Tag Archives: psych

…..news letter #860 – switch…..

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

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…..picks of the week…..

white1

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

File Under: Drone, Metal
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white2

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

File Under: Drone, Metal
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eno

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

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

amps

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

File Under: Indie Rock, Breeders
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astatke1

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

File Under: Africa, Ethiopian Jazz
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astatke2

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

File Under: Africa, Ethiopian Jazz
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avanti

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

File Under: Electronic, Ambient
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fall

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

File Under: Punk
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stories

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

File Under: Ambient, Classical
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mellow drea

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

File Under: Jazz
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hauschildt

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

File Under: Electronic
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peaches

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

File Under: Indie Rock
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welch

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

File Under: Folk
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pride

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

File Under: Reggae

fujimachine

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

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

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

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…..news letter #859 – grid…..

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

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 …..pick of the week…..

Sunn90_Earth_Bees-666x666

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

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

700133 JORGE BEN A TÁBUA DE ESMERALDA.indd

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

File Under: Brazil, Samba, Bossa Nova, Tropicalia
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700126 JORGE BEN.indd

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

File Under: Brazil, Tropicalia, Samba, Bossa Nova
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Jeremy-Dutcher-Wolastoqiyik-Lintuwakonawa-Album-Artwork-1200x1200

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

File Under: Classical, First Nations, Chamber Pop
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flaminghear

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

File Under: Rock
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flamingohmy

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

File Under: Rock
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flaming tele

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

File Under: Rock
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immortal

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

File Under: Black Metal
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li

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

File Under: Pop
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swna

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

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

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

File Under: Electronic, OST
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u2

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

File Under: Pop
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zooropa

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

File Under: Pop
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we

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

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

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

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…..news letter #858 – norns…..

Yikes, sooooo much stuff in this week. Loads of new stuff, reissues, restocks. Bonkers. BONKERS!

Hopefully you’ve had a chance to check out our new webstore… if not CHECK IT OUT!  The inventory is live with the shop, so if it’s in stock there, it’s in stock in the store. We have an instore pick up option, so if you are local, but going out of town, or just don’t want to miss out on something, by all means, buy it through the site and it’ll be here waiting for you when you have time to get in.

…..picks of the week…..

mogard

Abul Mogard: Above All Dreams (Ecstatic) LP
Above All Dreams is Abul Mogard’s beautifully absorbing new album for Ecstatic — his first since the Circular Form and his popular Works compilation. Counting six original pieces in its 66-minute wingspan, there’s no mistaking that Above All Dreams is the most expansive solo release by Mogard to date. Taking into account its intangible divinity and cinematic quality — the result of no less than three years diligent work — it is arguably elevated to the level of his master opus; presenting a modular distillation of Mogard’s most intoxicating strain of hauntology. Consistent with Mogard’s music since the sought-after VCO tapes, c. 2012-2013, the allure to Above All Dreams lies in his ability to evoke and render feelings which are perhaps purposefully avoided in more academic echelons of drone music. Rather than a purist expression of physics through maths and geometry, Mogard voices his soul, improvising on modular synth for hours, days, months, and years in the same way a more conventional “band” develops group intuition. While hands-on, the intuitive evolution of process locates a newfound freedom in his music that implies a recognition of the metaphysical or post-physical, while Mogard explicitly points to influence from the Brazilian music of Tom Zé, Antonio Carlos Jobim, and Chico Buarque, whose approach to shape and density, or perceptions of light and delicacy, also go some way to explaining the ephemeral intangibility of Above All Dreams. The results are best considered as the ephemera of non-verbal communications. From the gaseous bloom of “Quiet Dreams” to the opiated depth of “Where Not Even” to the starlit awn of “Upon The Smallish Circulation”, and through the B side’s keeling, 16 minute+ panoramas of “Above All Dreams” and “The Roof Falls”, the power of Abul Mogard’s dreams above all transcends sound, feeling, and physics in a truly remarkable way that evades words or concrete notation. RIYL: Alessandro Cortini, early Oneohtrix Point Never, Coil, Brian Eno. Master and cut by Matt Colton at Alchemy.

File Under: Ambient, Electronic, Drone
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ARC048_Unusual-Sounds_Product-Shots_Cover-Transparent_ARC-Site-600x776

David Hollander: Unusual Sounds
(Anthology) BOOK

In the heyday of low-budget television and scrappy genre filmmaking, producers who needed a soundtrack for their commercial entertainments could reach for a selection of library music: LPs of stock recordings whose contents fit any mood required. Though at the time, the use of such records was mostly a cost-cutting maneuver for productions that couldn’t afford to hire their own composer, the industry soon took on its own life: library publishers became major financial successes, and much of the work they released was truly extraordinary. In fact, many of these anonymous or pseudonymous scores-on-demand were crafted by the some of the greatest musical minds of the late 20th century—expert musicians and innovative composers who reveled in the freedoms offered, paradoxically, by this most corporate of fields. Unusual Sounds is a deep dive into a musical universe that has, until now, been accessible only to producers and record collectors; a celebration of this strange industry and an examination of its unique place at the nexus of art and commerce. Featuring original art by Robert Beatty and an introduction by George A. Romero—whose use of library music in Night of the Living Dead changed film history— Unusual Sounds is mandatory reading for anyone interested in this enigmatic field and its hidden but pervasive cultural influence. David Hollander is an artist, filmmaker and collector. He is a co-founder of CineMarfa, a film festival dedicated to showcasing rare and unseen films in Marfa, Texas. He lives in San Antonio.

File Under: Library, Books
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…..New Arrivals…..

amt

Acid Mothers Temple: Hallelujah Part 1 (Important) LP
Part One of Hallelujah Mystic Garden contains two long sides of blissed-out, super tight Acid Mothers Temple jams that somehow stretch into the future while staying strongly rooted in the group’s celebrated psychedelic history. Hallelujah! Another essential AMT classic including vocals from Cotton Casino! Recorded at Acid Mothers Temple, June 2016 to March 2017. Produced and mixed by Kawabata Makoto. Part Two will be released later in 2018 on Important Records. Personnel: Cotton Casino – voice, astral mama; Kawabata Makoto – guitar, fretless bass, bouzouki, organ, rhythm machine, electronics, tapes, speed guru; Higashi Hiroshi – synthesizer, noodle king; Mitsuko☆Tabata : guitar, guitar-synthesizer, voice, kisses & hugs; Satoshima Nani – drums, another dimension; S/T “Wolf” – bass, tapes, space & time. Packaged in a heavy duty single pocket sleeve with silver metallic inks. First pressing comes in an edition of 500.

File Under: Psych

akwassa

Akwassa: In The Groove (Oom Dooby Dochas) LP
Oom Dooby Dochas present a first-time reissue of Akwassa’s In The Groove, originally released in 1977. Nigeria had an utterly strong popular music scene in the 1970s, Afro beat and Afro funk were the hottest musical creations of the day and garage rock-oriented bands like Ofege or funky monsters Akwassa were at the forefront of the movement. In The Groove is Akwassa’s second album, despite recording three albums released under the moniker Heads Funk Band with exactly the same line-up as Akwassa from 1975 to 1978. However, the main difference between In The Groove and the earlier records is a more slick and polished feeling and a strong reggae element. Next to this, there are definitely a few more up-to-date disco funk influences that outweigh the classic raw street funk you’ll find on the predecessors of In The Groove. So the development in sound and style is obvious. In The Groove has an easier, more relaxed feeling. The atmosphere is bright and certainly reaches out for a wider audience. In The Groove was a perfect album that will appeal to each and every fan of funky music. All the members of Akwassa stayed with music after the band dissolved in the late ’70s, some of them until recent years, others straight up into the ’80s or ’90s. Even though this important Nigerian band called out its quit at some point, they left a rich legacy of music. Colorful and inspiring, this album is made to last forever due to the memorable hooks and harmonies. This official reissue of this monster rarity was overdue, and Afro funk lovers around the world will leap for joy as nearly all tunes could be played in a row to set the dancefloor ablaze.

File Under: Afrobeat, Funk
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SOAVE01718LP_CU

Daniel Bacalov: 1984/5 Il Ladro Di Anime (Soave) LP
Soave present a joint reissue of two of Daniel Bacalov’s albums: Il Ladro Di Anime (1984) and Diario Segreto Contraffatto (1985). Daniel Bacalov, composer of music for theater, cinema, and dance, studied classical guitar and percussion. He composed the music of numerous theatrical performances represented in many international theater festivals. His first two publications on LP were Il Ladro Di Anime, presented at the Venice Biennial of 1984 and Diario Segreto Contrattato. Soave offer these two fundamental documents of the period, reprinting them for the first time in a limited edition on double LP. The compositions are mainly structured on ethnic percussions played in a masterly manner, accompanied by acoustic guitars and synths of the time, in particular the DX7 and PPG Wave. The dictated rhythm unites the show as a universal and indeterminate single body. In those years the theater in Italy broke from its usual codes, mixing “high” and “low” culture, introducing a new language and new reflections, redefining the theatrical event and the need to investigate all the territories of creativity; in this panorama the sounds and the music assumed a central importance that today remain the most concrete testimony of that extremely creative experimental period.

File Under: Ambient, Electronic, Percussion
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bailey

Derek Bailey: Aida (Honest Jon’s) LP
Continuing their ongoing series of reissues of music by Derek Bailey, Honest Jon’s Records present a first vinyl reissue of Aida, originally released on the guitarist’s own Incus label in 1980. Expanded for this release, the present version of this masterwork adds two hitherto unreleased gems recorded solo for Charles Fox’s Radio 3 program Jazz in Britain, in the same few months of 1980 as the stunning original performances. The phrase “in the moment” is often bandied about with reference to free improvisation, and indeed there’s no better way to describe Derek Bailey’s playing. The acoustic guitar is notoriously lacking in natural reverberation — notes barely hang in the air for a couple of seconds before they disappear — which explains the almost non-stop flow of new material in these stellar performances. Bailey knew from one split-second to the next exactly where to find the same pitch on different strings, either as a stopped tone or a ringing harmonic, and there’s never a note out of place. “He who kisses the joy as it flies,” in the words of William Blake, “lives in eternity’s sunrise” — and this music is forever in the moment, constantly active but never gabby, kissing the joy. One of the special pleasures of the BBC set is the guitarist’s own laconic commentary, a deliciously deadpan description of what he’s doing while he’s doing it. “I like to think of it — as a kind of music” — and the interaction between words and music is a particular delight. “You may have noticed a certain lack of variety,” he quips, while unleashing a furiously complex volley. Is it a coincidence that the final seconds recall the famous cycling fifths of the coda to Thelonious Monk’s “Round Midnight”? Surely not; Bailey, like Monk, was a note man par excellence; they’re both still alive and well in eternity’s sunrise.

