all of you loser fucks crawl into my brain and see yourselves from my perspective and then commit collective suicide because you finally realize I was right all along. And I am. Can’t wait to make more albums so I can write these album descriptions. Cocksuckers.” One-time pressing; Includes printed inner sleeve with lyrics and credits.

File Under: Folk, World, Psych, Sun City Girls
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barbez

Barbez With Velina Brown: For Those Who Came After (Important) LP
On October 6th, sui generis Brooklyn-based band Barbez, in collaboration with singer Velina Brown, release a remarkable tribute to the International Brigades called For Those Who Came After: Songs Of Resistance From The Spanish Civil War. The album, consisting of inventive and moving new renderings of the indelible protest songs of the International Brigades, was recorded live at the Japan Society, in 2016, at the annual reunion of veterans of the Abraham Lincoln Brigade. The highlight of the reunion has always been the singing of these songs, which were led on several occasions by Pete Seeger, a life-long friend of the Lincoln veterans, who recorded many of them for his iconic 1944 album, Songs Of The Lincoln Battalion. Barbez draws on avant-rock, contemporary classical, and folk music styles such as cumbia and flamenco to reinvent iconic songs for a new generation of listeners. The album features clarinetist Peter Hess (Philip Glass Ensemble), Theremin virtuoso Pamelia Stickney (David Byrne), marimba and vibraphone player Danny Tunick (The Clean), guitarist Dan Kaufman (Rebecca Moore), violinist Catherine McRae (The Quavers), bassist Peter Lettre (Shearwater), and drummer John Bollinger (Sway Machinery); with vocalist Velina Brown (San Francisco Mime Troupe) and special guests Dafna Naphtali on background vocals and Sebastiaan Faber on trumpet. It’s the first Barbez record since 2013’s acclaimed Bella Ciao. Dan Kaufman, the bandleader of Barbez, moonlights as a journalist. Over the course of reporting, he got to know many veterans of the Lincoln Brigade, including the last surviving one, Del Berg, who died at 100 in 2016. “A Las Barricadas” is a fragment of an interview Kaufman conducted with Berg the year before he died. “Viva La Quince Brigade”, the Brigade’s unofficial anthem, features a fragment of an interview with Abe Osheroff, a legendary Lincoln vet and life-long activist. In October 1938, the International Brigades were sent home. Five months later, Madrid, the Republic’s last holdout, fell. Some half million Spanish Republican exiles fled by foot across the border, settling for a time in damp, primitive internment camps on the beaches of southern France. Their plight — and defiance — are captured in the image on this album’s cover, taken by the renowned war photographer Robert Capa in 1939. Mixed by Martin Bisi (Swans, Sonic Youth, John Zorn); Live engineering performed by Damon Whittemore (Paul McCartney, Andrew Bird); Includes extensive liner notes by award-winning author Adam Hochschild.

File Under: Avant Rock, Protest Songs
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caretaker

The Caretaker: Everywhere at the End of Time – Stage 3 (HAFTW) LP
The third of a six album cycle cataloging The Caretaker’s fictional first person account of life with early onset dementia, presenting some of the last coherent memories before confusion fully rolls in and the grey mists fade away. In this crepuscular, autumnal phase, recollections phosphoresce, and wilt in advancing stages of entropic decay, steadily approaching a winter of no return. Continuing to mirror the progression of dementia, using nostalgia for ballroom as an allegory of the disease, The Caretaker’s musical flow in places becomes more disturbed, isolated, broken, and distant. Singular memories, and all their connotations, begin to atrophy and calcify, crumbling away with each rotation of the record — sometimes in curt scene cuts, others in quietly breathtaking reverbed fizzles; like tea lights extinguished, never to flicker again. These are the last stages of awareness before you enter the post awareness stages, where those memories become completely detached from comprehension. On Stage 3, the haunted ballroom’s repertoire becomes increasingly muddled, peeling off in recursive contrails from the gestures of “Back There Benjamin”, to snag on the stylus in starkly reverberant knots on “Hidden Seas Buried Deep”, or worn down to calloused nubs such as “To The Minimal Great Hidden”, and “Sublime Beyond Loss”, all leading up to some of the project’s most uncanny detachments in “Libet Delay” and the coruscating brass shimmer of “Mournful Cameraderie”, which beautifully suggest the mercurial nature of memory and its recollection. Artwork by Ivan Seal. Mastered and cut by Lupo.

File Under: Ambient
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cipriani

Stelvio Cipriani: Ecologia del Delitto/Reazione a Catena (Cinedelic) LP
A Bay Of Blood (1971) is a film directed by Mario Bava, known for explicitly inspiring the Friday The 13th saga as well as for being the forerunner of the slasher genre, is undoubtedly one of the most inspirational masters of horror cinema. His magical use of camera zoom, off-field, and out-of-focus, and cynical and crude death set pieces, make it a masterpiece in which every scene exudes very personal and expressive poetry. Stelvio Cipriani’s score, which develops a rich sequence of different themes and genres, and all accented by the evocative melodies and excellent orchestrations of the maestro, is brilliantly supported by the excellent rhythm performance of Enzo Restuccia on drums and Mandrake Som on the tumba and bongos. It is the voodoo-style percussion and violin that introduces the splendid original theme played by the maestro himself who plays piano, celestial, spinetta, harpsichord, and organ in the arc of the soundtrack. All in all, 21 tracks that make up the score: “Evelyn Theme”, the bossa nova “Due Amanti”, the dramatic and psychedelic “Un Cadavere Nel Lago”, the Italian-style samba of “Giovani e Liberi”, “Shake Giradischi”, whose title is well representative, the tension the pursuit of “Inseguimento E Uccisione”, the abstraction of “Ritrovamento Dei Cadaveri”, and so many others. First time on vinyl; Edition of 500 (hand-numbered).

File Under: Italian, OST, Horror
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dedekindDedekind Cut: The Expanding Domain (Hallow Ground) LP
Trance-derived melodies, murky industrial grooves, and all-consuming harsh noise attacks from Dedekind Cut. Created in transit between New York, Seoul, and Berlin and recorded between the fall of 2016 and the winter of 2017. Over 23 minutes, the release shifts from densely layered textures to subtle piano notes and hard-hammering beats, seemingly mirroring the drastic changes of the times in which they were conceived. With the help of Dirch Heather (modular synths), Elysia Crampton (piano), Mica Levi (dubbed piano), Jesse Osborne-Lanthier (synths), as well as Dominick Fernow alias Prurient and Death Grips drummer Zach Hill on percussion, Fred Welton Warmsley III reminds his listeners that now is not the time to give up. Warmsley left behind a career as Joey Bada$$’s producer and his previous moniker Lee Bannon to pursue a more experimental musical approach as Dedekind Cut. It’s a conceptual entity that draws on creative collaboration and aims at gathering unique artists under a single musical vision. Amidst the cacophony, a distinctive voice can be heard. The Expanding Domain might sound bleak and unforgiving at first, but it also communicates a hope as well as a desire to resist. After all, there is a reason that this record was created as a loop.

