Tag Archives: psych

…..news letter #886 – hoth 2.0…..

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

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…..picks of the week…..

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

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

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

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

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

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

File Under: Funk
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large_550_tmp_2F1542824501652-fgwiw64fxu9-cdf94ac6239545af3a7ca597c9b913f7_2FCosmic+eye

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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…..news letter #885 – hoth…..

Finally! We might finally be through the January drought and the next few weeks we’ll start seeing some new releases again. Now if the cold would screw off so we could go about our lives, we’d be gold. Anyway, lots of sweet things to stick in your ear, and as usual, loads of great used stuff hitting the bins as well. Come for a dig.

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…..picks of the week…..

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Jac Berrocal/David Fenech/Vincent Epplay: Ice Exposure (Blackest Ever Black) LP
In tomorrow… Jac Berrocal, David Fenech, and Vincent Epplay return with Ice Exposure, their second album for Blackest Ever Black. A sequel and companion piece of sorts to 2015’s Antigravity, its title couldn’t be more apt: sonically it is both colder, and more exposed — in the sense of rawer, more volatile, more vulnerable — than its predecessor, capturing the combustible energy and barely suppressed violence of the trio’s celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry, and spectral electronics all interpenetrating in unpredictable and exhilarating ways. While there are moments of great sensitivity and even a cautious romanticism, the prevailing mood is one of anxiety, paranoia, and mounting psychodrama: close your eyes and Ice Exposure feels like a dissociative Hörspiel broadcasting from the seedy backstreets of your own troubled mind. Before he picks up an instrument or opens his mouth, Berrocal’s unique and compelling presence can be felt: a combination of studied, glacial cool and anarchic, in-the-moment intensity that has served him well over a long and storied career. Now in his eighth decade, it comes with an added gravitas, perhaps, but no less energy or vitality. On Ice Exposure, his lyrical, instantly recognizable trumpet playing is a key feature — see especially the ghostly, dub-wise take on Ornette’s “Lonely Woman”, the dissolute exotica of “Salta Girls”, and the sublime echo-chamber soliloquy “Opportunity”. But more often it’s his voice that commands center-stage, whether casually discharging surreal poetic monologues or moaning in animal despair — a vocal tour de force that transcends language and culminates in the Dionysian frenzy of “Why”, Berrocal’s half-spoken, half-howled exclamations jostling with David Fenech’s slashes of dissonant guitar, over Badalamenti-ish, panther-stalk drums. Fenech and Epplay are responsible for Ice Exposure’s inspired arrangements and vivid, vertiginous sound design. He and Fenech fashion a remarkable mise-en-scene for Berrocal to inhabit, one that embraces cutting-edge electronics while also paying homage to the best traditions of outlaw jazz and libidinous rock n’ roll. On “Blanche de Blanc”, Berrocal’s voice is framed by a groaning, ghoulish orchestra of industrial drones, while “Equivoque” evokes the most humid and hostile Fourth World landscapes and “Panic In Surabaya” lives up to its name, a hectic, pulse-quickening concrète collage that leaves you gasping for air. Ice Exposure is a triumph of a group mind, an underworld dérive as life-affirming as it is unnerving and psychologically precarious.

File Under: Experimental, Jazz, Ambient
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Dominique Guiot: L’Univers De La Mer (WRWTFWW) LP
In tomorrow… WRWTFWW Records present the official reissue of super-rare and fabled prog-rock/library/synth album L’Univers De La Mer by French composer Dominique Guiot. Written, composed and played by Dominique Guiot with his Mellotron, Minimoog, clavinet, organ, and guitar, L’Univers De La Mer draws its inspiration from deep sea exploration, oceanic creatures, and underwater kingdoms. The 12-track album navigates organically through diverse mutations of the prog-rock and synth kind, from scenic meditation pieces (“Wind Surf Ballad”), to medieval electronica (“Une Ballade Pour Une Goélette”), spacey smooth jazz (“Les Deux Poissons”), funked-out fantasy folk (“L’Univers De La Mer”), or even incredible Sega Mega-CD vibes (“La Danse Des Méduses”) — altogether painting a fascinating world of eerie magic and subaquatic sensuality. It’s escapism at its best with subtle overtones of Schicke Führs Fröhling, Mike Oldfield, and Claude Perraudin. The sound of the album is brilliantly captured by its surreal cover art, the work of legendary artist Jacques Wyrs, whose memorable record sleeves include Klaus Schulze’s Picture Music (1975), Eloy’s Floating (1974), Ange’s Le Cimetière Des Arlequins (1973), and the 1974 reissue of Larry Coryell’s Spaces. Sourced from original masters. LP version comes in 350gsm sleeve; 140 gram vinyl; available on vinyl LP for the first time since 1978.

File Under: Psych, Prog, Library
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…..new arrivals…..

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Altameda: Time Hasn’t Changed You (Pheromone) LP
Full and resounding, cutting and dynamic, Altameda’s sophomore record, Time Hasn’t Changed You, is full of all that makes life a beautiful mess. Brought along by warm bass lines, bluesy rhythms and the sweet whir of the wurlitzer, vocalist Troy Snaterse’s lyrics burn with nostalgia and present desire, made vivid by his talk-like cadences and emotional peaks. It will lift you out of your seat—then all at once send you spiralling down to the kitchen floor. It’s love lost and gained and lost again. It will stay with you even after vinyl and needle have parted ways.

File Under: Indie Rock, Local
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Derek Bailey & Cyro Baptista: Cyro (Honest Jon’s) LP
In tomorrow… Honest Jon’s Records present a reissue of Derek Bailey and Cyro Baptista’s Cyro, originally released on Incus in 1988. When Cyro Baptista moved to New York in 1980 from his home city of São Paulo, he brought with him an arsenal of percussion instruments, including the cuica (friction drum), surdo (the booming bass drum associated with samba), berimbau (single-string bow with resonating gourd), and cabasas galore, in the next few years deploying them most notably in numerous ensembles curated by John Zorn, who helped set up this studio session in 1982. As you might expect from someone whose infectious grooves have graced the work of Herbie Hancock, Astrud Gilberto, and Cassandra Wilson, Baptista expertly fires off cunning polyrhythms, even traces of thumping samba, with restless fluency. Bailey, the wily old fox, skirts and eschews the bait, which is quickly conjured away and newly fashioned. The guitarist homes in on the delicious squeaks of the cuica and the twanging drones of the berimbau with truly awesome tonal precision. You could sing along if you wanted, after a caipirinha or two. And he gets almost as many different sounds from his instrument as Baptista can from his kit — check out the stratospheric plings and string-length fret-sweeps of “Tonto”, which sound more like a prepared piano than an acoustic guitar. Wonders abound, from the berimbau/bent-string exchanges that open “Quanto Tempo” to the delightful collision of howling cuica and spiky bebop on “Polvo”, and the spare, preposterous Webernian samba of “Improvisation 3”. These days, “improvisation” often appears without its customary qualifier “free”. If there were ever a case to be made for its reinstatement, this album is the best supporting evidence. Freedom means you’re free to get into the groove, free not to, free to play with each other, free to play against each other. Sometimes frustrating, even scary, but more often than not in the hands of these two great masters it’s hilarious, exhilarating and utterly irresistible.