File Under: Free Jazz
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drumphilia

Andrea Benini: Drumphilia Vol. 1 (Cristalline) LP
Andrea Benini’s Drumphilia Volume 1 is a rhythmic experiment that sits on the fault line between traditional instrumentation and analog electronics. The project is a response to Benini’s many years spent working with, learning about, and listening to African and Caribbean percussion. Traditional rhythmic influences are combined with analog drum machines and drum synths to create a hybrid sound that continues in the tradition of artists like Francis Bebey. There are no traditional harmonic instruments on the recordings — the aim was to create melody and texture using only carefully tuned percussion instruments, whether organic or electronic. Basslines were created by blending drum synth tones with the acoustic marimbula, a traditional Caribbean instrument that was often used in place of a bass guitar. Melodies were created with everything from log drums and thumb pianos to early Soviet drum modules and the trailblazing Pearl Syncussion SY-1. Various time signatures and textures are used across the album to produce melody out of rhythm — hypnotic, evolving tracks that celebrate and highlight the importance of rhythm in modern music. All the sessions were recorded at the Mop Mop Studio in Berlin between September and December of 2016. Written, performed, arranged and produced by Andrea Benini. Mixed by Andrea Benini and Andrea Scardovi at Duna Studio (RA) Italy. Andrea Benini – electronic drums, analog drum machines, drum synthesizers, bass synthesizers, syncussion, percussions, log drum, marimbula, kalimba, sansula; Danilo Mineo – Jew’s harp; Max Castlunger – balafon, kalimba, percussions. Instruments featured include: Log drum, marimbula, kalimba, sansula, krabebs, Pearl Syncussion SY-1, Vermona DRM1, MFB Tanzbär, MFB Tanzmaus RMIF Elsita, assorted drum machines, and talkboxes. Liner notes by Hugo Mendez.

File Under: Electronic, African Percussion
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brotzmann

Peter Brotzmann Octet: Machine Gun (Cien Fuegos) LP
Cien Fuegos present a reissue of the Peter Brötzmann Octet’s Machine Gun, originally released in 1968. One of the most important albums of European free jazz, finally in the Cien Fuegos series. Recorded May 1968 at “Lila Eule”, Bremen. Personnel: Peter Brötzmann – baritone saxophone, tenor saxophone; Peter Kowald – acoustic bass; Buschi Niebergall – acoustic bass; Sven-Ake Johansson – drums; Han Bennink – drums; Fred Van Hove – piano; Evan Parker – tenor saxophone; Willem Breuker – tenor saxophone.

File Under: Free Jazz
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brotzalt

Peter Brotzmann Octet: Machine Gun – Alternate Takes (Cien Fuegos) LP
Alternate versions, never before released on vinyl from Peter Brötzmann Octet’s Machine Gun (1968). Personnel: Peter Brötzmann – baritone saxophone, tenor saxophone; Peter Kowald – acoustic bass; Buschi Niebergall – acoustic bass; Sven-Ake Johansson – drums; Han Bennink – drums; Fred Van Hove – piano; Evan Parker – tenor saxophone; Willem Breuker – tenor saxophone.

File Under: Free Jazz
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cherry

Don Cherry: Home Boy, Sister Out (Wewantsound) LP
Don Cherry’s downtown Paris funk masterwork Home Boy, Sister Out, produced in 1985 by Ramuntcho Matta and originally released by Barclay in France only, finally gets a worldwide release on Wewantsounds. Featuring French post-punk muse Elli Medeiros, avant-garde poet Brion Gysin, and cult Senegalese drummer Abdoulaye Prosper Niang (Xalam), this is a unique soundbite of Paris in the early ’80s at its coolest when funk, jazz, and new wave were mingling with sounds from Africa, Jamaica, and Latin America. Recorded at the legendary Studio Caroline in Paris, a hotbed for the African diaspora in Paris the ’80s, and produced by cult French-Chilean musician and producer Ramuntcho Matta (his father is painter Roberto Matta and half-brother is cult New York artist Gordon Matta-Clark), Home Boy, Sister Out is one of Don Cherry’s funkiest albums. Coming back from New York where Matta had immersed himself in the downtown scene working with the likes of Peter Gordon, Arto Lindsay, The Talking Heads, Meredith Monk, and Laurie Anderson, he crossed path with the American trumpet player in Paris by chance. It was love at first sight and together they had the idea of an album where Cherry would not only play but also sing. Accompanied by a first class cast of musicians from the Paris scene, they recorded Home Boy, Sister Out in Spring 1985. Very little known outside of France, where it has achieved cult status in some circles, the album embodies the spirit of the “Sono Mondiale”, the multi-ethnic sound of ’80s Paris, pioneered by Radio Nova and Celluloid Records. Featuring legendary Senegalese drummer, Abdoulaye Prosper Niang (Xalam), Negrito Trasante, Elli Medeiros, Jannick Top, and Don Cherry on various instruments plus vocals, the album is a fascinating mix of Downtown New York funk, jazz, new wave, reggae, and African music. The release also includes a handful of bonus tracks taken from Ramuntcho Matta’s vaults including the cult 1983 single “Kick” featuring legendary multi-artist Brion Gysin who’s influenced such artists as David Bowie, Keith Haring, John Zorn, Brian Jones, Genesis P-Orridge, among others. A fascinating album. Newly remastered. Includes five bonus tracks.

File Under: Jazz, Funk
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cohensolal

Jean Cohen-Solal: Captain Tarthopom (Souffle Continu) LP
Souffle Continu Records present the first ever reissue of Jean Cohen-Solal’s Captain Tarthopom, originally released in 1973. “Nothing can stop a flutist. We can do whatever we want, whatever we feel. My flute, is a mirror of myself. I express feelings more easily with the flute than with language.” This is what Jean Cohen-Solal said on the cover of his first album released in 1972, Flûtes Libres, renowned for its adventurous overdubbing of alto, piccolo, and bass flutes, in treble or in C and ocarina. Mentioned on the famous Nurse With Wound list, the path followed by Jean Cohen-Solal included many exciting adventures in the 1970s, from his participation in the cult animation series Les Shadoks where his voice can be heard alongside the actor Claude Piéplu, to his proximity to the GRM where he worked alongside Bernard Parmegiani, François Bayle, Luc Ferrari, Guy Reibel, and Béatrice Ferreyra, or his involvement in progressive music with Captain Tarthopom, an album very much in the same style as that featured in Europe on the Vertigo label, but in an instrumental form, and even more audacious, without turning its back on the same classical influences as everyone else. It is impossible to pin a label on Jean Cohen-Solal, he is the equal of his Anglo-Saxon counterparts Bob Downes, Harold McNair, Jon Field (Jade Warrior), and Jeremy Steig, just to mention the most creative of the bunch. His affinity with strings, already heard in his work with Serge Franklin (author of the ineffable Free Sitar) on Flûtes Libres, is perfectly echoed here by the work of Jean-Claude Deblais, himself author of one of the little-known summits of sound illustration and French underground music: Le Miroir Du Fantastique (1977). Licensed from Jean Cohen-Solal. Includes eight-page booklet. Clear vinyl; Obi strip; Edition of 700.

File Under: Experimental
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container

Container: LP (Spectrum Spools) LP
Ren Schofield has returned with a new installment in his notorious LP series for Spectrum Spools. LP has all the earmarks of the classic Container sound with its uber-mangled, saturated tape garble and headlong tempo macabre. However, this new set of tracks feature an attention to composition unlike much of the Container you’ve previously heard. While the tracks unfurl across two sides of wax the contours and jagged edges of each sonic sculpture display a new refinement while maintaining the full capacity to vaporize any club floor with Container’s traditional recklessness. Miraculously, this new LP manages to incorporate some more traditionally “musical” elements thus far untouched upon in the projects output while simultaneously delivering it’s most damaged and blown out offering yet. Despite leaving a trail of albums that get more intense with each passing year, this LP is bar none the most loaded. The tracks feature a trajectory with narrative, surrounded by broken acid basslines grating against disintegrating tape loops. This is the infectious and singular hypnosis Container has become well-known for. Overloaded drum patterns, washes of feedback, and dying melodies — it’s all here and somehow it’s restructured to be different and better than ever before. With this latest installment, there are no longer shambles but merely dust left behind. As Container continues to evolve in an upward motion, LP presents a refreshing and welcome new chapter. Recorded in Cleveland, Ohio in October 2017 by Andrew Veres. Artwork by Ren Schofield.

File Under: Electronic
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IWC

Ian William Craig: A Turn of Breath (Recital) LP
Recital present a deluxe edition of Ian William Craig’s landmark debut album A Turn Of Breath, originally released in 2014. The first Recital album to get exceptional notoriety, here it is in its final form, with an additional LP of unpublished material. Here is the original description Sean McCann wrote four years ago for it’s original release: “Recital here presents the premiere LP by vocalist Ian William Craig (b. 1980, Edmonton). Ian, a trained opera singer, delivers an elegant balance between theatrical and ambient sentiments. A Turn Of Breath combines the essence of a choral LP from Angel Records or Deutsche Grammophon with the spontaneity of experimental home-recording. This collection holds twelve works for voice and ¼” tape, recorded from 2011-2013. Voice appears as the sun’s light through a vast storm; still obscured by tape malfunctions and manipulations. A system of reel-to-reels is employed, which yields a lovely sort of morphing repetition. Each iteration crumbles as more harmony is placed on top, residual tones spilling off the sides into nothingness. Craig’s innate ability to sing beautiful, sorrowful melodies carries each track. The pieces on A Turn Of Breath vary from grand choral meditations to quiet interludes, and even a few impressionistic ‘songs’ accompanied by faint acoustic guitar. An overarching warmth resonates through each side, making this a very pleasant listen. A suitable compliment to a pot of coffee in the morning or a glass of armagnac in the evening.”

File Under: Ambient, Electronic, Choral
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de leon

De Leon: s/t (Mana) LP
“Gamelan and capoeira in dub. The collective behind this doesn’t like to talk much but their music is beautifully conversational. De Leon is the most organic and percussive of their shifting identities, developed on their Aught project in small-run, clear-shell cassette tape releases over the last few years. They’ve appreciated a cult interest for their takes on outernational rhythm, field recording, and the tension and relief on the knife-edge of dance music; all delivered with an impressive commitment to anonymity and clarity of vision through cut-and-dried aesthetic minimalism. These six pieces of music seem formed from wood, metal, air. Dramatic, balletic flourishes and tightly woven interlocking patterns are embedded in slowly changing and ‘live’ atmospheres. The shadow of a hand over the mixing desk makes gradual adjustments to alter the pressure and dimension of the space. Lean, organic, percussive, warmly engaging. A cracker. Bim.”

File Under: Electronic, Percussion
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dozzy

Donoto Dozzy: Filo Loves the Acid (Tresor) LP
For its 303rd release, Tresor present a commissioned work by Donato Dozzy, Filo Loves The Acid. Rome-based production maestro and DJ extraordinaire Donato Dozzy is unanimously considered as an illustrious leading light in all techno artforms. Along his long career and extensive discography, Dozzy has proven to use his instruments most interesting ways, always re-inventing his music, always presenting new approaches to both the deeper and the more rhythmic forms of electronic music. It was self-evident to Tresor to enroll Donato Dozzy’s talents for this assignment, a nod to the seminal Roland TB-303 bass synthesizer. The result is a relentless collection of radical, propulsive, and bleeding-heart acid tracks. Donato Dozzy wishes to dedicate this work to his lifelong friend Filo.

File Under: Electronic, Acid
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imortal

Immortal: Northern Chaos Gods (Nuclear Blast) LP
“WHITE & BLACK SPLATTER VINYL – LIMITED TO 500 COPIES – INDIE-SHOPS-ONLY”. Founded in 1991 Immortal has often been the bench mark when it comes to quality extreme metal. The Norwegian natives released their debut album “Diabolical Fullmoon Mysticism” in 1992. Since then they have released eight full length releases, the last two, “All Shall Fall” (2009) and “Sons of Northern Darkness” (2002), were released on Nuclear Blast.