File Under: Electronic, Ambient, Drone
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eggleston

William Eggleston: Musik (Secretly Canadian) LP
Native Memphian William Eggleston, 78, is widely regarded to be the most important photographer of the late 20th Century, but there is another side to him that took root in his Sumner, Mississippi childhood, where he discovered the piano in the parlor that ignited in him a lifelong passion for music. It was a passion he carried forth his entire life, playing quite adeptly when a piano was handy: improvised turns on Bach, Handel, gospel, country, and popular selections from the Great American Songbook for friends and family. Though his travels found him rubbing elbows with Andy Warhol’s Factory superstars in New York, where he lived for several years with Viva at the Chelsea Hotel, and observing a music scene in Memphis that included Big Star’s Alex Chilton, and his old friend and owner of Ardent Studios, engineer Jon Fry, his own music went largely unheard by the general public. In the 1980’s, Eggleston, who disdained digital cameras and modernity in general, became surprisingly fascinated with a synthesizer, the Korg O1/W FD, which had 88 piano-like keys, and in addition to being able to emulate the sound of any instrument, also contained a four-track sequencer that allowed him to expand the palette of his music, letting him create improvised symphonic pieces, stored on 49 floppy discs, encompassing some 60 hours of music from which this 13 track recording was assembled. The music, which he refers to as “Musik”, adopting the German spelling of his hero, JS Bach, is highly emotional, whether he’s improvising a Bach-like organ fanfare out of whole cloth, using a Korg patch titled “guitar feedback” to create a dirge, or playing Lerner and Lowe’s “On The Street Where You Live” as a dramatic overture. Eggleston lives today in a small apartment off Memphis’ Overton Park that he shares with a 9-foot Bosendorfer grand piano and an arsenal of ultra-high fidelity audio equipment, some of which was designed by his son, William Eggleston III. The synthesizer, alas, is broken and stubbornly refuses to be repaired, so for the purpose of this project another was purchased in order to be able to play back the floppy discs, which, along with a handful of DATs and other digital media, though frail, were digitized and mastered for this and future releases. Mr. Eggleston often says that he feels that music is his first calling, as much a part of him, at least, as his photography. We take special pride in allowing the world to hear this side of a great artist who may now be rightly called a great musician.

File Under: Electronic, Ambient
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forno

Carla Dal Forno: The Garden (Blackest Ever Black) 12″
Four new, obliquely confessional dispatches from the edge zones of feeling. “You Shouldn’t Have To Wait” is an confrontational companion piece, or response, to her own “Fast Moving Cars”. It’s a forceful, void-chasing drone-rock led by a “Venus In Furs” bassline. “Clusters” is a bright, electronic pop fantasy in the tradition of Stereolab or Saint Etienne. “Make Up Talk” is a tense, awkward unpicking of a dysfunctional relationship. With “The Garden” Dal Forno pays tribute to Einsturzende Neubauten. Emotionally eloquent, “The Garden” is also her most subtly psychedelic production to date.

File Under: Synth Pop, Minimal
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free jazz

Free Jazz Workshop: Inter Frequences (Souffle Continu) LP
Souffle Continu Records present the first ever vinyl reissue of Free Jazz Workshop’s Inter Fréquences, originally released in 1973. The Free Jazz Workshop came into being in 1967 but their first album, Inter Fréquences, only appeared in 1973. Unfortunately there is no recorded trace of the group including the first drummer Pierre Guyon before he was replaced by Christian Rollet in 1970. One of the slogans doing the rounds at the time sets the tone: “Aesthetic liberation is but a prelude to the liberation of humanity.” The trajectory of the Free Jazz Workshop (which became the Workshop De Lyon in 1975 with the arrival of clarinetist-saxophonist Louis Sclavis) is emblematic of the emancipation of the mindset of certain French musicians during this period. It has been an exceptionally long-lived trajectory a “half-century” as the members say, during which the group — in Christian Rollet’s own words — went from being “an exploratory workshop who claimed to take no account of the musical certitudes of the majority” to becoming something of a classic institution. Right from this first album it is clear that the group would function as a collective with no designated leader. The legacy and influence of American free jazz can be heard throughout: Albert and Don Ayler, or Ornette Coleman and Don Cherry for the horns of Maurice Merle and Jean Mereu; Cecil Taylor for the pianist Patrick Vollat, absent from the group after the second album released in 1975 La Chasse De Shirah Sharibad; Gary Peacock and Barre Phillips for the bass; Sunny Murray or Milford Graves for the rhythmic agitation; but also the Art Ensemble Of Chicago for the collective aspect. This lyrical, incandescent album, alongside those released by François Tusques and the Cohelmec Ensemble at the same period, represents one of the high points of free jazz produced by French musicians. Licensed from Bisou. Reverse printing; 12-page booklet; Obi strip; Edition of 700.

File Under: Free Jazz

frost

Ben Frost: The Wasp Factory (Bedroom Community) LP
Following the CD release of Ben Frost’s The Wasp Factory in December of 2016, a limited edition transparent vinyl version is presented here. In advance of new music from Ben Frost in 2017, Bedroom Community present the definitive recorded version of his 2013 opera and directorial stage debut, The Wasp Factory, based on the novel by the late Iain Banks. Setting his unwitting characters against the backdrop of vast, implacable forces of nature — storm, sea, fire, and even their own madness — Frost reaches deep into his formidable arsenal to reveal an unexpected warmth, from the composer of electronic experiments like Aurora (2014) and Theory Of Machines. The focus here is on the live sound of the Reykjavík Sinfonia, recorded in Abbey Road’s Studio II and, for the first time, the human voice. He sets David Pountney’s libretto to tuneful, even soulful vocal lines; an extraordinarily unreliable narrator describing scenes of extreme violence and horror in music of incongruous loveliness. Limited edition transparent vinyl comes in an edition of 1000.