File Under: Free Improv, Jazz
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Derek Bailey & Tony Coe: Time (Honest Jon’s) LP
In tomorrow… Honest Jon’s Records present a reissue of Derek Bailey and Tony Coe’s Time, originally released on Incus in 1979. Multi-reedist Tony Coe was born in 1934, four years after guitarist Derek Bailey. He cut his teeth as a career jazzman with Humphrey Lyttleton, before an extended stint with the Kenny Clarke/Francy Boland Big Band. On this rare 1979 duo outing, he sticks to clarinet. And though that instrument has an illustrious jazz pedigree, Coe’s playing here is something else. It’s worth noting that the clarinetist has also played under the baton of arch-modernist Pierre Boulez, the kind of composer Derek Bailey enjoyed taking to task in his book Improvisation. You might think the Frenchman’s uncompromising serialism and the free playing Bailey defended with such passion all his life would have little in common, yet both men were hugely influenced by Anton Webern. It’s an influence you can hear right through Bailey’s career in his obsessive exploration of tight parcels of registrally-fixed pitches, notably those trademark ringing harmonics. Meanwhile, Coe’s meandering semitones and sinuous arabesques here recall both Boulez’s clarinet writing in Domaines, and the harmonic world of Boulez’s own teacher Olivier Messiaen. Still, no traditional classical musical notation could ever render the extraordinary rhythmic subtlety and timbral complexity of this music. It’s at one and the same time dazzlingly virtuosic — Coe and Bailey are on stellar form throughout, and have enough sense to, yes, accompany each other where needs be — and supremely lyrical and spacious. An absolute delight.

File Under: Free Improv, Jazz
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Billow Observatory: III: Chroma/Contour (Azure Vista) LP
In tomorrow… III: Chroma/Contour is the third album from Billow Observatory, the collaborative project of Danish producer Jonas Munk (Manual, Ulrich Schnauss collaborator, and more) and Michigan native Jason Kolb (Auburn Lull). The album’s nine tracks eschew the pulse and rhythm that defined the duo’s previous effort — II: Plains/Patterns — in favor of sparse melodic possibilities and a more abstract palette of sounds. Chroma/Contour suggests looking both 20 years forward and twenty years back, while forgetting the present altogether. Much of the album plays out as a study in minimalism: the texture and color of each sound is being explored in miniscule detail, with enough space in the sound field to allow each sonic constituent to breathe fully. There’s a conceptual dimension to several tracks on the album, with guitars, analog synths and voices being mangled by samplers, computer software, and a broken dictaphone into pure abstraction. But simultaneously there’s a melodic undercurrent, revealing a deeply emotional aspect of the music. Tracks such as “Color In The Six”, “Iris”, and “Soft Logic” convey a melancholic sense of awe, a profoundly calming glimpse of the sublime. As with the best ambient music, the power of these nine pieces lies in their open-endedness and suggestive potential. Rather than imposing on the listener and presenting a flawless, fully-formed aural landscape, the music creates an evocative space for the listener to explore and expand in. RIYL: Aphex Twin’s Selected Ambient Works, Stars Of The Lid, Slowdive’s Pygmalion (1995), Brian Eno.

File Under: Ambient
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Sir Richard Bishop & W. David Oliphant/Karkhana with Nadah El Shazly: Carte Blanche (Unrock) LP
In tomorrow… It took more than just some time and imagination to believe that Carte Blanche, this piece of astonishing contemporary music by some of the most talented and able musicians of the international avant-circuit, could be realized. Karkhana, a highly explosive mostly Middle Eastern/Mediterranean ensemble — Sam Shalabi (Land Of Kush, Shalabi Effect, Dwarfs Of East Agouza), Sharif Sehnaoui (“A” Trio), Michael Zerang (Peter Brötzmann, Hamid Drake, Jaap Blonk, Vandermark, etc.), Mazen Kerbaj (“A” Trio), Maurice Louca (Dwarfs Of East Agouza), Tony Elieh, Umut Caglar (Konstrukt) — is weaving a tapestry of sound for Egyptian songstress Nadah El Shazly’s voice to slide deep into. On the other side, two grand seigneurs of underground, ex-Sun City Girls and Rangda guitar whirlwind Richard Bishop and W. David Oliphant (Maybe Mental) play it loud. Far Eastern post-industrial. Very heavy, sharp, and crystal clear. Ripe. Carte Blanche will be released as a one-time pressing. It is released as a part of Unrock’s Saraswati Series. Vinyl cut by Peter Koerfer at Ivory Tower. Extra-heavy deluxe cover, printed cardboard insert. 140 gram vinyl.

File Under: Experimental, Psych, Sun City Girls
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Bowery Electric: Lushlife (Beggars) LP
Bowery Electric formed in late 1993 and is comprised of Lawrence Chandler and Martha Schwendener. Lushlife was their third and final album, originally released by Beggars Banquet in early 2000. Lushlife was nearly two years in the making and took even greater strides forward from their previous releases. It teems with atomized sounds, each one opening a portal in the mix, importing a haze of space and history, evoking the distant buzz of the city beyond the studio. Throughout, gilded strings build, sway and exhale, plugging the music into the sumptuous melancholy of Philly soul, the emotive Mancini-inspired arrangements of Gaye and Mayfield, and the edgy soundtrack scores of David Shire (All The Presidents Men, The Taking Of Pelham 123). Yet, with all the experiment and variation, Lushlife is actually quite a deliberate and enticing affair for the ear and mind. Available on vinyl for the first time since its initial pressing mastered by John Davis at Metropolis Studios.

File Under: Electronic, Downtempo
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Boy Harsher: Careful (Nude Club) LP
Boy Harsher’s second full-length album, Careful, further develops the band’s brooding dance style, set up in their previous EP Country Girl. The ten songs, spanning forty-four minutes, contain eerie narrative soundscapes that are bracing, high tempo and dynamic. The album delivers manifold emotions, from the nostalgic yearning of “LA” to the gripping intensity of “Come Closer.” The nervousness of Augustus Muller’s bent, out of tune synths paired with the lush and sometimes brittle vocals of Jae Matthews, delivers an unsettled, yet fulfilling encounter with Boy Harsher. Careful summons a new spirit for the young band – that of growth and desire.