File Under: Metal
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gray

Eiko Ishibashi & Darin Gray: Ichida (Black Truffle) LP
Black Truffle present the release of Ichida, the first release from the duo of two important, yet often underappreciated musicians, Eiko Ishibashi and Darin Gray. Ishibashi is a singer-songwriter, keyboardist, drummer, and multi-instrumentalist, known in Japan both for her own elaborately conceptual solo albums and for her frequent collaborations with figures such as Jim O’Rourke, Merzbow, and Phew. Darin Gray is a bassist and multi-instrumentalist known for a multitude of collaborations (with O’Rourke and Loren Connors, among many others), for On Fillmore, his cinematic post-exotica project with Glenn Kotche, and as one half of Chikamorachi with Chris Corsano, one of the finest free-jazz rhythm sections around. Presenting the entirely of a live set performed at Tokyo’s Super Deluxe in March 2013, the set begins as a duet for Ishibashi’s flute and Gray’s upright bass. Calmly melodic yet harmonically inventive, with shades of “spiritual jazz”, the pair’s acoustic ruminations are gradually joined by Ishibashi’s lush electronics, which randomly flicker between chords in a manner recalling the classic work of David Behrman. As the electronics build into a gloomy fog of slowly cycling loops, Gray lays his bass aside and turns to making strangely mournful interjections on a mouthpiece. Eventually Ishibashi moves to the piano, enveloping the audience in rippling pools of sustained, octave-doubled melody, provided by Gray’s bass with a fluid and dynamic foundation. For much of the second side, both Ishibashi and Gray turn to electronics, ultimately arriving in a bizarre space of melancholic arpeggios and random sputter and sizzle, oddly reminiscent of ’70s outsider prog acts like Wapassou. An uneasy coda of rich piano chords ends the set. Captured in warm room ambience and beautifully mixed by Jim O’Rourke, Ichida is a rare combination of improvisational acumen and emotional directness, both adventurous and immediately accessible. Cover pics by Jim O’Rourke. Design by Stephen O’Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin.

File Under: Experimental
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mausJohn Maus: Songs (Ribbon) LP
Broadly cut from the synth pop cloth, enigmatic Austin, MN musician John Maus has fashioned the frosty minimalism of its fabric into a cloak of infinite meaning, genuine grace and absurdist humor over the course of five defining albums since 2006, most recently being 2017’s Screen Memories and 2018’s Addendum. Ribbon Music is pleased to present heavyweight 180g vinyl reissues of Maus’s long out of print first three full length albums – Songs (2006), Love Is Real (2007) and We Must Become the Pitiless Censors of Ourselves (2011) – with audio sourced from the original masters and lacquers cut at Abbey Road Mastering. Questing synthesizers, tensely strung bass lines and chasing drum machines provide the perfect backdrop for Maus’s deeply resonant reverb-drenched vocals. Born in the decade of synth pop and sharing his birthday with George Frideric Handel, John started making music when Nirvana posters went up on every teenager’s wall. It’s this curious conflux of influences that help to describe John’s music. It’s a world where the Germs jam with Jerry Goldsmith, Cabaret Voltaire relocate to Eternia and Josquin des Prez writes a new score for RoboCop. The confrontation of punk, the fleeting poignancy of ’80s movie soundtracks, the insistent pulse of Moroder and the spirituality of Medieval and Baroque music all find salvation in his music. John’s debut album proper simply entitled Songs was released through Upset The Rhythm in 2006. It’s a record permeated with aching memories; a perfect testimony to lost romance and longing.

File Under: Synth Pop
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mauslove

John Maus: Love is Real (Ribbon) LP
Broadly cut from the synth pop cloth, enigmatic Austin, MN musician John Maus has fashioned the frosty minimalism of its fabric into a cloak of infinite meaning, genuine grace and absurdist humor over the course of five defining albums since 2006, most recently being 2017’s Screen Memories and 2018’s Addendum. Ribbon Music is pleased to present heavyweight 180g vinyl reissues of Maus’s long out of print first three full length albums – Songs (2006), Love Is Real (2007) and We Must Become the Pitiless Censors of Ourselves (2011) – with audio sourced from the original masters and lacquers cut at Abbey Road Mastering. Questing synthesizers, tensely strung bass lines and chasing drum machines provide the perfect backdrop for Maus’s deeply resonant reverb-drenched vocals. Born in the decade of synth pop and sharing his birthday with George Frideric Handel, John started making music when Nirvana posters went up on every teenager’s wall. It’s this curious conflux of influences that help to describe John’s music. It’s a world where the Germs jam with Jerry Goldsmith, Cabaret Voltaire relocate to Eternia and Josquin des Prez writes a new score for RoboCop. The confrontation of punk, the fleeting poignancy of ’80s movie soundtracks, the insistent pulse of Moroder and the spirituality of Medieval and Baroque music all find salvation in his music. John’s debut album proper entitled Songs was released through Upset The Rhythm in 2006. It’s a record permeated with aching memories; a perfect testimony to lost romance and longing. It’s awe-inspired follow-up Love Is Real (released on UTR, 2007) proved a more cohesive listen in terms of focus and emotional depth.

File Under: Synth Pop
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mcbee

Cecil McBee: Mutima (Everland Jazz) LP
A reissue of Cecil McBee’s Mutima, originally released in 1974. Licensed by Strata-East Records. “A landmark recording in early creative improvised modern music, bassist Cecil McBee’s recording for the Strata East label is an important document introducing him as a leader from the international jazz-based scene in New York City via his native Tulsa, OK and following a brief mid-60s stint in Detroit. McBee as a pure musician has staggering technique, rich harmonic ideas, and an indefatigable swing, but it is as a composer that he is set apart from other musicians of this mid-’70s era . . . In retrospect, McBee’s great career was ostensibly launched well before this recording, having worked with prominently with Charles Lloyd, Alice Coltrane, Pharoah Sanders, Yusef Lateef, Charles Tolliver, and countless others. Mutima (translated as ‘unseen forces’) undoubtedly solidified his stature and brilliance as a major player.”–Michael G. Nastos, All Music

File Under: Spiritual Jazz
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OY

Optiganally Yours: O.Y. in Hi Fi (Joyful Noise) LP
The Optigan was a chord organ made by Mattel in the early 1970s. This intriguing instrument played back lo-fi sound loops on flexible LP-sized discs, each disc containing optically-encoded rhythm section grooves in a particular style of music (ie country, bossa nova, etc), along with drum loops and keyboard tones. Think of it as the 1970s version of GarageBand, where amateur musicians could put together their own songs using loops of recordings by professional musicians. Optiganally Yours started in the mid 1990s when one of Rob Crow’s housemates, Pea Hix, became obsessed with the magnificent Optigan. When Pea had the idea to start a band around these haunting sounds, Rob chimed in and said “I’ll be the singer, and the band will be called Optiganally Yours.” O.Y.’s first album, Spotlight On Optiganally Yours, was released on Cargo/Headhunter Records in 1997, along with a suitably grainy music video for the single “Mr. Wilson” (which is, perhaps, the band’s most well-known song to date). In 2000, a second album, Optiganally Yours Presents: Exclusively Talentmaker, was released on Absolutely Kosher Records (US) and Vroomsound (Japan). This album jettisoned the Optigan in favor of two related instruments, which utilized the same technology: the Chilton Talentmaker and the Vako Orchestron. Shortly after the release of Exclusively Talentmaker, work began on a third release. Through much research and a little detective work, Pea rescued the original studio master tapes – which held all of the sounds recorded for the Optigan discs – from a SoCal garage, and set out to assemble basic tracks from the thousands of loops and samples the tapes contained. Since the tapes contained large amounts of material that never made it onto Optigan discs in the 1970s, there was a lot of fresh territory to explore. In contrast to the grainy, lo-fi sound of the Optigan discs, these sounds were all hi-fi studio quality. O.Y. in Hi-Fi was born. “Several of these sessions never became discs, so Pea chopped them up, as you would with a real Optigan,” says Crow. “And we wrote all these new songs using these materials, in addition to my guitar and voice of course. I think it’s the best record I’ve ever done.”

File Under: Electronic, Indie Rock
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paradisePaul Page & His Paradise Music: Pacific Paradise (Subliminal Sounds) LP
Comes in thick, magazine-style format. 32-page booklet. Paul Page — poet, pagan, and playboy of Polynesian pop and Hapa Haole exotica. The music on this unusual exotic album, takes you right to the ocean’s edge, mingles you with jungle drums and animals, the booming surf, seagulls, and ocean liners in a coral kaleidoscope of sounds. This is the real deal authentic tiki bar soundtrack. Paul Page and his Paradise Music entertained in Polynesian themed restaurants all over Southern California from the late ’30s to the mid-60s, then all the way out to the Kona Coast during the late ’60s and early ’70s. The whole time, he kept leaving behind these little independent albums, recorded specifically for the purpose of selling them to the people coming to his small venue shows… which, when you think about it, is basically what all the most-worthy bands to dig do these days, outside the doting eye of the lame record industry. Dude was so ahead of his time! Paul Page was a singer, piano player, bandleader, writer/composer, radio, and TV host, artist of oils, professional basketball player, and much more. He published many albums during the 1950s-60s and wrote hundreds of songs. His story has never previously been told and his original recordings are very rare, in fact some of them are completely unknown and undocumented, and much sought after by collectors. Paul Page is really the only one to mix actual, authentic Hawaiian music and other Polynesian and Pacific Ocean influences, with the nomadic feel of the seafaring Anglo working sailor man with a sense of American pop sophistication, based in jazz-age. It is his cheerful insistence to employ every known cliché from the Polynesian pop dictionary that makes his stylings so charming to today’s tiki lounger. Subliminal Sounds now brings you the full Paul Page saga on this comprehensive compilation. Includes a 32-page booklet with in-depth liner notes by author and pop historian Domenic Priore, with a foreword by author and urban archeologist Sven Kirsten.

File Under: Exotica
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DOO17008LP_CUGerald Pino & The Heart Beats: Afro Soco Soul Live
(Oom Dooby Dochas) LP

Oom Dooby Dochas present a reissue of Geraldo Pino & The Heartbeats’ Afro Soco Soul Live, originally released in 1972. Pino was born in Sierra Leone in the 1930s. He was the son to a lawyer working in Nigeria, lost his mother and sister at a very young age, and found relief in music. He played social clubs by the early ’60s with his newly founded band The Heartbeats delivering cover-versions of American hits and Congolese rumba tunes that were then utterly popular in the West Africa area. The Heartbeats literally played until their fingers bled in popular night clubs in Sierra Leone, became one of the highest earning bands of Western Africa and were even able to put up their own television show after television had been introduced in Sierra Leone in 1962. All those developments put Geraldo Pino and his band in the position as leading figures in the African popular music that even Fela Kuti cited Geraldo Pino & The Heartbeats as a major influence. Geraldo Pino lived and played in his area, Sierra Leone, Ghana, Nigeria, and created some of the hottest funky sounds with sophisticated sound gear, outstanding clothing, and songs that made your blood boil. After a few 7″ releases throughout the 1960s the first real album of Geraldo Pino & The Heartbeats hit the scene in 1972. Afro Soco Soul Live is as the title suggests an album that has been recorded at a concert and Geraldo Pino often communicates with the utterly enthusiastic audience, gives longer announcements between the songs, or introduces his lead guitarist before he starts a simmering solo. All songs here have an average length of six minutes and, despite their composed parts, show this free jammy flow. The basic style is funk with soulful vocals which gets mixed up with traditional African percussion grooves. This album swallows you with its mesmerizing rhythms. The funky Hammond B3 organ is omnipresent on all the tracks and duels with the wild and completely unleashed lead guitar from time to time. Due to the crisp and clear sound, this record gives you the feeling of being right at the scene. It is no wonder that this record is a popular gem in Western Africa. Original copies of this album go for several hundred USD if they ever turn up. A sacred gem of African funk music reissued.