File Under: Ambient, Experimental, Theater
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goat

Goat: Fuzzed Out in Europe (Rocket) LP
When the masked Swedish collective Goat toured Europe in the autumn of 2016 to promote their then recently released third album Requiem, the band came up with the idea to record every show. On returning back to their home town of Korpilombolo, Goat painstakingly went through all the recordings and picked out six tracks to be released on a limited live album presented here, Fuzzed In Europe. Goat picked these six tracks in particular because they are different versions to what is found on their releases. Goat’s live reputation is second to none — since their first public shows in 2012, they have stunned audiences across the globe. The band’s brand of danceable, tribal psychedelia is guaranteed to create mass hysteria from the wanting crowds — Goat know how to create music that is made for the “head” as well as the “body”. There are rumors of Goat disappearing into the hills, that they have hung up their masks now for good and have slipped away as quietly as they arrived on to the scene. Whether this is true or not, it can’t be said, but even if they have or have not disbanded from public view, this is a great document of their immersive power to cherish. It celebrates a band completely at the top of their game. The eye popping beautiful artwork for Fuzzed In Europe was created by the great poster artist Adam Pobiak who has worked with everyone from Soundgarden to Justice and Swans to the Flaming Lips. Green/black splatter; Edition of 2000.

File Under: Psych, Fuzz
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glotman

Yair Elazar Glotman: Compound (Subtext) LP
Under his guises Blessed Initiative and Ketev, as well as his own name, composer and sound artist Yair Elazar Glotman has explored extended techniques and processes to forge new sonic textures and musical forms. Compound picks up where the previous solo work under Glotman’s own name — Études — left off. The acoustic sound palette has now expanded from solo contrabass into a trio including pianist Rieko Okuda and percussionist Marcello Silvio Busato. Glotman guides the trio into utilizing sounds from the edges of their instruments’ abilities — arguably mere byproducts of harmony — and through improvisation, repetition, and post-production, conjures new sonic bodies over two side-long pieces. His guidelines for each improvisation gave the players autonomy to emphasize the microscopic details of certain sounds: the shudder of a piano key, the hum of a cymbal, the incidental click of a plucked contrabass string. The recordings were then layered and reformulated by Glotman into two separate structures to complete the composition process. Both “Veil” and “Revelate” utilize the full spectral potential of each instrument, revealing new rhythmic patterns and harmonic content in the process. Taking Glotman’s microscopic focus on instrument noises, using Études as a starting point, the trio on Compound ultimately bring into question both density and contrast, rhythm itself losing its stricter structures and becoming a purely pattern-based driving force in the music. The resultant unit contradicts and opposes itself, all sorts of clashing rhythms and melodies coexisting within the body of the two compositions of evolving sonic architecture. Based in Berlin, Yair Elazar Glotman is a classically-trained musician and sound artist. Besides previous works on Subtext including Études, a collaborative score with James Ginzburg’s 2014 experimental film Nimbes, and the eponymous debut of his Blessed Initiative project, Glotman has released music via Opal Tapes and others under the nom de plume Ketev.

File Under: Electronic, Minimal, Jazz
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gunn

Gunn-Truscinski Duo: Bay Head (3Lobed) LP
It’s an anomaly to make a record created out of the pleasure and desire of simply making music together. A record with no commercial aspirational location. Bay Head, the new duo record from John Truscinski (drums, synths) and Steve Gunn (guitars), makes it look easy, carving out a space where none existed before with assurance, resonating beautiful along the way. There’s a quality of timelessness to it without being nostalgic that is impossible to manufacture. It comes from their years of playing together based on a formula of chemistry. While Bay Head is the third record the duo has recorded together, John has played drums and helped shape the songs and the sound on all Steve’s more song-configured albums. Their bond is tight, unique, and effective. As an instrumental record Bay Head has no literal voice. It doesn’t need it, as the constant flow between the drums and guitar describe fully and without a narrator. Steve’s guitar leads you along a contemplative path that describes an inner monologue that is more expressive than if there were words. Some of the guitar parts are worked out and then set free, improvised in the playing. But it’s hard to tell. It all sounds deliberate. Bay Head is the accumulation of the duo’s years of playing music together where each can guess where the other is going to go next. The cover collage by their longtime friend Bill Nace reflects what is both abstract and figurative about this unique musical collaboration.

File Under: Folk, Blues, Guitar Soli

ladycowboy

Lee Hazlewood & Ann-Margret: The Cowboy & The Lady
(Light in the Attic) LP
In tomorrow… The “Cowboy” moved slowly out of the booth and into the studio. You could tell by the look in his eyes, that the half-dozen shots of Chivas Regal had put his ego to rest, and he was ready to sing with the “Lady.” They Sang for three nights – the “Cowboy” and the “Lady”, and the Gods were kind, and their album was finished on time. Herein, lie the results…some good, some bad and some more. -Lee Hazlewood “He had that wonderful, raw sense of humor and that good ol’ boy accent. He certainly could turn a phrase.” -Ann-Margret In 1969 Lee Hazlewood’s personal record label LHI Records was flush with major label cash and Lee wanted to make Ann-Margret his next big star. In the quest for a hit, the pair recorded fuzzed out acid rock (“It’s A Nice World To Visit (But Not To Live In)” & “You Turned My Head Around,”) orchestral pop (“Sleep in the Grass” & “Chico”) and a genuine country album cut in Nashville. Light in the Attic Records is proud to continue it’s Lee Hazlewood archival series with an expanded reissue of Lee & Ann-Margret’s The Cowboy & The Lady. The album is Hazlewood’s truest country album and a perfect example of the genre hopping he was afforded at LHI with unlimited creative freedom and money to burn. Recorded over a weekend in Nashville with the help of Charlie McCoy and some Nashville session musicians. “That was 47 years and about 5000 sessions ago.” – Charlie McCoy With improvised lines like “Look at her standing there with chili all over her dress / If I knew her better, I’d give her a puppy,” the sessions were loose and fun, with most tracks cut in one or two takes. “I had done things in Nashville before. I worked with The Jordanaires in ’62 or ’63. We did a lot of things. I had worked with Charlie McCoy, Floyd Cramer, and Chet Atkins. I love the feeling of Nashville.” – Ann-Margret