File Under: Electronic, Dark Wave
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Bremen: Enter Silence (Blackest Ever Black) LP
In tomorrow… Following a trio of sprawling, planet-gargling double-LPs, 2013’s self-titled LP on Skrammel, and Second Launch and Eclipsed on Blackest Ever Black, Bremen — Jonas Tiljander and Lanchy, previously best known for their contributions to Brainbombs’ long rap sheet of genius-and-brutality, but latterly exponents of a rarefied cosmic melancholy — return with Enter Silence, their most concise, and powerful, album to date. Once again, the Uppsala multi-instrumentalists combine elements of trogged-out psychedelic rock with a deadly serious Arctic minimalism and weeping modal improvisations that owe more to the outer limits of jazz and burnt-out free music from Japan. It’s connoisseur’s space music, grown-up and grievously honed; outwardly inclined towards the epic but studded with details that reward attention and introspection. There’s always been a strong undercurrent of sadness animating Bremen’s work, and that existential burden is present and correct on Enter Silence, culminating in the all-out cosmic anguish of “Palladium”. Even “The Middle Section”, whose ragged chords are nothing if not the sound of optimism and defiance, sounds like it’s navigating some kind of unsayable trauma. But this band has always allowed plenty of room for bonehead slash-and-burn as well: see here especially the Stoogeian/39 Clocks-ish rock’n’roll of “Aimless Cruising”, and the pulpy quasi-cinematic tension of “Sinister”, or the brilliant “Too Cold For Your Eyes”, a blast of voidal motorik that sounds like a cranked-up Clean. It’s a cold, cold world out there..

 File Under: Psych, Krautrock
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Michael Chapman: True North (Paradise of Bachelors) LP
The masterful follow-up to his universally celebrated 2017 album 50, Michael Chapman’s True North finds the elder statesman of British songwriting and guitar plumbing an even deeper deep and honing an ever keener edge to his iconic writing. This authoritative set of predominantly new, and completely devastating, songs hews to a more intimate sonic signature – more atmospheric, textural, and minimalist than 50, stately and melancholy in equal measure. Recorded in rural West Wales, True North unflinchingly surveys home and horizon, traveling from the Bahamas to Texas to the Leeds of Chapman’s childhood, haunted by the mirages of memory and intimations of mortality. Joining him on this introspective journey is a cast of old friends and new disciples: once again Steve Gunn produces and plays guitar, and fellow UK songwriting hero Bridget St John sings, collaborating with cellist Sarah Smout and legendary pedal steel player BJ Cole, who has accompanied everyone from John Cale to Scott Walker to Terry Allen to Björk.

File Under: Folk
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PSR021LP_PRODMaya Deren: Divine Horsemen: Voodoo Gods of Haiti (Psychic Sounds) LP
In tomorrow… “Maya Deren journeyed to Haiti to make a film of ritual dances, instead, she came to be accepted as a Voudoun initiate, whose devotees commune with the cosmic powers through invocation, offerings, song and dance of the Voudoun pantheon of deities, or Loa, whom are witnessed as being living gods and goddesses, actually taking possession of their devotees. Deren describes the relationship between magic, science and religion bringing a uniquely lyrical voice to her narrative. This paints a multi-textured, infinitely complex portrait of a spiritual tradition with roots stretching back to the very dawn of humanity. Joseph Campbell calls Divine Horsemen ‘the most illuminating introduction that has yet been rendered to the whole marvel of the Haitian mysteries as ‘facts of the mind.” Included in this album are some of the first recordings ever made during religious ceremonies near Croix de Missions and Petionville featuring selections that serve as a soundtrack to the film she shot documenting Voodoo ceremonies and festivals conveying the incantatory power of the ritual drumming and singing. One can hear the sounds of nature while processions begin across the landscape further giving the effect of an audio memoir. For the first time in almost 40 years, this long out-of-print cult classic is now available in a limited edition featuring a beautiful screen printed cover by Grant Corum, risograph insert with liner notes by Cherel Ito, original cover art by Teiji Ito and mastered for the first time by Timothy Stollenwerk.”

File Under: World, Field Recordings
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TRESOR10129LP_PRODDrexciya: Neptune’s Lair (Tresor) LP
In tomorrow… 2LP version, featuring 13 tracks from the CD version. Detroit’s Drexciya, with their close ties to Underground Resistance, emerged in 1991. With an encoded agenda and socio-political mission aimed at the world, a new page of Drexciya’s grand history was written entitled Neptune’s Lair, featuring 21 exclusive tracks released in the fall of 1999. Drexciya is the sound of originality embodying all the musical styles and history that Detroit the city has seen and been part of. Drexciya is music for change that defies categorization; traditionally armed with freestyle electro, techno, funk, and jazz while covering an entire spectrum of moods ranging from the dark to shimmering beauty. While words won’t do Neptune’s Lair proper justice, rootsy Kraftwerkian techno (“Universal Element” and “Oxyplasmic Gyration Beam”), gives way to G-style electro (“Andreaen Sand Dunes”), while jazzy freestyle funk (“Running Out Of Space” and “Funk Release Valve”) evolves alongside classic 4/4 club sound. Although the roots run deep, Neptune’s Lair heralded an important new chapter in the musical connections between Detroit’s finest and Tresor.

File Under: Electronic, Techno
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Eagles of Death Metal: Death By Sexy (Downtown) LP
Death By Sexy (2006) is the second release from the duo of Jesse “The Devil” Hughes and Queens of the Stone Age frontman Josh Homme, known as Eagles of Death Metal and good times and retro rock & roll are a plenty. Following up Peace, Love, Death Metal (2004), the freewheeling, just-for-the-hell-of-it vibe is still intact here and they again produce a fine set of raunchy songs destined to sound good in bad places. Out of print since 2006 and now pressed on 180g vinyl.

File Under: Rock, Queens of the Stone Age
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Eagles of Death Metal: Heart On (Downtown) LP
In 2004, the Eagles of Death Metal launched their wholesome good-graciousness with Peace, Love and Death Metal, followed in 2006, by the diabolical Death By Sexy. In 2008, Jesse ‘Boots Electric’ Hughes, and Joshua ‘Babyduck’ Homme unleashed their newest tongue in cheek collection, Heart On. The album is another dose of the duo’s sex-drenched satire under a backdrop of authentic ’60s blues rock and glam-pomposity. Entertainment at its finest!