File Under: Afrobeat, Funk, Soul
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promise

Promise Ring: Very Emergency (Jade Tree) LP
Very Emergency (1999) is the third album by The Promise Ring. This album sees the band continuing to explore the sounds they had started on their previous release Nothing Feels Good, a more pop – rock leaning when compared to their debut. The Promise Ring’s hook-packed pop sensibility was unique for the genre at the time and helped them inject a shimmery energy into emo that still feels fresh today. Hailing from Milwaukee, The Promise Ring weren’t just emblematic of ‘90s Midwestern emo: they were one of the most celebrated bands in the history of the genre. Under the leadership of frontman Davey Von Bohlen of Cap’n Jazz, their sound incorporated elements of power pop that would become more popular in later years. They broke up in 2002 and after nearly a decade of inactivity The Promise Ring officially reunited in February 2012.

File Under: Indie Rock, Emo
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reyes

Jorges Reyes/Antonio Zepeda: A La Izquierda Del Colibri
(Emotional Rescue) LP

The late Jorge Reyes was a leading figure in Mexican experimental music, and this album recorded with Antonio Zepeda is one of his earliest and most striking works. Originally released in 1986, A La Izquierda Del Colibri is a worldly product of the era in the same way as the work of Jah Wobble and Brian Eno, rich in new wave funk but reaching to a higher plane thanks to all manner of sonic devices. From treated jungle sounds to swooping pads, the whole album feels like an exotic trek through the heat and mystery of Central America, at times leaving the Western world far behind and at other times embracing it. A captivating listen.

File Under: Metal
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ty-segall-white-fence-joy-1531147498-640x636-1531165939-640x6361-1531943057-640x636Ty Segall & White Fence: Joy (Drag City) LP
Ty Segall and White Fence are become one again, regrooving what we once called “Hair” into what is now “Joy”. If, as the dyphrenic duo indeed affirm on “Joy”, rock in 2018 is dead, don’’t come around here looking for no burial. Instead, find “Joy” caught up in the commencement of on-beyond rock; music made with the old tools, but emitted from a fresh new, single-celled organism. With “Joy”, Tim and Ty arrive without travelling from the same place, occupy one single headspace, finishing the other’s phrases, pulling licks from each other’s places. Both these fellows have been known to trifle with tropic pasts and reactivate vintage visions within their new music. Not now. Now is the only time this time – “Joy” is their own sound of today, a shared individuality, prisming all possible stances into an unseamly metastasis that FLOWS for 15 ebbcentric tracks.

File Under: Rock, Psych
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vox

Vox Populi!: Magiques Creations (Emotional Rescue) LP
Following the excellent reissue of Aither last year, Emotional Rescue return to the dreamy, decidedly tripped out sound world of French-Persian outfit Vox Populi! with this enchanting collection of early rarities from the early to mid 80s. There’s a range of moods on offer here, sounding very much of the era with dashes of On-U dub colliding with kosmische and the worldly outlook of Byrne, Eno, Hassell et al. It’s a varied listen and a wonderful introduction to a band that could have so easily been more widely appreciated if they had managed to break out of the French underground.

File Under: Electronic, Experimental, Industrial
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west

Kanye West: Ye (Def Jam) LP
Kanye West makes good on his promise of new music, dropping his eighth studio album, ye following weeks of buzz and notoriety surrounding its release. In true Kanye fashion, he premiered the album at a listening party in the wilds of Wyoming with dozens of celebrities, musicians, journalists and industry executives that were flown in for the festivities and he live streamed it for all of the world to witness. The follow-up to 2016’s Life Of Pablo is not without some Kanye trademarks, sample-leaning beats and a laundry list of featured artists that includes guest appearances from Nicki Minaj, Kid Cudi, John Legend, Ty Dolla $ign, Jeremih, Young Thug and Charlie Wilson. At only seven tracks, Kanye still manages to pack an emotional punch on ye, answering his critics and bringing to light some of his internal drama during his two-year hiatus through verse and some soulful samples.

File Under: Hip Hop
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give me

Various: Give Me My Flowers (Third Man) LP
“Powerhouse Gospel on Nashboro Records” .. Founded in 1951 by independent record store owner and radio show promoter Ernie Young, Nashville, TN’s Nashboro Records recorded some of the most potent and forceful gospel music of the time period. Although initially begun in response to overwhelming demand for gospel locally, Nashboro quickly became nationally applauded for its curatorial prowess (under the guidance of Rev. Dr. Morgan Babb of the Radio Four) and signature production style. The lightly-reverbed, clear sound of a Nashboro record is unmistakable. Give Me My Flowers is a compilation of some of the finest cuts released by Nashboro Records, many of which have not been previously reissued. It kicks off with a total banger, The Hightower Brothers’ “Until He Comes,” which would have made an amazing cover song for Spacemen 3. Iola and Sullivan Pugh, also known as The Consolers, top off the A-side of the compilation with the intensely potent namesake track, “Give Me My Flowers”. A final highlight is “Almighty God” from Sister Pope and the Pearly Gates; dare you to get it out of your head after you hear the chorus even once. Not only are the featured artists endlessly skilled at their craft, their songs are absolutely explosive. This is the opposite of indifference or irony; there is a mission here, steeped in a full-heartedness that can only be derived from selfless devotion. Additionally, the songs featured on Give Me My Flowers are representative of a far too overlooked and important chapter in Nashville’s music history. These musicians, store employees and businesspeople played a critical role in building the infrastructure for independent music to flourish in their city. Naturally, it is a cornerstone in Third Man’s long-term mission to support and highlight the complete music histories of Tennessee and Michigan, from the most rightfully revered to the most critically under-represented. All of these tracks were assembled with producer and journalist Mike McGonigal (Detroit Gospel Reissue Project, Temperature’s Rising: An Oral History of Galaxie 500) and transferred directly from the 45 collection of Kevin Nutt (Case Quarter Records, Sinner’s Crossroads radio program).

File Under: Gospel, Blues

onda

Various: Onda De Amor (Soundways) LP
16 rare synth cuts from ’80s and ’90s Brazil, compiled by Brazilian DJ Millos Kaiser. Some crate-digging compilations are often the result of someone hand-picking their choice favorites from another country’s musical history, perhaps unaware or uninvolved with its cultural lineage in the process. On Soundway’s latest release — a treasure trove of synth jams, pop, samba boogie, Balearic, and electro from ’80s and ’90s Brazil — the tracks are picked by Millos Kaiser, one half of the Brazilian duo Selvagem, who are at the helm of throwing some of the country’s best dance parties. It’s a rare compilation that offers Brazilian music actually picked by a Brazilian. Whilst names such as Ricardo Bomba, Villa Box, Fogo Baiano, Electric Boogies, and Batista Junior may not be household names, they tell an untold, yet rich and important part of musical history in Brazil. The release also covers a decade that has been intentionally forgotten and brushed aside by many in the country. Onda De Amor is a release that is loaded with smooth grooves, bubbling bass, glistening synthesizers, funk-strutting guitar lines, and sheen of production that undeniably marks it of its time. For Kaiser this compilation is about reintroducing music during a period of reappraisal, catching a new wave and hoping contemporary listeners will ride it with him. “The idea is to do justice to these songs. Songs that combine all the right ingredients that should have put them on radio playlists when I was growing up or at least in the cases of more adventurous DJs.” Millos Kaiser is a DJ, digger, vinyl junkie/dealer born in Rio de Janeiro and living in São Paulo for the past eight years. He launched the dance party/club night Selvagem with partner Trepanado in 2010, bringing thousands of dancers one Sunday a month to a public square in the heart of São Paulo. RIYL: Music From Memory’s Outro Tempo Brazil compilation, Spacetalk compilations, Sabor Do Brasil compilations, Selvagem’s Boiler Room set, Mr Bongo’s Brazilian compilations. Features Ricardo Bomba, Vânia Bastos, Rosana Mendes & Grupo Veneno, Grupo Controle Digital, Villa Box, Batista Junior, Dado Brazzawilly, Anacy Arcanjo, Fogo Baiano, Dodô Da Bahia & As Virgens De Porto Seguro, Via Negromonte, Electric Boogies, Os Abelhudos, Nanda Rossi, André Melo, and Região Abissal.

File Under: Rock, Experimental, World
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shake

Various: Shake Your Bones Vol 2 (Stag-O-Lee) LP
After the highly successful first volume in the Stag-O-Lee DJ set series, the label presents Volume 2. Again an 80-minute set, this time by Stuttgart-based DJ Joe Whirlypop. Joe is a jack of all trades, someone who can make a wedding crowd dance, is well-versed in new wave and punk and everything in between. But his biggest love is the ’50s and early ’60s. He is playing all over Stuttgart for years, but these two discs reflect his monthly Shake Your Bones residency at Stuttgart’s famous Goldmarks club. Expect all kinds of blues, from jump to rhythm and to raw electric. Features B.B. King, Varetta Dillard, The 5 Royales, Groovey Joe Poovey, Gene And Eunice, Tennessee Ernie Ford, Screamin’ Jay Hawkins, Bo Davis & Eddie Cochran, Little Sylvia, Little Walter, Joe Turner, Slim Harpo, Johnny Burnette, Moose Jackson and His Bearcats, Vince Taylor & His Playboys, Clarence “Frogman” Henry, Muddy Waters, Joe Ann Henderson, The Mariners, Joe Benson, Sid King, Slim Rhodes, Chuck Miller, Thurston Harris And The Sharps, Ruth Brown, Ray Charles, Bill Haley, The Swallows, Johnny Otis, Preston Love, Ella Johnson, and Serge Gainsbourg.

File Under: RnB, Party Jams

…..Restocks…..

Courtney Barnett & Kurt Vile: Lotsa Sea Lice (Matador) LP
Beak>: s/t (Temporary Residence) LP
Jean-Michel Blais: Dans Ma Main (Arts & Crafts) LP
Breeders: Last Splash (4AD) LP0
Nick Cave: From Her to Eternity (Mute) LP
Don Cherry: Complete Communion (Blue Note) LP
Childish Gambino: Because the Internet (Glassnote) LP
Sonny Clark: Cool Struttin’ (Blue Note) LP
Czarface: Every Hero Needs a Villain ( ) LP
Ella Fitzgerald: Mack the Knife (Verve) LP
Gorillaz: The Now Now (Parlophone) LP
Robert Haigh: Creatures of the Deep (Unseen Worlds) LP
Johann Johannsson: IBM 1401 (4AD) LP
Kacy & Clayton: Siren’s Song (New West) LP
King Gizzard & the Lizard Wizard: Paper Mache Balloon (ATO) LP
MF Doom: Operation: Doomsday (Metal Face) LP
Modern Lovers: s/t (Music on Vinyl) LP
OST: Akira (Milan) LP
Parquet Courts: Wide Awake (Rough Trade) LP
Princess Nokia: 1992 (Rough Trade) LP
Michael Rault: It’s A New Day Tonight (Sleepless) LP
US Girls: A Poem Unlimited (Royal Mountain) LP
Various: Habibi Funk (Habibi Funk) LP
Various: Son Cubano NYC (Honest Jon’s) LP

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…..news letter #857 – doggin’ it…..