File Under: Country
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forty

Lee Hazlewood: Forty (Light in the Attic) LP
In tomorrow… “I asked him if he wanted to use any of his songs, and he said, “No.” We had a long chat before we did any of this. He said, ‘No, I want you to do it and I want to just be a singer.’ So I said okay.” -Shel Talmy Originally titled Will The Real Lee Hazlewood Please Stand Up?, Forty was a different kind of Hazlewood album, one in which Lee just focused on being a performer. In 1969 on the eve of his fortieth birthday, Lee flew to England and enlisted Shel Talmy (The Kinks, The Who, Chad & Jeremy, Bert Jansch) to produce an album and hand pick the songs. Shel picked some incredible songs for Lee to sing and even wrote him a song that should’ve been a hit, “Bye Babe.” Recorded at famed IBC recording studio with cream of the crop British session musicians and arrangers, no expense was spared. Nicky Hopkins piano/organ work on “The Bed” and “The Night Before” evoke his then recent work with the Rolling Stones on Beggar’s Banquet and Let It Bleed. Arranger David Whitaker’s (Serge Gainsbourg, Vashti Bunyan, Air, “Bittersweet Symphony”) wizardry creates a lush, sophisticated orchestral sound. “He was one of the more unique arrangers I’ve ever run into. I think “It Was A Very Good Year” is one of the best arrangements of that song ever.” – Shel Talmy Forty begins with the boozy suite “It Was A Very Good Year”, a swingin’ shapeshifter that could’ve been a James Bond theme. The album traverses many styles from melancholy baroque orchestral pop(“What’s More I Don’t Need Her” “Bye Babe” & “The Night Before”) to country funk (“The Bed” & “Let’s Burn Down the Cornfield.”) Light in the Attic Records is proud to continue its Lee Hazlewood Archival series with an expanded reissue of Forty. Every track Shel and Lee recorded for Forty are included here for the first time, including the outtake “For Once in My Life” and the previously unreleased backing track “Send Out Love.” In exchange for piles of money from major labels, Lee and LHI made promises to produce an amount of recorded material that wasn’t humanly possible for one man and a small label. The logistics didn’t matter to Lee; once the check was cashed, he would do his damnedest to deliver the herculean output. Forty was one of those records, but what a beautiful way to meet a quota. Lee liked his work with Shel so much that tracks from Forty were included on subsequent Hazlewood albums Cowboy in Sweden (1970) and Movin’ On (1977). A whirlwind year of lear jet promo tours, magazine photo shoots, television specials and cutting records for LHI wasn’t able to bring the success that Lee and Ann-Margret pushed for. A second LHI album with Ann-Margret was planned but never recorded. Within a year of making the trip to Nashville, Lee would be living in Sweden full-time and Ann-Margret would focus on her acting career for the better part of a decade. Nothing exemplifies Lee’s “throw it against the wall and see if it sticks” record production of the LHI era like his work with Ann-Margret. Though it didn’t stick, and it didn’t sell, Lee’s adventure with Ann-Margret is an extravagant tangent that has since grown a cult following…

File Under: Country
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requiem

Lee Hazlewood: Requiem for an Almost Lady (Light in the Attic) LP
In tomorrow… This is a group of songs about one lady… her name is not important… she knows who she was…What is important is once she loved me very much…These songs are a truthful attempt to show the effect the loss of this love had on me… They are not all sad songs full of self pity and remorse… but more a mixture of good and hard time, old and new thought, lost and found feeling, and near and far places… There was no pleasure (as there usually is) in writing this album… there was only the dull “thud” of realization that something you once took for granted is gone… and those “blue eyes” will never again look through this “old grey curtain”…The lady is dead now and I’m still alive… doing the same things with others I once did with her… and maybe that’s what being alive is all about it… if it isn’t… “to hell with it”. – Lee Hazlewood “He was a storyteller, that’s his music… the storytelling. That’s the thing I fell in love with him for. This final story that we see, the Requiem story, is kind of looking back at a career, I think. Not just a relationship—it’s his story. I think it’s authentic and the most revealing, really, because other things are cloaked, cloaked in romanticism, in a way. When you think of ‘Sand’ and ‘Jose,’ ‘My Autumn’s Done Come’ and ‘Some Velvet Morning’… those are stories, they’re stories you make up… they’re fiction. This is a little closer to home, I think.” -Suzi Jane Hokom. Light in the Attic Records is proud to continue its Lee Hazlewood Archival Series with LHI Records final release. 1971’s Requiem for An Almost Lady is a personal statement and one of the heaviest break-up albums of all time. There are no lilting strings, sweeping choirs, or dancing trumpets. The arrangements are stripped down to the raw nerve; Lee’s emotions are the orchestra here. The listener eavesdrops on a sonic journal of heartbreak. After losing his lady, his record label, and his country, Lee etches his woes to wax.

File Under: Country
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landers

Geoffrey Landers: 1 by 1 (Music from Memory) LP
Music From Memory’s final compilation of 2017 sees the release of the double album 1 By 1, which brings together the works of American experimental musician Geoffrey Landers. During a period spanning from 1979 to 1987, this Denver, Colorado based multi-instrumentalist, composer, record producer, and engineer conceived several solo albums. Only two of these, The Ever Decimal Pulse (1982) and Habitual Features (1983) along with the single Breedlove (1984) were ever released on vinyl. Being heavily involved in the local industrial/punk/new wave scene and wanting to create a recording studio “available to record artists regardless of their financial circumstances” Landers set up The Packing House Studio in 1981. This analog 8-track recording facility was located in a former slaughterhouse in the stockyards of Denver and was a place of significant activity for the next three years with the studio releasing recordings from numerous artists, most notably Allen Ginsberg. It was here that Geoffrey Landers also started his own aptly named Cauhaus label. Indicative of the underground/DIY culture, “Cauhaus” was a subsidiary of a label called Local Anaesthetics which was started as an in-store label by independent Denver record store Wax Trax. Typically Cauhaus releases were only pressed up in small quantities and independently distributed, making Lander’s music essentially elusive to a wide audience. After relocating in 1984 to an art district of Denver Landers opened the “Cauhaus Institute of Recording” studio where he continued to produce music for soundtracks, art, and multi-media projects for the next three years, after which Landers stepped out of the music industry entirely. He currently creates and exhibits mixed-media glass art. Throughout the twenty tracks of 1 By 1, of which six previously appeared on CD only, Music From Memory are submerged into a wide diversity of musical approaches from Geoffrey Landers. From the proto-house track “Logarithms” and the heart breaking new-wave boogie/funk of “Say You’ll Say So”, to the more contemplative pieces such as the oriental-inspired “Nisei” and the drenched in sunshine dub/reggae track “Mack”, Landers shies away from musical expectations again and again; searching continually for innovative and new forms of expression.