File Under: Rock, Queens of the Stone Age
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BLUME014LP_PRODJulius Eastman: Crazy N*gger (Blume) LP
In tomorrow… It’s little wonder that Julius Eastman (who died in 1990 under unexplained circumstances), remained the supreme underground composer. He was Afro-American and gay, a composer who rocked the cerebral world of process music with his explosions of free improvisation. Crazy N*gger is the first time any of Eastman’s music has been available on vinyl, and is one of three extended pieces for four pianos, along with Gay Guerrilla and Evil N*gger, written and performed around 1980. All three works generate their epic soundscapes through adamantly restated patterns and interlocking canons, not fragmenting, but preaching urgent truths. To quote the brilliant Mary Jane Leach liners: “He wrote what can be categorized as minimal music, but also wrote ‘post-minimal’ music — before minimal music was fully established.” His pieces straddle both styles of minimal music; rhythmic/pulse-driven music (Steve Reich and Philip Glass) and spectral drone music (La Monte Young and Phill Niblock). There is a flexibility that lends an organic feel to his music, a muscularity missing in a lot of other music from that time; with the re-emergence of this powerful music, a missing gap in the history of contemporary music has been filled. Not released commercially upon their recording, they were instead shared on cassettes, copied and passed from one admirer to another. Unlike today’s instant access to music, at that time each new copy represented a time commitment, since it took as long to copy as its playing time, while also removing itself further from the original recording with a resultant deterioration in sound quality. The three pieces occupy a high point in Eastman’s oeuvre, the culmination of his mature style. Crazy N*gger is a sprawling sonic study, the last section exploring canonic form both harmonically and rhythmically, using the same process as James Tenney’s Spectral Canon, but notated in a more intuitive way. Offering extensive liner notes by Leach and Bradford Bailey, this is a seminal work by one of the most important, but neglected, American composers of the 1970s and ’80s, returning to the light once more. Not only is Crazy N*gger an entire rethinking of minimalism, but it ferociously blows the doors of what classical music can be seen to be. Mastering by Giuseppe Ielasi. Includes printed inner sleeve housing a Nagaoka anti-static record sleeve, plus obi-style original insert in a fold-out outer sleeve. 180 gram, color vinyl; Edition of 300

File Under: Avant Garde, Minimalism
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BLUME015LP_PRODJulian Eastman: Evil N*gger/Gay Guerrilla (Blume) LP
In tomorrow… Julius Eastman’s seminal classics are now reissued on vinyl for the first time ever. Gay Guerrilla and Evil N*gger, both composed in 1979 with a third work Crazy N*gger, make up what Eastman called The N*gger Series. Some of the most challenging and beautiful works composed for piano during their era, they double as a window into the intricate thought process and contentiousness of their creator. When the composer was asked to perform the series at Northwestern University in 1980, due to protests by African American students, their titles were censored in the event’s program. His response was a flamboyant foreshadowing of the sentiments toward bigoted language which later arose within hip-hop culture — to publicly take back these words, assert ownership of them, and deploy their power for positive change. What Eastman was early to recognize, was that there is a fundamental difference in what happens when these words are spoken by white people toward people of color, and when people of color deploy them toward a white audience. The balance of power shifts. Eastman’s audience was largely heterosexual and white. He knew exactly what he was doing, and to whom he spoke. The object in your hands contains some of the most striking and important music composed during the later decades of the 20th century — music which remained lost and unheard for years, not because of what it is, but because of who its composer was. It is music, doubling as the voice of a man, which, because it refused to be oppressed, was suppressed or ignored. Eastman’s work is a conscious act of intervention, plowing into a context defined by heterosexual whiteness, attacking its unjust demands from within. It is Christ-like — metaphor and beauty which is impossible to separate from the evils of the world. It is a music which carries the body of a man. As it speaks to our hearts, as it offers a glimpse of the freedoms implied by the sublime, a shackle is bound — a consciousness of our complicity with unforgivable sin. Mastering by Giuseppe Ielasi. Includes printed inner sleeve housing a Nagaoka anti-static record sleeve, plus an original insert that functions as obi; Housed in a fold-out outer sleeve. 180 gram, color vinyl; Edition of 300.

File Under: Avant Garde, Minimalism
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KOM3701LP_PRODGas: Zauberberg (Kompakt) LP
In tomorrow… Zauberberg — Wolfgang Voigt’s most fundamental (and foreboding) release under his alias GAS and perhaps of all in his untold discography — finally stands alone once again and is released in the way its original splendor. Originally released in 1997 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS Box (KOM 370LP, 2016), Zauberberg is now released on his own label, Kompakt. Though this narcotic symphony is not the first release under the GAS moniker, Zauberberg is the first to disclose the true nature of Wolfgang Voigt’s unified sound and ideology as GAS. Layers of ominous intensity supported by muffled kick drums as classical music loops incessantly swirl with no direction, Zauberberg is the definitive GAS album and a perfect starting point for those not familiar with his music. 180 gram vinyl.

File Under: Electronic, Techno, Ambient
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STUDIOMUL011LP_PRODMitsuaki Katayama Trio: First Flight (Studio Mule) LP
In tomorrow… Studio Mule present a reissue of Mitsuaki Katayama Trio’s First Flight, originally issued in 1979 on Johnny’s Disk Record. Johnny’s Disk Record is an independent jazz label run by the owner of jazz cafe Kaiunbashi No Johnny, located in Rikuzentakata City in Iwate prefecture, Japan. The legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz and avant-garde jazz to left-field pop. Albums such as Farewell My Johnny/Left Alone (1980) and Aya’s Samba (1978) have reached cult status among fans as some of the best works to come out of the Japanese jazz scene. This debut album by drummer and actor Mitsuaki Katayama is a Japanese jazz masterpiece consisting of five original compositions. The no-filler album includes the tracks “Unknown Point”, a danceable jazz samba with tight and powerful drumming and the melancholic “Arizona High Way”, a tune that perfectly epitomizes what Japanese jazz is about. “It’s Over” features beautiful piano work by Kichiro Sugino, a promising pianist who tragically succumbed to a chronic illness and couldn’t fully realize his potential. Edition of 500.

File Under: Jazz
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LDL921617_LCD Soundsystem: Electric Lady Sessions (Columbia) LP
Recorded live in the studio at its famed New York City namesake, Electric Lady Sessions captures LCD Soundsystem at the height of the band’s powers during the tour supporting their No. 1 reunion album, American Dream (2017). The record’s track listing features live staples spanning the LCD Soundsystem catalogue, as well as distinct covers of the Human League’s “Seconds,” Chic’s “I Want Your Love,” and Heaven 17’s “(We Don’t Need This) Fascist Groove Thang.” Heavyweight, 180 gram gatefold 2LP-set.