Well we’re really in the thick of it, the dog days of summer. Not a lot in this week. Everyone is away. Even my whole family, so if you’ve been in this week, you got to see our dog! Anywno, hope you are having a smashing summer and enjoying the heat, if you need to cool down, our A/C is cranked. Come down for a dig.

…..picks of the week…..

beak2

Beak>: >> (Temporary Residence) LP
To celebrate the addition of Bristol’s preeminent out-rock trio, Beak>, to the Temporary Residence family, the label reissues their acclaimed second album >> on audiophile-quality double vinyl. Remastered for the format by Josh Bonati, and packaged in a heavyweight foil-stamped jacket, >> includes the original album in its entirety, as well as a vinyl-only bonus track not available on the CD or Digital formats. Following the release of his Quakers hip-hop project, and the Judge Dredd-inspired Drokk soundtrack collaboration, Geoff Barrow unveiled the 2012 second album by Beak>, the krautrock-influenced band formed with Billy Fuller and Matt Williams in 2009. There is an accepted music industry strategy, mainly from the mouths of experienced music managers and A&R men, that for a band to get ready to present themselves to the world they should go on tour. In most cases this advice works; the band hone their craft on the road so by the time they get on to late-night TV and summer festivals, they can amaze with their slick, tight rock performance. However, this doesn’t always work. Beak> recorded their eponymous debut in Bristol, created from 12 days of improv sessions and then edited into song form. Shorty after releasing it, the band went on a successful tour, playing various festival dates across Europe and the U.S. Buzzing from the tour, Beak> promptly returned to the studio to start work on album No. 2, only to find that the time on the road had taken its toll on the band’s delicately sensitive and creative nature – and, by consequence, had turned them into a truly awful-sounding pub prog-rock band. The magic had gone. It seemed that the band were thoroughly moribund. Until…one rainy afternoon in Bristol – after many tortured, truly terrible recording sessions – something changed. It may have been the diesel fumes from the band’s tour splitter bus had finally worn off; others say that the band simply turned their amplifiers down. We may never know the true events of that afternoon, but the band began to play and, once again as before, their bleak, wobbly, anti-blue note sound had returned – now with more synthesizers. And once again as before, it was all recorded live in one room (with very few overdubs).

File Under: Krautrock, Electronic, Portishead
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WRWTFWW026LP_CU

MKWAJU Ensemble: KI-Motion (WRWTFWW) LP
WRWTFWW Records present the official reissue of legendary album KI-Motion by Japanese percussionist Midori Takada’s MKWAJU Ensemble, originally released in 1981. A highly creative and transcendental fusion of marimba, vibraphone, bamboo percussion, and synthesizers, KI-Motion was recorded in 1981 and captures the birth of Midori Takada’s exploration of minimalism, African rhythmic tradition, and ambient music. The album takes its conceptual inspiration from the tamarind (“mkwaju” in Swahili), a drought resistant tree notably used to craft some of the first mallets and marimbas but also known for its culinary and medical uses, an essential symbol of life and identity for the Central African grasslands. Drawing from the region’s culture and music as well as the crucial notion that rhythms represent the very fabric of life, Midori Takada leads her ensemble into environmental heaven to create one of the highlights of her recording career and an absolute must-have from the golden age of Japanese ambient — the ideal companion to her majestic opus from 1983, Through The Looking Glass. Sourced from the original masters.

File Under: Japan, Percussion, Experimental, Ambient
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…..new arrivals…..

boc

Boards of Canada: Hi Scores (Skam) LP
Vinyl version with double-sided 12″ poster. Skam Records are very proud to announce the re-release of Boards Of Canada’s Hi Scores. Originally released in 1996, Hi Scores constitutes Boards Of Canada’s second official release after 1995’s Twoism. This follows the reissue of their other seminal records by Warp in 2013. The new edition has been re-recorded and re-mastered from the original DAT tapes and has been re-cut onto heavyweight collector’s edition vinyl. The original image on the back of the sleeve is now in color. Spot varnish finish on the images & text alongside the usual Skam Braille sticker.

File Under: Electronic, Downtempo
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death

Death: Leprosy (Relapse) LP
Death’s immensely influential second effort Leprosy, originally released in 1988, was a pioneering album which built upon the thrash sounds of trailblazers like Metallica and Slayer but added in a previously unheard level of raw extremity. These songs are the roots of an entire genre: death metal. While this was only Death’s second full-length record, it immediately cemented them as heavy metal icons. This 30th Anniversary colored 2LP reissue features expanded packaging and a bonus disc with 10 Leprosy 1987 rehearsal recordings!

File Under: Metal
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digable

Digable Planets: Reachin’ (A New Refutation of Time & Space)
(Modern Classics) LP
Back in stock!! At a time when hip-hop was determined to snap your neck, a young, hip trio from Brooklyn (by way of Seattle, Philly, and Brazil) conspired on an uncommonly smooth new sound and freaky way of speak, a titanically chill expression of Black bohemia loaded with jazz idiom and a subversive Marxist bent—and pushed it worldwide via an undeniable crossover hit. Digable Planets’ 1993 debut, Reachin’ (A New Refutation of Time and Space), unexpected to all involved, produced a massive radio hit in “Rebirth Of Slick (Cool Like Dat)”, which won the 1994 Grammy for Best Rap Performance by Duo or Group. Unduly lumped into an “alternative rap” subgenre they chafed at, the Dig Plans were dismissed by some as one-hit wonders, coming out of nowhere; but the Digable Planets concept, and what became Reachin’, had been in the works for close to five years, as group leader Ishmael “Butterfly” Butler wrote music and soaked up game in multiple cities, navigating the industry of hip-hop’s golden age. In the end, Butler, Mary Anne “Ladybug Mecca” Vieira, and Craig “Doodlebug” Irving came together to create a seamlessly articulated vision of urbane hiphop cool with an uncommonly literary bent that subtly pushed the hip-hop genre’s frames of reference and added breadth to rap music’s burgeoning political philosophy. Drawing on inspiration from Butler’s jazzbo father, the Black Panthers, Jose Luis-Borges, the Last Poets, and Jimi Hendrix, Reachin’ posited a theory of “universal beats”, narrated by three unearthly MC’s that had “split to Earth to resurrect the funk”, assuming curious, arthropodic aliases—a nod to the natual collective action of the insect world. In just four years the crew would record two beloved and ambitious LPs before disbanding. Out of print on wax domestically since 1993, Reachin’ captures one of the last gasps of rap music’s jazzy, upbeat adolescence in the early 90’s—those warm, blissed-out grooves every bit as slick as when they were laid way back when. Put this on, roll up with your crew and bug out again with the insect tribe.

File Under: Hip Hop
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index

Index: Originals Volume 1 (Lion) LP
All of the original compositions from the band’s two self-released holy grails of psychedelia (the Black Album and the Red Album, from 1967-68) combined into one collection—all newly transferred from the original tapes! Most of you have no doubt heard of records that have been touted as “mind blowing”, “fuzz monsters”, or “lost/undiscovered classics”. The raves rarely turn out to be justified. That’s certainly not the case with the music of Index—if anything, the raves underplay the essence of the band’s music, which is seething with cavernous reverb, snaky guitar lines, and downer lyrics. It is fantastically minimalist, starkly atmospheric, and sprinkled with ferocious guitar work. In the mid 1960’s, Detroit Michigan was a thriving industrial city. But the great ethnic diversity in the inner city was a brewing powder keg of civil unrest. This, coupled with a disillusioned population struggling to make some sense of a questionable war in the rice paddies of Viet Nam, set an uneasy and troubling tempo for the future. Still, there were pockets of communities in the Detroit area where things were good and economic life was vibrant. The Grosse Pointes were such communities. It was on the outskirts of this political and racially tense era, in those affluent suburbs just outside Detroit, that Index was formed. The music of Index has been lauded by (and bootlegged by) music heads for decades, and with good reason: it is unexpected, atmospheric, and “home-made” in the best of all possible ways. The band has a druggie sound, with songs full of feedback and fuzzy guitars, hazy guitar riffs and loud pushy rhythms. And in there amongst the echoing canyons of sound you’ll find some snotty post-punk attitude wrapped up in all that trippy velvet fuzz. It’s a wonderful bleak sound, droning and murky and introspective—the atonal side of late 1960’s rock that would leave the most lasting impression on those who would eventually become punk, post-punk and indie rock… you know, artists like Joy Division or the Fall or Felt to name three out of a thousand.

File Under: Psych, Garage
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orb

Orb: No Sounds Are Out of Bounds (Cooking Vinyl) LP
Alex Paterson’s longstanding electronic titans The Orb present the new album No Sounds Are Out Of Bounds, which as the title suggests finds them embracing an anything-goes new approach to creative freedom. Refreshing and reinventing the predominantly two-man set up with Thomas Fehlmann on the prior two albums (Moonbuilding 2703 AD and COW / Chill Out World!), No Sounds… is intentionally an ensemble piece, featuring a large cast of big names, cult heroes, rising talent and fresh newcomers. Paterson, Fehlmann, Youth, Roger Eno, Hollie Cook and Guy Pratt take star turns, as does heroic bassist Jah Wobble, who returns to the fold following the bassbin-bullying anthem “Blue Room.” Additional supporting roles come from Gaudi, Roney FM and Michael Rendall, plus vocalists Brother Culture, Mary Pearce, Emma Gillespie, Rianna, and Andy Cain – who’s best known for voicing Mark Ernestus and Moritz Von Oswald’s deep house gems “I’m Your Brother” and “A New Day.” Despite featuring a cheeky nod to their remix of Primal Scream’s “Higher Than The Sun,” vocal led opener “The End Of The Road” makes it clear this is virgin territory. But despite new paths being forged, Paterson’s omnipresent humor remains on “I Wish I Had A Pretty Dog’s” animalistic rhythm – joined by tablas, strings, half speed beats and bass, which collide like planets in the cosmos. Hollie Cook returns the favor following Alex’s production work on her Vessel Of Love album, lending her vocals to the Battersea-referencing, classic dub house throbber “Rush Hill Road,” alongside Brother Culture. The first of several tracks to feature Roney FM’s plummy, faux vintage BBC voice, “Pillow Fight At Shag Mountain” is airy and bright like stratus on a clear day, bubbling in pleasing fashion through various styles and samples tethered by Wobble’s bass and Eno’s piano, somehow coalescing, making illogical logic in a way only The Orb can. “Isle Of Horns” pares things down to a loping, dusty and organically-minimal piece that’s closer to the last two albums, yet works well as a subtler break from other more maximal moments herein. Driven by Youth’s double bass, “Wolfbane” is a lysergic romp through hip hop across the ages, from Run DMC to Dre to Dilla. It also withholds the anti-war stance expressed on COW, putting vintage nuclear threat back on the menu, thanks to Trump, Jong-un and Putin. Paying homage to another or Alex’s faves is the boom bap of “Doughnuts Forever,” which swings from chilling, pensive atmosphere into reassuringly lush, 50s Hollywood strings and back again. Featuring the singing and poetry of Rianna, the “small dittie” “Drift” offers another pleasant moment of calm reflection, before “Wobble’s phenomenal bassline and Roger’s supreme piano” on “Easy On The Onions” elevates the listener blissfully skywards above Bermondsey and “West Snorewood.” “Ununited States” takes a darker but breathtaking turn, with Eno’s playing taking center stage on what Alex claims is “how the new Blade Runner score should’ve sounded” – and it’s hard to disagree. Ending the album on majestic form is the 15 minute classic opus “Soul Planet,” which finds the vocal axis between divas of house music and Pink Floyd’s “Great Gig In The Sky.” Disembodied voices float in a black hole, before an undulating throb cuts through the darkness, with layers of detail gradually building to a gentle euphoria, before drifting back into the darkness of space, with a lonely piano refrain.