File Under: Experimental, Electronic, Minimal
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notwaving

Not Waving: Good Luck (Diagonal) LP
Alessio Natalizia, aka Not Waving, rides the wave of a lifetime on his magnum opus, Good Luck. The London-based Italian artist’s second album for Diagonal is an emotional but fiercely optimistic album of skewed cathartic dance pop written in the midst of these dark and uncertain times (made perhaps more uncertain by the recent birth of his first son). It represents the most ambitious album in his own unique catalogue, a discography that features acclaimed work as part of Banjo Or Freakout and Kompakt techno duo Walls — plus half a decade spent at the axis of underground electronics via his own Ecstatic label and his recent, raved-up output for Diagonal. This latest record sees Natalizia fine-tuning 20 years of recording and rave experience into a vibrant, pop-ready statement that’s never felt so necessary. It abandons the sensitive streak hinted at on Animals, his debut LP for Diagonal, to pursue a creative hunch for concision and social unity. This new perspective drives the album’s flux of emotions and guides what some may find to be a utopian outlook, wrapping his trademark experimental urges, clever song arrangements, and winking edits in a larger narrative. After all, rave ‘floors were conceived for many as a way to forget/abandon the dark undercurrents of late ’80s political turmoil. Good Luck is constructed as an album proper and follows a novel narrative: from the ego-pinching computer punk of “Me Me Me”, which jabs it into action, to the new wave thrust of “Tool [I Don’t Give A Shit]” and the ambient flush of “Roll Along With The Pain Of It All [I’ll Text U]”, Natalizia clearly delights in taking us on a frenzied ride, but he never forgets his fondness for contemporary club culture (see the fulminating iridescent EBM-pop of “Where Are We” — with Montréalais minimal wave chanteuse Marie Davidson guesting on vocals — or the acidic punk jabs of “Watch Yourself”). Good Luck is a thrillingly positive record; it’s delicious, sweet, creamy, and wonderful. And that’s the thing: even the title feels like a much-needed injection of optimism, a return to the utopian ideals of rave. Contemporary politics/culture/life/love/music/media seem to be infected by a feeling of impending dread — of fear, alienation, and division. It feels like there has never been a more important time for a record like this. Artwork by Guy Featherstone. Mastered and cut by Matt Colton.

File Under: Acid, Techno, Industrial
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partch

Harry Partch: And on the Sevent Day Petals Fell in Petaluma (New World) LP
Performed by The Gate 5 Ensemble: Harry Partch (director), Danlee Mitchell, Harry Partch, Michael Ranta, Emil Richards, Wallace Snow, Stephen Tosh. Limited edition LP release (180 gram vinyl) with previously unpublished bonus tracks + free download card. “‘In late 1962 Harry Partch returned to California and began a project that would not only become the bones of a masterwork, Delusion of the Fury, but have a life of its own. In a too-small space within an abandoned Petaluma chick hatchery, Partch gathered the instruments he had designed and built — new and old — eager to once again expand the boundaries of his compositional fabric. He learned each individual part as he composed, establishing that it could be played. And On The Seventh Day Petals Fell In Petaluma (1963-64, rev. 1966) was born of his exploration and assembled with that ‘minimum of players’ over a three-year period. In spite of rough conditions and meager resources Partch’s dogged persistence, along with the efforts of his dedicated assistants, eventually succeeded in realizing the 34 verses of expanded duets. With this album we revisit an important work and turning-point, guided by the original ‘Statement’ Partch wrote for the first commercial release of the piece. Previously only excerpted, it is a voicing of his beliefs that transcends one project to illuminate an entire purpose. We also reprise exquisite notes by the late Bob Gilmore, who distills and explains the story of Petals so clearly and eloquently. No one wants a dead reissue, so by digging into the archives, I am pleased to offer hidden gems. First, The Petals Sessions is an aural glance into the cramped quarters of the recording space, as composer and players labor to bring new notes to life, Harry himself giving direction. The montage ends with a ‘test take’ by Danlee Mitchell and Michael Ranta that could have easily been a keeper! Finally, we present the original Verse 17. In 1964 Partch wrote two duets that used the Adapted Viola; by the time the piece was finished in 1967, he had excised them. The ending track — never before released — brings Harry back to life, playing and recording Adapted Viola for one of the last times. I was completely unaware of this recording until I examined the outtakes and it glows, fifty years on. That Petals ever came to be, like much of Partch’s story, stands somewhere between determination and miracle.’ –Jon Szanto, The Harry Partch Foundation”

File Under: Classical, Avant Garde
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piana

Sestetto Dino Piana & Oscar Valdambrini: 10 Situazioni (Sonor) LP
Sonor Music Editions present a reissue of Sestetto Dino Piana & Oscar Valdambrini’s 10 Situazioni, originally released in 1973. A historical Italian jazz session — An outstanding and magnificent jazz funk jewel and the first album by this killer combo led by Dino Piana and Oscar Valdambrini. An original jazz library recording used for the soundtrack of Rai TV program Serata Al Gatto Nero (1973). A top Italian groovy jazz and mental album — Easily a grail of the genre, featuring some terrific breaks, killer wah-wah guitar and funky Hammond, with a solid backing studio orchestra. Loads of laden stylish grooves with brilliant modal jazz numbers, smooth vibes, and cool jazz influences with different musical themes. Every track is just heaven with several hot club tunes for DJs. Personnel: Oscar Valdambrini – trumpet, flugelhorn; Dino Piana – trombone; Antonello Vannucchi – organ, piano; Giorgio Rosciglione – electric bass; Sergio Conti – drums; Silvano Chimenti – guitar. Music by Franco Piana and Enrico Valdambrini. Edition of 500.

File Under: OST, Library, Italian, Jazz Funk
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rainforest