File Under: Indie Rock
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LTNC016LP_PRODMartina Lussia: Diffusion is a Force (Latency) LP
In tomorrow… “Martina Lussi’s second album fuses together disparate sound sources with a disorienting quality that reflects the modern climate of dispersion and distraction. The Lucerne, Switzerland-based sound artist released her debut album Selected Ambient on Hallow Ground in 2017, and now comes to Latency with a bold new set of themes and processes. The range of tools at her disposal spans field recordings, processed instrumentation, synthesised elements and snatches of human expression. The guitar is a recurring figure, subjected to a variety of treatments from heavy, sustained distortion to clean, pealing notes. Elsewhere the sound of sports crowds and choral singing merge, and patient beds of drones and noise melt into the sounds of industry and mechanics. The track titles manifest as a compositional game of deception complete with innuendos, empty phrases and claims — flirtations with perfume names and ironic assertions. From the volatile geopolitical climate to the changing nature of music consumption in the face of streaming and digital access, Diffusion Is A Force is a reflection on fractured times where familiar modes and models change their meaning with the ever-quickening pace of communication.”

File Under: Ambient, Electronic
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BB313LP_PRODCarl Matthews: Call For World Saviors (Bureau B) LP
In tomorrow… Bureau B presents a reissue of Carl Matthews’ Call For World Saviours, originally issued in 1984. Mesmerizing DIY electronic music from Cumbria, UK, influenced by the Berlin School but even more by Tim Blake, Call For World Saviours was originally released 1984 on cassette only; this is this music’s first time on CD and vinyl. “Carl Matthews is by no means immune to the maelstrom of geocaching notebooks. Krautrock (tick), guerrilla DIY cassette-era artist (tick), under-rated UK electronic composer (tick). Man with a beard, surrounded by synths. Tick. Best of all, he was once described as the Edgar Froese of Cumbria. The Tangerine Dream legend needs no introduction, but the Cumbrian question deserves further scrutiny. In spite of the irresistible urge felt by many to claim Matthews for the Berlin School, this is unquestionably an artist who wrote music far from the madding krautrock crowd. Instead, he worked in isolation, splendid or otherwise. The question remains, is there a suspension bridge which connects Carl Matthews to the mainland European tradition of Harmonia, Cluster, and Tangerine Dream? ‘I was at a crossroads in my life aged 28, early influences were krautrock: NEU!, Kraftwerk, Cosmic Jokers, etc. One day, I was listening to Tim Blake, and my inner voice said ”I can do that!”, Carl recalls. Whilst his music clearly bears the hallmarks of superb craftsmanship — his mesmerizing soundscapes more than a match for any of his contemporaries — Carl Matthews was, and still is, a truly independent artist, from the means of production to the published recordings. If it is possible to identify a scene along the lines described above, Matthews was not part of it. ‘I was totally alone in doing this; no one was interested in my musical taste at that time. As far as I know the electronic/new wave music scene in Carlisle was virtually zero.’ Happily for fans of his music, recent years have seen a resurgence in activity. Unwaveringly self-effacing, Carl Matthews continues to make music which is liberated from the constraints of ego, allowing one to wander the magnetic fields of his imagination. Today, in his own words, he is ‘an old guy who likes making sounds for library/production companies’, which says it all, really. The signs are all there in Call For World Saviours, music which is both timeless and very much of its time, a disappearing act on the part of its creator whose character nevertheless resonates in every note.” –Harry Calvino.

File Under: Electronic, Krautrock, Kosmische
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DS037LP_PRODLuigi Nono: Musica Manifesto N. 1 (Die Schachtel) LP
In tomorrow… Die Schachtel present a reissue of Luigi Nono’s Musica Manifesto N. 1, originally released in 1969. Long considered, with Pierre Boulez and Karlheinz Stockhausen, to be one point in the trinity of the post-war avant-garde, Luigi Nono was one of the most important and singular composers to emerge in the years following the Second World War. Nono’s music infused the avant-garde with a sense of emotion and moral consciousness which had been previously unheard, seeking to join advanced forms of music in the social struggles of everyday life. Originally issued in 1969, none of Nono’s works illuminate this radical consciousness and concern better than his seminal Musica-Manifesto N.1. Now reissued by Die Schachtel in collaboration with Archivo Storico Ricordi, it is a revolution led by one man, a window into the creative and political potential of sound. Nono’s work was vocally political from its earliest days — first as explicitly anti-fascist, pointedly embracing Marxism (he officially joined the Communist Party in 1952), before, as ’60s and ’70s unfolded, becoming a voice in the international worker and student struggles and the fight against the Vietnam War. It’s hardly coincidental that a work as important and powerful as Musica-Manifesto N.1 emerged at the time it did. It is among the greatest sonic culminations of 1960s, composed and released just before the decade’s end. Musica-Manifesto N.1, original intended to be the first part in a suite which never appeared, was commissioned by the communist administrated town of Chatillon-sous-Bagneux, in France, during the Spring of 1969. The work, manifesting in two parts, can be understood as snapshot of its moment — incorporating texts taken from the walls of Paris in May, 1968, read by Edmonda Aldini against the voices of Communist leaders like Che Guevara, Ho Chi Minh, and Mao, as well as recordings of the riots and protests which occurred at the Venice Biennale in June, ’68. Both sides of Musica-Mainifesto N.1, “Un Volto, Del Mare” and “Non Consumiamo Marx”, are works for magnetic tape, the first archived through careful editing to achieve a singular polyphonic complexity, while the second utilizes manipulation of its source material through filters and modulators, played against electronically generated sounds. The cumulative result remains a legendary culmination of avant-garde practice and political struggle. Features a tabloid/poster with texts by Veniero Rizzardi and unpublished photos of the 1968 Venice Biennale riots.

File Under: Avant Garde,
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IMPREC470LP_PRODPauline Oliveros: Reverberations 1 (Important) LP
In tomorrow… In 2012 Important Records released Reverberations: Tape & Electronic Music 1961-1970, a historic 12-CD box set compiling much of Pauline Oliveros’ early and unreleased electronic work. Reverberations 1 is the first release in an ongoing series dedicated to releasing the entire 12-CD box set on vinyl. Organized chronologically by studio, the complete Reverberations not only documents Pauline’s earliest electronic music but it also functions as an early history of electronic music itself. Pauline Oliveros — composer, performer and humanitarian — was an important pioneer in American music. Acclaimed internationally, for four decades she explored found, forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it and it eludes many who try to write about it. In partnership with the Pauline Oliveros Trust, Imprec will be releasing essential titles from Pauline Oliveros’ catalog on vinyl including the complete Reverberations box set, Tara’s Room, Sounding/Way (with Guy Klucevsek), and many more.