File Under: Electronic
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defenders

OST: The Defenders (Mondo) LP
Mondo is proud to present the premiere vinyl pressing of the soundtrack to the Netflix Original Series MARVEL’S THE DEFENDERS. This limited-series event, several years in the making, finds Marvel’s finest street-level heroes Daredevil, Jessica Jones, Luke Cage and Iron Fist (along with help from various other recurring characters from their respective series) joining forces to take on the sinister organization, The Hand, along with the mysterious yet familiar new recruit (known to them as The Black Sky). Composed by John Paesano (MARVEL’S DAREDEVIL – Season One), the score to THE DEFENDERS takes his work to another level. Incredibly dynamic, serious and still fun, and ominous but still optimistic. Paesano takes the musical world of the four separate comic book superheroes, all dealing with their own sonic demons, and produces a seamlessly shared musical universe for them to co-exist.

File Under: OST
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pokemon

OST: Johto Legends (Music From Pokemon Gold & Silver) (iam8bit) LP
In collaboration with our pals at Materia Collective & composer/arranger Braxton Burks, iam8bit is proud to present the Johto Legends! 2xLP vinyl – a one-hour orchestral arrangement album featuring the timeless music of Pokémon Gold and Silver! This pairing explores a young Pokémon Trainer’s epic journey across the scenic Johto region – meeting Pokémon friends, going head-to-head with the nefarious Team Rocket, and encountering the legendary guardians of Johto – all told through a stunning musical narrative. Seven incredibly talented musicians with performance pedigrees including Pokémon Symphonic Evolutions and The Legend of Zelda: Symphony of the Goddesses — as well as game scores such as Destiny, Dragon Age, Tomb Raider and Minecraft — will bring this score to life. Accentuating the journey is an epic package design by artist Ryan Brinkerhoff, chock-full of premium trappings like: Premium Foil-Stamped Jacket; Gold/Silver Foil Inner Sleeves; Half-and-Half Color Pokeball Vinyl Discs; and an Epic Gatefold Illustration to be revealed at a later date. The satisfaction of seeing these discs spin on a turntable is hard to pass up. Below is a preview of tracks that will be re-recorded for Johto Legends! Please note that these are synthesized temp tracks and they will be re-recorded with LIVE orchestral instruments in a studio environment for the final record set.

File Under: OST
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1922

Mike Patton: 1922 OST (Ipecac) LP
1922 is based on Stephen King’s 2010 novella of the same name, from his horror anthology Full Dark, No Stars, which tells the story of a man’s confession of his wife’s murder. The tale is told from from the perspective of Wilfred James, the story’s unreliable narrator who admits to killing his wife, Arlette, with his son in Nebraska. But after he buries her body, he finds himself terrorized by rats and, as his life begins to unravel, becomes convinced his wife is haunting him. Presented here on double vinyl courtesy of Ipecac Recordings, Mike Patton’s (Faith No More, Dead Cross, Tomahawk) heavily orchestral original score follows his acclaimed work on the 2012 film The Place Beyond The Pines and is equally haunting and dissonant.

File Under: OST
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winners

Pedro The Lion: Winners Never Quit (Jade Tree) LP
Following a critically acclaimed debut album for Made In Mexico, singer/songwriter David Bazan returned to his Seattle home studio to craft the bulk of 2000’s Winners Never Quit (remastered and reissued on vinyl for the first time in over half a decade) – a haunted collection of material that traces the fictional story of a man who vows to maintain his good name despite a slew of devious activity and malicious intent. Stripped down to a voice and a guitar, Bazan is a modern-day folk champion. Behind a band, he loses his timidity and commands attention with an impassioned voice and a compelling narrative. In either sphere, Bazan is an accomplished artist and unique talent as he displays here. In early 2006, Bazan retired the Pedro The Lion moniker to continue on with solo work under his own name. In December of 2017 Bazan announced that Pedro The Lion will reunite after eleven years for a new album and a worldwide tour.

File Under: Indie Rock
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zeenith

Zuider Zee: Zeenith (Light in the Attic) LP
An early/mid-1970s group that sound like a hybrid between T-Rex and Big Star, might sound like a band that should be universally adored but Memphis’ Zuider Zee have remained something of an untapped curiosity. Until now. With this first time release of the album Zeenith, recorded between 1972 and ’74 and featuring all previously unheard tracks, the band should no longer be a boxed-up mystery. Prior to Zeenith, Zuider Zee’s 1975 self-titled LP was the only record out there that existed. Released on Columbia, it was hailed as a true great power pop record of the time by groups such as Cheap Trick. “Rick Nielsen called me one night,” Zuider Zee’s Richard Orange recalls. “He was asking about why weren’t we bigger and doing as well as they were. He said: “Man, you’re so damn good, do you know where I have your phone number? I have your number right beneath John Lennon’s number. Fuggin’ John Lennon, Richard!’ Despite love from such bands and a later line-up of Zuider Zee even supporting the Sex Pistols at the Taliesyn Ballroom in Memphis in 1978 – “Sid Vicious stumbling around out of his gourd. It was very unremarkable, the whole event.” remembers Orange – and with Columbia never even releasing a single for radio, Zuider Zee never quite took off and dissolved into the ether of cult band land. However, an untold chapter of the group’s history has now been unearthed as Light In The Attic’s ability to pluck gold from seemingly nowhere continues on this release. Comprised entirely of previously unreleased tracks, Zeenith is an album in which sugar-coated glam stomp nestles up alongside Mersey beat and where rousing power pop, crunchy rock and a undercurrent of pop-peppered psychedelia all merge seamlessly. Childhood pals Richard Orange and Gary Simon Bertrand had matriculated in late ‘60s Lafayette pop-psych outfit, Thomas Edisun’s Electric Light Bulb Band, before joining forces with Kim Foreman and John Bonar. Zuider Zee’s tale wasn’t always destined to be that of a mysterious cult band but they did face some difficulties in from the off, as they found when they moved from Jackson, Mississippi to their new adopted home of Memphis. “When we first rolled into town, we were completely unknown,” says Orange. “We couldn’t get a gig at any of the clubs for what seemed like at least a year or even longer. We were very different from bands in the South. We never covered any Southern rock – apart from The Allman Brothers who we all thought the world of – and as we grew into ourselves we didn’t sound anything like southern rock.” It was Orange’s work ethic that kept the band driven and focused though through such tough times. “I can honestly say that there is one thing Zuider Zee shared with The Beatles experience,” he says. “We played for years in the crappiest most disgusting, dangerous and depressing places, and we played anywhere from 5 to 7 hours, 6 days a week – for years.” A group led by such a hard-working and determined individual is glisteningly apparent on this release. Zeenith feels like a band at that magical juncture between a group perfecting their craft whilst still driven by wide-eyed optimism, youthful energy and a sense of fun that radiates throughout every note played. Ultimately, this was at the core of Zuider Zee’s aims. “Most important is to have fun whilst you’re up there doing it [on stage] because people will feel that joy – it’s electric and contagious and they will react to it.” Something that still feels pertinent over 40 years since it was created.

File Under: Rock, Power Pop, Glam
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…..Restocks…..

Leon Bridges: Good Thing (Columbia) LP
Black Angels: Passover (Light in the Attic) LP
Built to Spill: Perfect From Now On (Unviersal) LP
Michael Chapman: Fully Qualified Survivor (Light in the Attic) LP
Circle: Terminal (Southern Lord) LP
Converge: The Dusk in Us (Deathwish) LP
Karen Dalton: In My Own Time (Light in the Attic) LP
DJ Shadow: Endtroducing (A&M) LP
Lee Hazlewood: Cowboy in Sweden (Light in the Attic) LP
Lee Hazlewood: Forty (Light in the Attic) LP
Lee Hazlewood: LHI Years (Light in the Attic) LP
Lee Hazlewood: Special World of (Light in the Attic) LP
Husker Du: Savage Young Du (Numero) Box
I Marc 4: Nelson Psychout (Vampisoul) LP
Ennio Morricone: Un Esercito di 5 Uomini (AMS) LP
OST: Heartworn Highways (Light in the Attic) LP
OST: Sympathy for Lady Vengeance (Beatball) LP
Popol Vuh: Nosferatu (Waxwork) LP
Queens of the Stone Age: Rated R (Interscope) LP
Shooting Guns: Another Wolfcop (One Way Static) LP
Paul Simon: Graceland (Legacy) LP
Sunn o)): Monoliths & Dimension (Southern Lord) LP
Taake: Noregs Faapen (Peaceville) LP
Toro y Moi: Boo Boo (Carpark) LP
White Zombie: It Came From NYC (Numero) Box
Wilco: Yankee Hotel Foxtrot (Nonesuch) LP
Link Wray: Be What You Want to (Tidal Wave Music) LP
Link Wray: s/t (Future Days) LP
Various: I Am The Center (Light in the Attic) Box
Various: Microcosm (Light in the Attic) Box
Various: Native North America (Light in the Attic) Box
Various: This Record Belongs to…….. (Light in the Attic) LP
Various: Uneven Path (Music From Memory) LP
Various: Voyager Golden Record (Ozma) Box

Tagged , , , , , ,

…..news letter #855 – outdoor…..

Some weeks, there’s a million new arrivals. Others, there are Wire reissues. Both are great!

…..pick of the week…..

pink flag

Wire: Pink Flag (Pink Flag) LP
Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical track listings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted. Usually contextualized against a backdrop of two years of the growing cultural importance of punk rock—Wire’s debut Pink Flag, released in December 1977 on EMI’s progressive label Harvest was in fact was something “other.” To the keen cultural commentator, the timing and label of it’s release will register two essential facts about it. Firstly, too late (a year after the Pistol’s debut release) to be part of UK punk’s first flush and secondly that the band were signaling something beyond punk by their choice of label. Further investigation would reveal twenty-one tracks, some of them clocking in at well under a minute and covering a range of tempi well beyond the buzzsaw rockabilly that had become, even by the second half of 1977, punk’s staple.