Rainforest Spiritual Enslavement: Ambient Black Magic
(Hospital Productions) 2LP+10″
Following a still-ongoing series of reissues of the earliest, previously tape-only releases from Dominick Fernow’s Rainforest Spiritual Enslavement, this long-in-the-making new album proper is an epic 80-minute set featuring additional production and “sound on sound processing” from Silent Servant, a remix from Substance, and mastering by Paul Corley. It’s by far the most ambitious and far-reaching Rainforest dispatch, taking that artificial, tropical humidity as a starting point before heading deep into a kind of textured ambience that are reminiscent of everything from Talk Talk’s Laughing Stock (1991) to Carl Craig’s “How The West Was Won” (1996), from Huerco S to classic Chain Reaction. Ambient Black Magic moves away from the extreme saturation of those early cassettes and the industrial environmentalism of his previous album Green Graves (2016) and is described by the label as “Fear Dub” — which is essentially the perfect encapsulation of the deep sense of paranoia contained within. The opening “Jungle Is A Shapeshifter” is a gargantuan 35-minute head-melter that’s split across the first two sides of the vinyl pressing. Co-produced with Silent Servant, it’s an absorbing piece of electronic music — slowly unfurling via chorus pedal guitars that gradually degrade, while a fathoms-deep bass pulse and tape-delay gives the piece its shape. It’s like an updated, tranquilized, fever-dream variant of the kind of ambient dub Vainqueur made his own back in the mid-90s. “Beyond The Yellow-Spotted Bamboo”, another Silent Servant co-production, clocks in at a relatively modest 17 minutes and heads off into more open terrain, this time with submerged percussion providing some propulsion, while shards of colored synth pull you back into the swamp. It’s another humid, breathtaking session — bringing out the best in both Fernow and Silent Servant. “Praying Mantis Black Arts” is another masterclass in sub-bass construction, while “Chile’s Crimson Tide” is the shortest track on the album, a kind of broken coda before Substance ends the set with a remix of “Beyond The Yellow-Spotted Bamboo”, deploying a tribal reduction that references classic Chain Reaction from a producer who was part of it first-hand. It’s a relatively upbeat conclusion to one of the most immersive listening experiences you’ll have in 2017; those of you looking for escape should dive in — you won’t want to re-engage with the world around you for a while. RIYL: Vainqueur, Huerco S, Talk Talk, Carl Craig.

File Under: Ambient, Industrial
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saziso

Saz’iso: At Least Wave Your Handkerchief at Me (Glitterbeat) LP
Brazilian samba, Bosnian Sevdah, New Orleans jazz, Cuban son — and Albanian Saze! The turn of the last century saw mass migrations to the world’s cities with rural people bringing their music with them, adapting their traditions to new circumstances and modern instruments. Of all these great musical forms, the mesmerizing arabesques, joyful dances, and heart-breaking laments of Saze are among the least recorded, and they remain largely unknown outside Albania. At Least Wave Your Handkerchief At Me: The Joys and Sorrows of Southern Albanian Song is the debut of Saz’iso, a group of virtuoso musicians and legendary singers assembled by veteran producer Joe Boyd (Pink Floyd, Nick Drake, ¡Cubanismo!, Songhai) and his co-producers, Edit Pula and Andrea Goertler. The album was recorded live, with no overdubs, by Grammy-winning engineer Jerry Boys (Buena Vista Social Club, Ali Farka Touré, Orchestra Baobab) over three days of October 2016 at the Akademia e Filmit dhe Multimedias Marubi in Tirana, Albania. The music of Southern Albania is iso-polyphonic, which means that it combines at least two melodic vocal lines, a lead (marrës, the “taker”) and a second (prerës, the “cutter”), with a multi-voiced drone or iso. When manufactured “tempered” instruments arrived in the region in the late 19th century, Saze ensembles were born; clarinets and violins took on the roles of the lead and second voices while lutes carried the iso. As Vasil S. Tole, Albania’s leading expert on iso-polyphony — and an inspiring advisor to this project — puts it: “Saze remains to this day the musical language of the cities of Southern Albania, where East and West embraced when European instruments collided with the magic of a cappella iso-polyphony, and where life and death still coexist in a sound that is truly unique.” Donika Pecallari: voice; Adrianna Thanou: voice; Robert Tralo: voice; Aurel Qirjo: violin and voice; Telando Feto: clarinet; Agron Murat: llautë (lute); Agron Nasi: dajre (frame drum); Pëllumb Meta: fyell (flute) and voice.

File Under: Folk, Albanian
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brazil

Hvide Sejl, Varg, & F. Valentin: Brazil (Posh Isolation) LP
Posh Isolation present a much needed reissue of Brazil, a collaborative work by three spearheads of Scandinavian electronic music today: Hvide Sejl, Varg, and F. Valentin. The original edition was presented in a limited run of four cassettes, boxed and with an accompanying book in 2016. This timely reissue comes as a remastered double LP set, inviting a new set of listeners to the work. Four sides of uniquely textured summer ambience, industrial rhythms, synthesizer pieces, and piano works, complete Brazil. The luxuriant melodic drones of Loke Rahbek’s Hvide Sejl project converge with the percussive work of Varg and the largely acoustic work of Frederik Valentin of Kyo, producing a fragile beauty. There is a sense of narrative to Brazil. The work cryptically leads its listeners through a small collection of moving panoramas. Keeping its distance, the storyline remains perpetually obscured. Like a crime unsolved, or a name-less love letter, as greater detail comes into focus the intrigue blooms. A multi-faceted affair for multifaceted affairs. “Things were somehow so good that they were in danger of becoming very bad because what is fully mature is very close to rotting.” –Clarice Lispector, The Hour of the Star (1977)

File Under: Ambient, Classical, Industrial
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tarawangsawelas

Tarawangsawelas: Wanci (Morphine) LP
Tarawangsawelas is a musical duo from Bandung, mainly performing a contemporary version of Tarawangsa, the sacred music from Sundanese West Java. Here they are joined by their teacher and maestro, Pak Pupung Supena, together with, Pak Jaja, on “Sekalipun”. Wanci is a minimalist, cosmic album composed with a careful modern interpretation of one of the most mystical and spiritual genres in Indonesia. A gorgeous and infectious six track album. Producer Rabih Beaini says “Last year, Europalia Festival commissioned me to work on a musical project with local musicians from Indonesia and develop a performance to tour during Europalia 2017. I chose to work with Tarawangsa, the sacred music from Sundanese West Java. Tarawangsa is played on two string instruments: a rababa-like two-stringed bowed instrument itself called Tarawangsa, and the jentreng, a seven-stringed kecapi-like instrument. Typically from Rancakalong village in Sumedang, West Java, Tarawangsa is played as part of a ritual consisting of almost eight hours of music and dance, complete with offerings and prayers. During a performance, a selection from the forty two known Tarawangsa pieces slowly build up from a cosmic slow groove to more repetitive and hypnotic rhythms, inevitably bringing the listener and dancer to a trance state. During the residency I had the great honor to be able to develop new structures and pieces together with Tarawangsawelas, recording them in Bandung, and ultimately having them joined by their teacher and Tarawangsa maestro Pak Pupung Supena together with Pak Jaja on jentreng. This album is a modern description for one of the local Indonesian music scene, but mainly it is an offering for the Tarawangsa ritual, like the food and incense and the prayers, and the messages of the ancestors to the people of Rancakalong.” Composed and performed by Teguh Permana, Wisnu Ridwana, and Rabih Beaini, except “Sekalipun” (traditional) performed by Pupung Supena, Jaja Rohmat, Teguh Permana, and Wisnu Ridwana. Recorded in Bandung, March 2017. Produced, mixed, and arranged by Rabih Beaini. Mastered by Neel at Enisslab. Cover design by George Sowden, curated by M-L-XL.