File Under: Avant Garde, Drone
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LDP039913_

Panda Bear: Buoys (Domino) LP
From the opening minutes of Buoys, Noah Lennox’s sixth solo album as Panda Bear resembles something both wholly new and intimately familiar to fans and followers of the musician and Animal Collective member’s body of work. Lennox’s bright, sincere voice is still front-and-center, along with his beatific approach to melodic structure and vocal phrasing – but there’s miles of space surrounding it, a guitar and a few textured samples here and there fleshing out Buoys’ dubby sparseness. The off-white loveliness of his 2011 LP Tomboy is recalled, as well as the sampledelia of 2007’s landmark Person Pitch – but Buoys otherwise represents a surprising and intimately pleasurable new direction for an artist who’s embraced not repeating oneself as its own creative ethos.

File Under: Indie Rock
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Pedro the Lion: Phoenix (Polyvinyl) LP
Capping off a fruitful 12-year long solo career, singer/songwriter David Bazan resurrects and reunites with both the moniker and mindset of his profoundly influential indie rock outfit, Pedro The Lion, with the follow up to their 2004 opus, Achilles Heel. The band’s new album and Polyvinyl debut, Phoenix, marks a return to form for the beloved group, while mapping out the emotional intricacies and childhood experiences of growing up in Phoenix, AZ – a process that would ultimately shape Bazan’s adult life. In June 2018, with Bazan on bass, vocals, and arrangement writing, Erik Walters on guitar and backing vocals, and Sean Lane on drums, Pedro the Lion went into Studio X and Hall of Justice with producer Andy Park to create Phoenix, the first new Pedro album in 15 years. On opening track “Yellow Bike,” Bazan encapsulates a core ache he’s been exploring since 1998’s It’s Hard to Find a Friend. Phoenix also deals with having to be better to yourself in order to be better to others on “Quietest Friend,” and harkens back to Control’s “Priests and Paramedics” with a story about EMTs facing a gruesome scene, and storytelling as coping mechanism, on “Black Canyon.” The result is a twisting, darkly hopeful introspection into home and what it means to go back, if you ever can. It is rock and roll wrapped in tissue paper, its hard edges made barely soft. Every melody is careful, a delicate upswing buoyed by guitar lines that hold each tender feeling together like string before ripping them apart to see what’s inside. It is an ode to the place he still loves despite how alien it can appear to him now. It is the story of a life from the beginning, but not a linear one. This life is a circle, and Phoenix goes back to that first point, to show that when we are looking for home we’ll eventually run into it again, whether it’s in the desert, in a rehearsal space, or on a stage.

File Under: Indie Rock
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LDP105313_Prince: 3121 (Legacy) LP
The Prince Estate and Sony Legacy, present the first round of physical titles set for release as part of the ongoing and definitive Prince catalog project first announced in August 2018. Three essential full-length Prince albums, Musicology, 3121 and Planet Earth, will be available for the first time ever on highly collectible, colored vinyl. Set for release in February 2019, these three albums celebrate a sustained period of renewed creative energy and commercial triumph in Prince’s multi-faceted career and marked his return to the top of the popular mainstream, a position he maintained while simultaneously pushing the envelope and breaking industry norms pertaining to marketing, distribution and live performance. Prince’s studio trilogy of Musicology, 3121, and Planet Earth presents the artist at a high point in his creative genius during the first decade of the 21st century. The 2004-2007 epoch gave us some of Prince’s most iconic and indelible performances, including his unforgettable appearance with Beyoncé at the 2004 Grammy Awards, his show-stopping induction at the Rock & Roll Hall of Fame a month later, and his incandescent triumph at the Super Bowl in February 2007. Released in 2006, 3121, Prince’s thirty-first studio album, became his first record to debut at No. 1 on the Billboard 200 and his first No. 1 album since 1989’s Batman. Certified gold it’s home to the singles “Te Amo Corazón,” “Beautiful, Loved and Blessed,” “Black Sweat” and “Fury.”

File Under: Pop, Funk/Soul
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LDP105412_Prince: Planet Earth (Legacy) LP
The Prince Estate and Sony Legacy, present the first round of physical titles set for release as part of the ongoing and definitive Prince catalog project first announced in August 2018. Three essential full-length Prince albums, Musicology, 3121 and Planet Earth, will be available for the first time ever on highly collectible, colored vinyl. Set for release in February 2019, these three albums celebrate a sustained period of renewed creative energy and commercial triumph in Prince’s multi-faceted career and marked his return to the top of the popular mainstream, a position he maintained while simultaneously pushing the envelope and breaking industry norms pertaining to marketing, distribution and live performance. Prince’s studio trilogy of Musicology, 3121, and Planet Earth presents the artist at a high point in his creative genius during the first decade of the 21st century. The 2004-2007 epoch gave us some of Prince’s most iconic and indelible performances, including his unforgettable appearance with Beyoncé at the 2004 Grammy Awards, his show-stopping induction at the Rock & Roll Hall of Fame a month later, and his incandescent triumph at the Super Bowl in February 2007. For 2007’s Planet Earth, Prince innovated yet another bold marketing and distribution tactic, giving free copies of the album away in the UK via a partnership with the national newspaper The Mail on Sunday. Bucking conventional industry distribution strategy, the innovative partnership fueled Prince’s epic 21-night run of sold out shows at London’s O2 Arena (20,000 capacity), while back in the US Planet Earth debuted at No. 3 on the Billboard 200. Home to the singles “Guitar,” “Chelsea Rodger,” “Somewhere Here on Earth” and “The One U Wanna C.”

File Under: Pop, Funk/Soul
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DPROM146LP_PRODStapleton/Tibet: Dead Memory (Dirter) LP
In tomorrow… Dead Memory LP, on United Dirter, by Steven Stapleton and David Tibet features two further out-takes from Musical Pumpkin Cottage (1996). Neither of these two tracks feature on The Threats Of Memories double-LP (DPROM 141LP, 2018) or The Threat Of Memory 5CD box-set. The cover features new paintings by Babs Santini and David Tibet, with handwriting by David Tibet. The LP was mastered by Andrew Liles, and the cover was designed by Ania Goszczyńska.

File Under: Experimental, Industrial
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DPROM141LP_PRODStapleton/Tibet: The Threats of Memories (Dirter) LP
In tomorrow… “The Sadness Of Things” was originally released as side one of Steven Stapleton and David Tibet’s The Sadness Of Things (1991). “The Dead Side Of The Moon” and “BubbleHead” were, respectively, sides one and two of Stapleton and Tibet’s Musicalische Kürbs Hütte (1996). “DreamBreath” is a previously unreleased outtake from Musical Pumpkin Cottage (1996). Gatefold sleeve; Includes insert with lyrics and credits.