File Under: Punk, Post-Punk
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…..new arrivals…..

crooked fingers

Crooked Fingers: Red Devil Dawn (Merge) LP
Love songs abound on 2003’s Red Devil Dawn, but most of the love is dead or dying or at least dirty. That makes sense: Just a few years after his split with indie stalwarts Archers of Loaf, Eric Bachmann had forcefully forged a new identity and sound with Crooked Fingers, and he quickly amassed a catalog of gorgeous, poetic songs about weary losers and broken lives. This is the album that gave their desperation its most pointed, perfectly detailed homes. Red Devil Dawn was the third Crooked Fingers album inside of four years, and in hindsight – at 15 years old, it’s a god damn teenager now – it feels like both the pinnacle and the end of Phase One.  Bachmann had perfected the art of darkness, of finding his characters and stories in solitude and then adding or subtracting sounds and players to make them come alive. Never had they seemed more personal or more vulnerable than on Red Devil Dawn, from the ornery argument on “You Threw a Spark” to the heartbreaking album closer “Carrion Doves,” which posits that “what can make us one can make us come undone.” But the album – being issued on vinyl for the first time ever – also nudges open the door to where Bachmann would take Crooked Fingers next. “Sweet Marie” adds jaunty horns to a withering-but-somehow-sweet story about infidelity, and also manages to include the line “I swear I’m gonna set that pussy bastard straight.” And elsewhere, there’s more hope in the darkness than ever, though it can be hard to recognize at first. But at the end of “Disappear,” he sums up both Crooked Fingers’ past and its future: “There’s beauty in an ugly thing, redemption in demise.” That’s Red Devil Dawn writ small and simple: It finds the specks of light in the darkest rooms, and spins the whole picture into a gorgeous whole.

File Under: Indie Rock
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florence

Florence & The Machine: High As Hope (Universal) LP
In tomorrow… High As Hope, Florence + the Machine’s hugely-anticipated fourth studio album, is the sound of an artist who appears more certain than ever of herself. “It’s always a work in progress, and I definitely don’t have everything figured out,” bandleader Florence Welch notes. “But this feels like quite a pure expression of who I am now, as an artist, and an honest one. I’m just more comfortable with who I am.” Florence writes about her teens and twenties with a renewed, more mature perspective: of growing up in South London, of family, relationships and art itself. “There’s a lot of love in this record, loneliness too, but a lot of love,” she adds. Florence wrote, co-produced (her first time co-producing a Florence + the Machine album) and recorded the majority of High As Hope in solitude, cycling to her studio in Peckham every day. She finished the songs in Los Angeles with her friend and co-producer Emile Haynie, bringing in Kamasi Washington, Sampha, Tobias Jesso Jr, Kelsey Lu and Jamie xx as further collaborators. Florence mixed the record in New York, where the daily view of the skyline – often in stark contrast to the chaos of the wider world – gave the album its title. Discussing lead single “Sky Full Of Song,” Florence says, “This was a song that just fell out of the sky fully formed. Sometimes when you are performing you get so high, it’s hard to know how to come down. There is this feeling of being cracked open, rushing endlessly outwards and upwards, and wanting somebody to hold you still, bring you back to yourself. It’s an incredible, celestial, but somehow lonely feeling.” Follow-up “Hunger” pairs Florence’s intimate, rawly honest lyricism with a broader sense of acceptance, community and joy. “Hunger” is effectively about acknowledging those holes in our psyche that we try to fill with love and hate, obsessions or addictions but you can ultimately only ever satisfy yourself. “This song is about the ways we look for love in things that are perhaps not love, and how attempts to feel less alone can sometimes isolate us more,” says Florence. “I guess I made myself more vulnerable in this song to encourage connection, because perhaps a lot more of us feel this way than we are able to admit. Sometimes when you can’t say it, you can sing it.”

File Under: Rock, Pop
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infinite

Infinite Music: A Tribute to La Monte Young (Fire) LP
Infinite Music – A Tribute to La Monte Young is a breathtaking live collaboration between Spacemen 3’s Sonic Boom, Zombie Zombie’s Etienne Jaumet and Celine Wadier, a master of Indian Dhrupad singing and tanpura. Recorded live at Teatro Maria Matos, Lisbon in September 2017, the performance is released here on colored vinyl. Young was an inspiration on John Cale and original Velvet Underground drummer Angus MacLise, Philip Glass, Steve Reich, George Harrison, Brian Eno, Jarvis Cocker, Stereolab and the classic Spacemen 3 album Dreamweapon. La Monte’s influence in the hands of this eclectic trio is timeless and beautifully evocative. “I’m not suited for these times but I am suited for the world I created,” La Monte Young once said.

File Under: Experimental, Drone
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jamc

The Jesus & Mary Chain: 21 Singles (Warner) LP
Exploring a vein mined by their heroes The Velvet Underground and The Stooges, Glasgow, Scotland-based alt-rock cult heroes The Jesus & Mary Chain were the link between pure pop and white noise in the ’80s and ’90s. An inspiration to the next generation of subversives from My Bloody Valentine to Dinosaur Jr. to The Chemical Brothers, the group was forged in 1984 and issued their seminal debut single “Upside Down” (Creation) later that year. In 1985, the band connected with Blanco Y Negro/Warner Bros. and released the smash single “You Trip Me Up” and superlative debut album, Psychocandy. More sonic pop experiments followed with Darklands (1987), Automatic (1989), Honey’s Dead (1992), Stoned & Dethroned (1994), and Munki (1998). Available on vinyl for the very first time, their classic 2002 compilation 21 Singles gathers some of the band’s most beloved sides including the aforementioned “Upside Down” and “You Trip Me Up,” plus “April Skies,” “Darklands” and “Just Like Honey.”

File Under: Rock
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pharaoh

Pharaoh Overlord: Zero (Hydra Head) LP
Pharaoh Overlord steer an exceedingly singular course on Zero. Augmented by Antti Boman (Demilich) and Hans Joachim Irmler (Faust), the psychedelic supergroup (consisting of members from Circle) have taken their ouvre to a whole new psychiatric plateau on their ninth studio album. Libido-driven arithmetics do not apply on these aberrant tracks. Zero provides an offbeat rock and roll implosion, with its sonic realm contorting inwards like a sapient voice muffled by the gentle void of cyberspace. What the album really has to offer more than anything is exposure to genuine ingenuity.

File Under: Metal, Psych, Krautrock
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prefuse

Prefuse 73: Sacrifices(Lex) LP
Following his detour into fractured, kaleidoscopic hip-hop with Fudge, electronic music pioneer Prefuse 73 has become progressively interested in injecting a sense of space into his characteristically complex productions. The resultant 17-track collection is akin to watching an old photograph deteriorate in one’s hands, as otherwise dense beats disintegrate into airy expanses of emotionally resonant electronics. Its effect is not unlike attempting to recall a murky memory of a dream of Guillermo Scott Herren’s earliest works, imbibed with an increased interest in the subtlety of contemporary minimalism.

 File Under: Hip Hop, Electronic
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bullitt

Lalo Shifrin: Bullitt OST (Warner) LP
A high-speed car chase between a Dodge Charger and a Ford Mustang, with super-cop Bullitt at the wheel, who forces the hitman off the road and into a petrol station, which explodes and incinerates him. Prior to that, harsh clashes of metal, hubcaps flying all over the place, and the chief character Steve McQueen, who grimly changes gears and hurtles through the streets of San Francisco, wheels screaming and rubber burning. That was how Hollywood staged one of the longest and most dramatic car chases, long before the days of the Anti-Blocking-System and Anti-Slide-Control. Very up-to-date and just as exciting as the screenplay to this all-time classic 1968 thriller is the music Lalo Schifrin wrote for the film, which embeds the characters, places and events in a musical context. For example, “Bullitt” – the metrically angular main theme portrays a mysterious, cool character who sums up a situation with keen alertness and then makes his attack with the speed of lightning. Initially the music travels through easy-going Latin terrain. But gradually the rhythmic texture changes and takes a rougher path, with clicks, knocks and hammering. Legendary flute lines create a compensatory placidness with airy clouds floating above the sharp mix. A really special track is “Shifting Gears” where you can listen to Schifrin tuning the car, how he manipulates a jammed springy bossa to take on the sound of clean, smooth-running rock.

File Under: OST
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chairs

Wire: Chairs Missing (Pink Flag) LP
Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical track listings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted. 1978’s Chairs Missing represented perhaps the biggest conceptual leap made during this period of Wire and was widely misunderstood at the time yet it remains, to the band and production crew Wire’s favorite ’70s album. If Pink Flag proposed an almost cut and paste approach to deconstructing rock history, Chairs Missing proposed something more radical, a definite futurism with much less influence from it’s antecedents. Chairs Missing was at once more stark and more lush than it’s predecessor and has exerted it’s own influence on the course of cultural history, having laid down one of the earliest (if not the earliest) blueprints for the genuinely post-punk aesthetic.

File Under: Punk, Post Punk
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wire

Wire: 154 (Pink Flag) LP
Wire’s first three albums need no introduction. They are the three classic albums on which Wire’s reputation is based. Moreover, they are the recordings that minted the post-punk form. This was adopted by other bands, but Wire were there first. It has been a number of years since these albums were readily available. The aim with these new vinyl and CD releases is to approximate the original statements as closely as possible, but with remastered audio. The vinyl releases have the same covers and inners as the originals (minus the Harvest logo). The digipack CDs have identical track listings to their vinyl counterparts. These versions should be considered Wire’s classic 1970s albums, pure and undiluted. 1979’s 154 represented the final tableau in Wire’s Harvest released ’70s triptych and was the first Wire album to be released to a universal set of five star reviews from the British rock weeklies, thus it represented the point when the British “pop culture establishment” publicly recognized Wire’s primacy. “154 makes 95 percent of the competition look feeble” wrote Nick Kent in the NME, “Wire are achieving a lot of things other—and more recognized—names have been striving for” wrote Chris Westwood in Record Mirror (a paper that had slagged off Pink Flag). “The album is a musical tour de force” wrote Jon Savage in Melody Maker. Many said it was the album that Bowie and Eno had failed to make with Lodger (as hinted in the RM review), it was on John Lennon’s playlist. Without a doubt, even if record sales did not bear it out, Wire had “arrived.”