File Under: World, Java
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trees

Trees Speak: s/t (Cinedelic) LP
Trees Speak is an experimental rock band that transcend mainstream influences by incorporating elements of avant-garde, neo-psychedelic, minimalism, art, and electronic — along with violin-bowed guitar, Theremin, and a glut of effects pedals, and it’s an ear-bending rush of lush soundscape. Trees Speak — as much a sound laboratory as a rock and roll band — is the musical venture of acclaimed visual artist musician Daniel Martin Diaz (formerly of Blind Divine and Crystal Radio). For the debut double-LP, Trees Speak is joined by Michael Glidewell (Black Sun Ensemble), Gabriel Sullivan (XIXA, Giant Sand), Connor Gallaher (Myrrors, Cobra Family Picnic), Damian Diaz (Human Error), and Julius Schlosburg (Jeron White Acoustic Trio). The studio itself should also take top billing, because in the tradition of krautrockers Can and Bitches Brew-era Miles Davis (1970), the band takes its winding, incandescent motoric rock and roll improvisations and edits them into coherent compositions using the mixing desk after recording. And that’s where the sound lab half of the equation appears. The end result is flowing and droning ambient proto-punk reminiscent of fellow travelers NEU!, Stereolab, , and Cluster — translucent jams for a virtual autobahn. Trees Speak on the album: “Our intention is to create music with an unrehearsed minimalist approach performing simple beats, riffs, and sequences that take one inward. We attempt create a sonic environment to set one’s mind free and to become aware of the nuances of tone, melody, and structure. We organize our recording equipment with the same approach, in a transparent manner. Our recorded performances are never rehearsed. Our belief is that a brilliant rehearsal is a lost opportunity to capture a magical moment. We are chasing the mystery of music and tone. We let the musical performance sculpt its own destiny and create imperfect perfection. Our tool of creation is the anxiety one feels when they are unrehearsed or prepared for a performance. We believe this approach brings us closer to the authentic self. The result is genuine music without an agenda that captures the unfiltered spirit.” Recorded live in one room with no overdubs or repairs, only using edits to create arrangements. All tracks were written over a five-day period at Sacred Machine Studio and Dust & Stone Studio. Mastered by LOUD (United Kingdom). Clear vinyl; Includes 12″ double-sided print, 5×5″ postcards, and two stickers. Edition of 250.

File Under: Ambient, Punk, Psych

willisNicole Willis & UMO Jazz Orchestra: My Name is Nicole Willis (Persephone) LP
In tomorrow… Nicole Willis, known for her collaborations with The Soul Investigators & Jimi Tenor produces an album including some of the tracks she composed with the former as well as originals specifically for a fresh collaboration with UMO Jazz Orchestra. Jimi Tenor, who is a multi-faceted artist, has penned all arrangements for the big band and their talented rhythm section. Pete Toikkanen who is a mega-talent guitarist from The Soul Investigators, along with the two, composed those original tracks that highlight their alternative influences. Indie god & personal hero of Ms Willis, Ian Svenonius introduces Ms Willis on the first track and wraps up the LP with a final plea.

File Under: Soul, Jazz, Funk
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workshop

Workshop De Lyon: La Chasse De Shirah Sharibad (Souffle Continu) LP
Souffle Continu Records present the first ever reissue of Workshop De Lyon’s La Chasse De Shirah Sharibad, originally released in 1975. In France, in the years 1960-1970, musicians pondered over how to transpose the political struggle of free jazz onto a completely different political terrain. One of the first to do so was pianist François Tusques (agitator, theorist and militant) who recorded 1965’s Free Jazz, and then continued with Le Nouveau Jazz (1967), French equivalents to the American “New Thing”. The word spread, and was picked up by the Free Jazz Workshop which became the Workshop De Lyon in 1975 with the arrival of clarinetist-saxophonist Louis Sclavis. Still a source of joy, this lyrically feverish second album maintains a narrative dimension however subtle the textures developed through the contrasting collective improvisations. With their ever-inventive melodicism, the Workshop De Lyon invented an imaginary folklore on this album which is unlike any other. It is a knowing mix of the avant-garde and the traditional, collective playing vying, with panache and complexity, with the inspired urgency of the soloists. Even without filmed images the theatricality and humor of the group’s live performances, essential components of their identity can be felt during the long thematic suites which are both expressive and full of joy. What better way to honor their imaginary mentors, Albert Ayler or the Art Ensemble Of Chicago! More, More! Licensed from Bisou. Reverse printing; 12-page booklet; Obi strip; Edition of 700.

File Under: Free Jazz

workshop1

Workshop De Lyon: Tiens! Les Bourgeons Eclatent… (Souffle Continu) LP
Souffle Continu Records present the first ever reissue of Workshop De Lyon’s Tiens! Les Bourgeons Eclatent…, originally released in 1978. The collective methodology of the Workshop De Lyon led to the creation of the Association Searching for an Imaginary Folklore (ARFI) in 1977, their aims were very much a mission statement “encourage improvisation, spread diverse musical styles and provide means of expression to others with similar ideas, establish a folklore…” Their reference was the Association for the Advancement of Creative Musicians (A.A.C.M.) created twelve years previously with the similar idea of providing material assistance to and defending the interests of creative musicians, in order to encourage the emergence of new music. The open-structured ARFI self-produced their music thanks to their own label, on which almost all of the albums of the Workshop De Lyon appeared, from Concert Lave (1980) onwards. Their third album, Tiens! Les Bougeons Éclatent… is a perfect example of how the group sounded when it was released in 1978, about a year after the studio recording. Pianist Patrick Vollat had left but was still very much a part of ARFI (in particular as part of the excellent La Marmite Infernale), so the Workshop De Lyon stabilized to a quartet of Louis Sclavis, Maurice Merle, Jean Bolcato, and Christian Rollet, and already had at the time an unparalleled repertoire. This never ceased to expand, through the meetings and personnel changes, while losing nothing of its generosity, nor showing any signs of aging. This proffers on the Workshop De Lyon a certain universal dignity which honors their original models, Albert Ayler or the Art Ensemble Of Chicago to name but two, transfiguring them into a new, exciting aesthetic approach bursting with openings and exchanges. Irresistible. Licensed from Bisou. Reverse printing; 12-page booklet; Obi strip; Edition of 500.