File Under: Experimental, Industrial
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DCLP006LP_PRODKeith Tippett/Lino Capra Vaccina/Paolo Tofani: A Mid Autumn Night’s Dream (Dark Companion) LP
In tomorrow… Another true masterpiece. A Mid Autumn Night’s Dream faithfully report a one-shot concert that took place at Conservatorio Nicolini in Piacenza on October 1st, 2016. The four giants of new music never played together before: Keith Tippett, Julie Tippetts, Lino Capra Vaccina, and Paolo Tofani. As the lights turned off something magic started. A spontaneous interplay, an amazing flowing of notes. The subject was the night, its mystic flavors. Paolo Tofani, now a Hindi monk, is a living legend in Italian avantgarde music having been the driving force of the band Area in the seventies. He worked and recorded with many musicians including John Cage, Alvin Curran, Steve Lacy, just to mention a few. His last album, Real Essence (2015), an acoustic solo album, impressed the late Greg Lake who eventually wrote the liner notes. Lino Capra Vaccina provided the visionary sound of the seminal Italian ensemble Aktuala then formed the legendary Telaio Magnetico with Franco Battiato and Juri Camisasca, and later played percussion in La Scala Orchestra with Claudio Abbado. In Italy he is a true legend and a respected musician. His first solo album, Antico Adagio along with his last one Metafisiche del Suono, are considered amongst the very best avant garde albums ever. Keith Tippett is another living legend in British jazz music — band leader, composer, and visionary pianist — with an uncompromising career full of outstanding gems. A larger audience knows him as a member of King Crimson or the leader of Centipede. His skills go from contemporary jazz to larger compositions for orchestra and classical music as well. One of his latest piano solo album, Mujician IV live in Piacenza, has been critically acclaimed all over the world. Julie Tippetts lent her fantastic voice to various situations, many times side by side with her husband Keith. The team called one of their duo album, Couple in Spirit (1988), as they are in life and art. Julie is a fantastic musician who added a magic touch, a siren call to this masterpiece.

File Under: Italian, Avant Garde
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LDU93867_Unkle: Psyence Fiction (London) LP
The 1998 debut album from the collective minds of Mo’Wax Records founder James Lavelle and the acclaimed DJ Shadow is an international, eclectic riot of influences, fusing guitars, beats, rap and a host of collaborator. Among others, the guest vocalists include Thom Yorke (Radiohead), Mike D (Beastie Boys), Richard Ashcroft (The Verve) and Alice Temple (Massive Attack). Psyence Fiction is back on double vinyl for the first time in decades!

File Under: Hip Hop, Trip Hop
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DCLP002LP_PRODLino Capra Vaccina: Metafisiche Del Suono (Dark Companion) LP
In tomorrow… For fans of the Italian avant-garde, few names inspire the loyalty and devotion offered to the percussionist and composer Lino Capra Vaccina — a perfect emblem of the country’s extraordinary movement of musical minimalism. He first gained note as a member of Aktuala, a project which laid the groundwork for an entire generation of practitioners following in their wake — creating a hybrid of rock, avant-garde, and ancient musics, while incorporating a diverse number of sonic traditions from across the globe — African, Middle Eastern, Indian, etc. Vaccina’s career as composer has been marked by two distinct features, an incredibly high bar of quality and ambition, and a tragically slim amount of recorded output. Following his departure from Aktuala, he worked extensively with others, like Juri Camisasca, Franco Battiato, etc., and within the short-lived super group Telaio Magnetico, but his solo efforts have been slow to emerge, appearing as carefully considered statements which are so remarkable and singular, that they pull the rug from beneath the entire world of experimental approach. In 1978 he released the legendary LP Antico Adagio and wouldn’t be heard from again until 1992’s equally extraordinary L’Attesa. In the years since, only a tiny handful of recordings have emerged, most recently in the hands of the Italian imprint Dark Companion, who now returns with Metafisiche Del Suono, the latest installment in Vaccina’s astounding canon of work. Metafisiche Del Suono is elegance and constraint personified — a crown jewel in a remarkable composer’s long career. Like all of Vaccina’s work, it rests in an undefinable realm, defying definition and category. Largely executed by the composer on a range of instruments — vibraphone, chimes, bells, various percussion, piano, strings, gong, and metallophone — it also features stunning contributions on oboe and English horn by Camillo Mozzoni, psaltery, dulcimer, guitar, and autoharp by Michael Tanner, and viola by Alison Cotton, on a handful of its works, vastly broadening the world of tonal interplay set forth by Vaccina. Across the album’s six compositions, unfolds expanses of ambience; sheets of sound-physic wonders, which, while feeling entirely singular and personal, mange to crystallize a confounding range of human emotion and experience.

File Under: Ambient, Minimalism
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DCLP004LP_PROD

Lino Capra Vaccina: Arcaico Armonico (Dark Companion) LP
In tomorrow… Following his time in Aktuala, Lino Capra Vaccina published a seminal album in 1976, Antico Adagio, recently removed from the clutches of the vultures of rare disk from Die Schachtel. A few years after, another unmissable gem waiting for future reprints. Back to the studio after the incredible success of the reprint of Antico Adagio, Lino wanted to continue on the path laid out in his historical album: compositions, intuitions, emotions that were maturing for years, resting as the like of a good Borgogna wine, now ready to be shared with a wider audience. Also, for this new work, to his percussion, gong, tablas, bells, vibraphone, cymbals, dishes, and strange instruments natives Lino did not want to apply any “trick”. All the sounds you’ll hear in this extraordinary journey are strictly acoustic, no any kind of electronics are involved. Playing with tape delays, co-adjuvanted by a sound engineer visionary as Alberto Callegari, located at Elfo Studios which is a wonderful state-of-the-art place amidst the woods in the country of Piacenza. Max Marchini has produced this album with pure analog intents. Lino wanted around him three companions extraordinary as Paolo Tofani, legendary composer and guitarist of Italian prog/avant-garde band Area at the Mandhura for a breathtaking duet in “Dialoghi Tra Suoni (Dialogues Between Sounds)”, Camillo Mozzoni on oboe, oboe d’amore, and English horn wove arabesques of arcane memory in “Archaic Armonico”, and the old mate Juri Camisasca who stretched layers of voices in the enchanted “Ancrestrale Andante (Andante Ancestral)”. Eons away from any new age suggestions, the music of Lino Capra Vaccina, in constant evolution, discovers pages submerged by ancient memories shared. The throb of skins beatings brings scents of the time; together with the voice, that as well remembered by Joan La Barbara, it is the original instrument. An album that marks a new stage in the new music. A disc where the sound is at the center, as the Klang contrapposto Foné, in an emotional universe of incomparable beauty that takes the listener to a different perception of time and space. A true masterpiece that is about to became a very sought-after item, this first limited edition of individually numbered and hand-bounded.