File Under: Free Jazz

zorn

John Zorn/Eugene Chadbourne: 1977-1981  (Song Cycle) LP+Book
Song Cycle Records present a reissue of 1977-1981, a collection of rare free-jazz pieces performed by John Zorn and selected by the American guitarist and music critic Eugene Chadbourne originally released in 1998. Originally released to accompany the book release of Sonora: John Zorn (Materiali Sonori), the album is presented here for the first time in an exclusive release in limited edition on vinyl. This special issue includes the original book that features exclusive interviews, essays, and photos about the artist’s entire oeuvre up to 1988.

File Under: Free Jazz

buzzsaw3

Various: Buzzsaw Joint: Pavinyl – Cut 3 (Stag-o-Lee) LP
Buzzsaw Joint was born of a club offering Londoners the chance to revel in the sounds of good ol’ trashy rock n’ roll in all its vintage vinyl forms. Club top-cat, Fritz, then took the primitive buzzsaw sounds online with a series of savage Mixcloud mixes created by record fiends from all over the globe. Now, the high-octane energy of Buzzsaw Joint has manifested into the physical form with a run of compilations on Stag-O-Lee. Get your ears around the wild n’ weird sounds of the extraordinary and inimitable Buzzsaw Joint! Cut 3 comes from Pavinyl, a gent whose ride is a decked-out disco-hearse that, in his words, “puts the fun back into funerals”. Vowing to “Keep Music Evil”, his club night, Mockers, has had the British market town of Stroud dancing for a decade. Mockers initially played on the musical blur between mod and rock n’ roll culture, but now ventures further afield. As does the DJ himself — his records have hyped hep clubs from Barcelona to New York. On Cut 3, Pavinyl shares 18 exotic pearls all recorded from 1955-1962. From the jungle to the orient, ancient Egypt to Native America — hold on tight, it’s quite a trip! Features: Phil Campos, Glenn And Christy, Hi-Fives, The Space Men, D.C. Washington, The Fables, Lenny Troy, Honey And The Bees, The New Starts, The Jokers, Big Brown, Jack Franklin And The Rock-Its, Buddy Bow, Eddie Hill, Ronny Goode, Lee Richards, Marc Haven And The Aquarians, and Al Nathan.

File Under: RnR

coolsville

Various: Coolsville Volume 1 (Stag-o-Lee) 10″
First of two 10″s called Coolsville. Watch out for two volumes of its sister compilation Sicksville. Compiled by Stay Sick, a gruesome twosome of deejays from the nightclubs of Brighton, UK. Established in 2008, they continue to spin the best dancing music from surf to soul, oddball R&B to filthy rock n’ roll, garage to punk, 7″s at a time. Their vinyl addiction has meant they have amassed a large collection of sleazy and greasy rock n’ roll from the fifties and sixties, including Tarantino surf, proto-soul stompers, swingin’ rhythm and blues, and twistin’ tittyshakers. Coolsville is a far-out selection of moody Las Vegas grind surf-strumentals and oddball beatnik records from the ’50s and ’60s. The first side of this platter of wax is full of mean instrumentals for wild cats of the urban jungle. On the flipside, brother, are there some solid gone finger clickers for you to swing and sway to. Bongo-laden beats that you’ll dig the most, daddio. This is the righteous stuff for all you jive talkin’ jazzbos and beatniks. Features: Ritchie & The Squires, The Champs, Creed Taylor Orchestra, Les Baxter, Jimmy Van Eaton, The Rockbusters, Dave Saville, Johnny & The Debonaires, Bob McFadden & Dor, Frosty & The Diamonds, Bing Day, and Richard Pine.

File Under: R&B, Surf, Soul, RnR

tokyo

Various: Tokyo Flashback (Black Editions) LP
Black Editions present the first ever vinyl edition of Tokyo Flashback, the legendary 1991 compilation that defined the Tokyo psychedelic movement and first brought it to the outside world. Tokyo Flashback is one of the most iconic compilations in the history of underground music. Originally released by Japan’s P.S.F. Records, Tokyo Flashback defined the breathtakingly unique and previously obscured musical movement that had been developing in Japan since the late 1970s. The compilation features some of the earliest released recordings by Keiji Haino, High Rise, Masaki Batoh’s Ghost, White Heaven, Fushitsusha, Kousokuya, and Marble Sheep. It captures the excitement and energy of a Tokyo awash in Technicolor and deep blacks; the music echoing krautrock, psychedelic freak-outs, garage, and no wave. At the same time it reveals astonishing, totally idiosyncratic expansions of rock music. In time, Tokyo Flashback expanded to a synonymous nine volume series that, over the following two decades, unveiled Japan’s ever evolving soundscapes to the rest of the world. Tokyo Flashback is a defining statement of late 20th century Japanese psychedelic music and an essential primer to the world of P.S.F. All tracks are exclusive, this edition features the first time translation of the original liner notes. Black Editions’ deluxe edition is entirely re-mastered and marks the first release of Tokyo Flashback outside of Japan and it’s first ever vinyl issue. Also features Verzerk. Newly created artwork and design expanding on the original by Rob Carmichael at SEEN Sudio; Housed in custom printed deluxe Stoughton gatefold jacket and slipcase, including full color printed inner sleeves and inserts with soft touch and spot UV gloss finishes; Remastered and cut by Pete Lyman at Infrasonic Sound; Pressed to high quality vinyl at RTI.

File Under: Psych, Rock, Japan
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…..Restocks…..

Roger Tellier Craig: Instantanes (Root Strata) LP
Durutti Column: Paean to Wilson (Kooky) LP
Fiver: Audible Songs From Rockwood (Idee Fixe) LP
Funkadelic: Live (Tidal Wave) LP
Ksiezyc: s/t (Penultimate Press) LP
Ennion Morricone: Space 1999 (Mondo) LP
Of Montreal: Skeletal Lamping (Polyvinyl) LP
OST: Predator (Real Gone) LP
OST: Super Castlevania IV (Mondo) LP
Protomartyr: The Agent Intellect (Hardly Art) LP
Protomartyr: Under Color of Official Right (Hardly Art) LP
Psychic TV: Force the Hand (Angry Love) LP
Nicole Willis: Keep Reachin’ Up (Timmion) LP
Link Wray: Beans & Fatback (Tidal Wave) LP
Link Wray: Mordicai Jones (Tidal Wave) LP
Link Wray: Be What You Want To (Tidal Wave) LP
Various: Miracle Steps (Optimo) LP

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