File Under: Ambient, Minimalism
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WWSLP016LP_PROD

Akiko Yano: Tadaima (Wewantsound) LP
In tomorrow… Wewantsounds present a reissue of Akiko Yano’s Tadaima., originally released in 1981. The first release Wewantsounds’ ambitious program to release Akiko Yano’s albums outside of Japan Tadaima. (“I’m home” in Japanese) is Yano’s fifth studio album and a synth-pop masterpiece, co-produced by her then husband Ryuichi Sakamoto and featuring all the musicians from Yellow Magic Orchestra (Haruomi Hosono, Yukihiro Takahashi, and Sakamoto), the group she was touring with at the time. Japan’s best kept secret, Akiko Yano is one of the most ground-breaking artists to come out of the ’70s Japanese music scene along with Haruomi Hosono and Ryuichi Sakamoto. A piano child prodigy, Yano started her solo recording career in 1976 at just 21, recording her debut album Japanese Girl with no less than Little Feat as the backing band. This album created a stir on the Japanese scene and Yano was on the map. She went on to record a series of superb albums mixing funk, electro, and city pop featuring the cream of Japanese (and sometimes American and English) musicians; The fact she was producing, writing and composing herself made her a true maverick in a very male-dominated industry. These albums, incredibly, have never been released outside of Japan to this day. Tadaima. is Yano’s first attempt to leave the acoustic piano aside and delve into the synth sounds of the early ’80s. The result is a fascinating electro pop masterpiece showcasing her talent as a writer, musician, and singer, creating her own unique universe. Mixing Japanese and English lyrics, Yano crafts perfect pop songs such as “Tadaima.”, “I Sing”, “Harusaki Kobeni” (which became one of her most famous songs after its use in a Japanese cosmetics ad), while “Taiyo No Onara” is a suite composed of nine short stories written by children. Contributors on Tadaima. also include Shigesato Itoi, one of Japan’s most famous copywriters (for Studio Ghibli among others) who wrote two tracks on the album and his friend legendary illustrator Teruhiko Yumura — aka King Terry — who revolutionized underground manga in the ’70s with his “heta-uma” (bad-good) style, as showcased on the album’s striking artwork. Tadaima. is the perfect entry point to Akiko Yano’s unique body or work. This reissue includes original artwork by cult illustrator King Terry and a new introduction by renowned DJ Joakim.

File Under: Japanese, Synth Pop
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JMAN105LP_PROD

Various: Las Vegas Grind Volume 7 (Jazzman) LP
In tomorrow… Calling all turkeynecks, dirt fiends and juiceheads! Often imitated, never equaled — the legendary, the one-and-only, the unique Las Vegas Grind! hath finally returned! After many years scouring the greasy basement dives of the netherworld, Jazzman finally managed to locate the manic mastermind responsible for the original six volumes of deviant, demented, and depraved sleaze-ball bump and grind. Slumped at the end of a bar, we struck the deal at midnight as we drank a toast of cold rat piss, and with deep regret Jazzman can now unveil the latest in the whole sorry saga. Las Vegas Grind! Volume Seven. And so, dragged under the stripper’s spotlight for the first time in 60 years, long-forgotten never-knowns by Alonzo And The Boppers and The Abstracts rock side-by-side with lurid low-life lurchers Louie And The Fat Men and The Escorts. Little Louie And The Finger Cymbals rattle their tiny pasties while Gay Poppa’s Cha Cha flips us round and takes us to the other side. All in all, yet another set of crude and tasteless chud-locker choons bound to upset the whole square world all over again. 16 gruesome growlers guaranteed to torment and tease. Shameless and shocking; rotten to the core; welcome, welcome at last to Las Vegas Grind! Volume Seven. Also features: Savoys, Low Rocks, Frank Scott, B Bubba, UBs Group, Leo Valentine Trio, Los Virreyes, Bob Moore And The Temps, Little Louie And The Finger Cymbals, The Original Spacemen, and Y-Dells.

File Under: Exotica

…..Restocks….

Aphex Twin: Selected Ambient Works (R&S) LP
Arcade Fire: s/t (Columbia) LP
Shiniachi Atobe: Heat (Demdike Stare) LP
Daniel Avery: Song For Alpha (Mute) LP
Courtney Barnett: Tell Me How You Really Feel (Mom&Pop) LP
Robbie Basho: Venus in Cancer (Traffic) LP
Bell Witch: Four Phantoms (Profound Lore) LP
Boy Harsher: Lesser Man (Nude Club) LP
Boy Harsher: Yr Body (Nude Club) LP
Charles Bradley: Changes (Daptone) LP
Charles Bradley: No Time For Dreaming (Daptone) LP
Leon Bridges: Good Thing (Columbia) LP
Peter Brotzmann: Machine Gun (Cien Fugos) LP
Alec Cheer: Night Kaleidoscope (Trunk) LP
The Clash: London Calling (Epic) LP
The Clash: Sandinista (Epic) LP
The Clash: s/t (Epic) LP
Cluster: Zuckerzeit (Lilith) LP
Alessandro Cortini: Avanti (PIAS) LP
Crickets…: God’s Chorus (Trunk) LP
Dawn of Midi: Dysnomia (Erased Tapes) LP
Death Grips: Money Store (Columbia) LP
Brian Eno: Another Green World (Astralwerks) LP
Fugazi: Repeater (Discord) LP
Dexter Gordon: A Swingin’ Affair (Down at Dawn) LP
Harumi Hosono: Pacific (Victory) LP
King Gizzard & The Wizard Lizard: Polygondwanaland (ATO) 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
Os Mutantes: s/t (Polydor) LP
OST: Ghost in the Shell (WRWTFWW) LP
Parquet Courts: Light Up Gold (What’s Your Rupture) LP
Portishead: Dummy (Polydor) LP
Yasuaki Shimizu: Kakashi (Palto Flats) LP
Sturgill Simpson: Metamodern Sounds in Country Music (Thirty Tigers) LP
Siouxsie & The Banshees: Juju (Universal) LP
Siouxsie & The Banshees: The Rapture (Universal) LP
Siouxsie & The Banshees: The Scream (Universal) LP
Twilight Sad: It Won’t Be Like (Rock Action) LP
Yellow Magic Orchestra: YMO & YMO USA (Music on Vinyl) LP
Yesterday’s New Quintet: Angles Without Edges (Stones Throw) LP
Various: Spider Jazz (Trunk) LP

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