File Under: Punk, Post Punk
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zappa

Frank Zappa: Burnt Weeny Sandwich (Zappa) LP
In tomorrow… Frank Zappa’s classic 1970 album Burnt Weeny Sandwich receives a 180g audiophile vinyl repressing, the latest in an ongoing initiative involving the Zappa Family Trust and UMe to lovingly restore Zappa’s iconic catalog. Supervised by the ZFT, the new repressing was specially mastered for this release by Bernie Grundman with all analog production and cut directly from the 1970 1/4″ stereo safety master tape in 2018. Unavailable on vinyl for more than three decades, Zappa last released this on vinyl in 1986 in the rare Old Masters Box Two. The LP, pressed at Pallas in Germany, features the album’s distinctive original cover art by frequent Zappa collaborator Cal Schenkel and includes the original album’s black and white poster, which has never been reproduced in any of the album’s CD editions. Named for one of Zappa’s favorite quick snacks, essentially a hot dog roasted over a flame and stuck between two pieces of bread, Burnt Weeny Sandwich was released in 1970 following Hot Rats. The album was recorded by Zappa and one of the original incarnations of his legendary combo the Mothers of Invention, whose line-up Zappa disbanded just prior to this album’s release. Perhaps suggestive of its gastronomic title, the record is structured like a sandwich: it is book-ended by a pair of doo wop covers of the Four Deuces’ “WPLJ” and Jackie & the Starlites’ “Valarie,” which harks back to Zappa’s earliest musical influences, and filled with an array of stylistically diverse songs that focus on structured and tightly arranged compositions featuring virtuosic performances by Zappa and his expert ensemble. Combining studio material and live recordings, the largely instrumental album includes “Theme from Burnt Weeny Sandwich,” “Holiday In Berlin Full-Blown,” the two-part “Igor’s Boogie” and the complex, multi-part near 20-minute centerpiece “Little House I Used to Live In.” With portions recorded at London’s Royal Albert Hall in June 1969, “the song’s extended improvisations,” Ultimate Classic Rock remarked in their retrospective review, “provided an epic send-off to the beloved Mothers, in all of their eclectic audaciousness under the leadership and in the service of Zappa’s singular vision. The recording even contains a snippet of heated repartee between Zappa and an audience member that spawned his famous critique of all the flower children present: “Everybody in this room is wearing a uniform.”

File Under: Rock
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…..Restocks…..

Aphex Twin: Selected Ambient Works (R&S) LP
David Axelrod: Song of Innocence (Now Again) LP
Blonde Redhead: Fake Can Be Just As Good (Touch & Go) LP
Blonde Redhead: Masculine Feminin (Numero) Box
Charles Bradley: Changes (Daptone) LP
Charles Bradley: No Time for Dreaming (Daptone) LP
Bill Callahan: Dream River (Drag City) LP
Nick Cave: Abattoir Blues (Mute) LP
Godspeed You Black Emperor: Lift Your Skinny Fists (Constellation) LP
Billie Holiday: Lady in Satin (Legacy) LP
Jon Hopkins: Singularity (Domino) LP
Jesus & Mary Chain: Psychocandy (Rhino) LP
Kacy & Clayton: Sirens Song (New West) LP
Minor Threat: Out of Step (Dischord) LP
Minor Threat: s/t (Dischord) LP
Morrissey: Viva Hate (Parlophone) LP
Portishead: Dummy (Universal) LP
Portishead: Third (Universal) LP
Serpentwithfeet: soil (Secretly Canadian) LP
Smog: Red Apple Falls (Drag City) LP
Smog: Knock Knock (Drag City) LP
Gillian Welch: Harrow & The Harvest (Acony) LP

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…..news letter #854 – megaweek…..

Yikes, sooooo much stuff in this week. Loads of new stuff, reissues, restocks. Bonkers. BONKERS!

Hopefully you’ve had a chance to check out our new webstore… if not CHECK IT OUT!  The inventory is live with the shop, so if it’s in stock there, it’s in stock in the store. We have an instore pick up option, so if you are local, but going out of town, or just don’t want to miss out on something, by all means, buy it through the site and it’ll be here waiting for you when you have time to get in.

…..picks of the week…..

jcoltrane

John Coltrane: Both Directions at Once (Impulse) LP/2LP
In tomorrow… Sonny Rollins nails the significance and thrill of Both Sides at Once: The Lost Album, a previously unheard John Coltrane recording captured at Van Gelder Studios at the end of a two-week stint at Birdland in 1963: “[It’s] like find a new room in the Great Pyramid,” he says in the liner notes. Once you experience Coltrane, McCoy Tyner, Jimmy Garrison, and Elvin Jones in peak form, you’re certain to agree. Unknown until 2004 and unheard until now, the music on this album represents one of the most influential groups in music history both performing in a musical style it had perfected. Coltrane personally decided to stash away the material, which was ultimately lost to time until it was discovered by the family of his first wife and brought to the attention of Impulse! It is impossible to overstate the breadth, spirit, musicianship, and sound of these recordings, two of which are originals that were captured on tape here and here alone. The Deluxe Edition of the album also includes seven alternate takes of the tracks from the same session, including four renditions of “Impressions.” The first week of March in 1963 was busy for John Coltrane. He was in the midst of a two-week run at Birdland and was gearing up to record the famed John Coltrane and Johnny Hartman album, which he did on March 7. But there was a session the day before that was the stuff of legend, until now. On Wednesday, March 6, Coltrane and the quartet went to Van Gelder Studios in Englewood, NJ and cut a complete album’s worth of material, including several original compositions that were never recorded elsewhere. They spent the day committing these to tape, taking time with some, rehearsing them two, three times, playing them in different ways and in different configurations. At the end of the day, Coltrane left Van Gelder Studios with a reference tape and brought it to the home in Queens that he shared with his wife, Naima. These tapes remained untouched for the next 54 years until Impulse! approached the family about finally releasing this lost album. Though the master tape was never found – Rudy Van Gelder wasn’t one for clutter – the reference tape was discovered to be in excellent condition. On this album, there are two completely unknown and never-before-heard originals. “Untitled Original 11383” and “Untitled Original 11386,” both played on soprano sax. “11383” features an arco bass solo by Jimmy Garrison, a relative rarity, and “11386” marks a significant structural change for the quartet, in that they keep returning to the theme between solos, not typical in the quartet’s repertoire. In addition to the two unheard originals, “One Up, One Down” – released previously only on a bootleg recording from Birdland – is heard here as a studio recording for the first and only time. It contains a fascinating exchange between Elvin Jones and Coltrane. “Impressions,” one of Coltrane’s most famous and oft-recorded compositions, is played here in a piano-less trio. In fact, McCoy Tyner lays out a number of times during this recording session. It’s one of the more interesting aspects of this session and reflects the harmonic possibilities that Coltrane was known to be discussing regularly with Ornette Coleman around this time. This studio session also yielded Coltrane’s first recording of “Nature Boy,” which he would record again in 1965, and the two versions differ greatly. The one we know is exploratory, meandering. This version is tight, solo-less and clocking in at just over three minutes. The other non-original composition on the album is “Vilia,” from Franz Lehár’s operetta “The Merry Widow”. The soprano version on the Deluxe Edition is the only track from this session to have been previously released. This incredible, once-in-a-lifetime discovery reveals a number of creative balances at work, like developing original melodies while rethinking familiar standards. Trying out some tunes first on tenor saxophone, then on soprano. Using older techniques like the arpeggio runs of his “sheets of sound” while experimenting with false fingerings and other newer sounds. This session was pivotal, though to call it such overlooks the fact Coltrane was ever on pivot, always pushing the pedal down while still calling on older, tested ideas and devices.

File Under: Jazz
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hassellJon Hassell: Listening to Pictures: Pentimento Volume One (Ndeya) LP
In tomorrow…Listening To Pictures: Pentimento Volume One is the first new album in nine years by a musical visionary and hugely influential figure in new music. Forty years since its creation, Jon Hassell’s Fourth World aesthetic remains a powerful influence on modern electronic music. Continuing his lifelong exploration of the possibilities of recombination and musical gene-splicing, fragments of performance are sampled, looped, overdubbed and re-arranged into beguiling unexpected shapes. Hassell applies the painterly technique of ‘pentimento’ to the arrangements, teasing out texture by the overlaying of sound upon sound, or a carefully timed reveal of the delicate bones pinning the frame of a track together. The release of this new album also sees the launch of Jon’s own label, Ndeya (pronounced “in-day-ya”), which will be a home for new work as well as well as selected archival releases, including re-presses of classic sides and some astonishing unreleased music.

File Under: Jazz, Electronic, Fourth World
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coilElph vs Coil: Worship the Glitch (Dais) LP 
“Unexplainable” may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career…uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship. During the studio sessions that developed into what would become “Worship the Glitch”, Coil became aware of random compositions emitting from their gear, and were at odds with constant “accidents” that were perpetually plaguing the recordings. The band called these unintentional emissions “ELpH”: a conceptual being that is one part physical equipment, one part celestial being… constantly playing the role of trickster, throwing a wrench into Coil’s methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional “errors” was adopted as a musical technique. The acceptance of the “mistake”, and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title “Worship the Glitch.” Originally released in 1995 on Coil’s in-house imprint Eskaton, Worship the Glitch was Coil’s first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener. Both releases have been remastered by engineer Josh Bonati and supervised by Coil’s Drew McDowall, the double LP vinyl releases are packaged in a beautiful matte 24pt stock gatefold jackets.

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

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Maurizio Abate/Riccardo Sinigaglia: Dialoghi Nel Vuoto (Soave) LP
In tomorrow… When No Pussyfooting was released in 1973 by two great pioneers like Eno and Fripp, that first whisper of their artistic association surprised many critics and fans. Yet, that kind of minimalist ambient sonority carried out by the two appeared in the ear like something absolutely new and innovative. Although nowadays we might be more accustomed to creative operations of this type, we are still fascinated, while listening, by the still possible achievement of relevant moments of musical epiphany, however distant we might be from that first eminent combination between keyboards and guitar which concerned electronic experimentation. Something similar occurred in this new collaboration between Riccardo Sinigaglia and Maurizio Abate; two generations in comparison, whose research developments unfold in the handful of different conceptions and experiences. Their music does not own a pre-defined structure; it receives its ultimate reason from the progressive and continuous metamorphosis of sound. It’s all the result of spontaneous sessions, during which a predisposition towards an active trance procedure, sustained by complementary flashes of lucidity, prevails. The dominant atmosphere is entirely oneiric, perpetually doubtful, still not linked to the passive remote unconscious: it’s rather reminiscent of lucid dreams, of phosphenes, of eidetic visualizations that belong to Tibetan tradition.

File Under: Ambient, Psych, Minimalism
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badtimes

Bad Times: Streets of Iron (Goner) LP
In 1998, things were going south for friends Jay Reatard, Eric Oblivian, and King Louie Bankston. In between broken relationships, shattered homes, dissolving bands, and feeling low down, a collaboration was proposed. Jay and Eric trekked down from Memphis with some songs and ideas for songs, listening to Funkadelic and bad Killed By Death-styled punk songs for the six hours to see Louie in New Orleans. One day was spent learning songs, one day recording songs. Eventually they played one show in Normal, IL, opening up for Guitar Wolf. The result of this recording was a blast of punk, garage punk, and psychedelic mayhem. Indeed, the hours listening to Funkadelic did pay off. Jay stole some lyrics and some heavy fuzz solo style from George Clinton and the gang. Eric stole a couple songs from Japanese punk legends Friction and Texaco Leather Man, and tried to mention his favorite sumo wrestler Konishiki whenever possible. Fittingly, when Jay and Eric returned to Memphis, Jay found all his belongings—clothes, guitars, amplifiers—out on his front lawn, as his mom had returned to their house and kicked him out while he was away. Bad Times, indeed! A release on Sympathy For The Record Industry combined tracks from this session and from their one live show, and has become a cherished collector’s item going for top dollar on the second hand market. This edition restores the original tracks from the recording session—Eric’s “Wrong Way To Love” and Jay’s “Lick On My Leather,” eliminating two live tracks. A new track order provides a punchy new way to experience the music as well, and the music has been carelessly remastered from a dub of the original cassette. Behold the final product—this is how the Bad Times was meant to be heard!

File Under: Punk
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Bebo Baldan: Vapor Frames 86/91 (Soave) LP
In tomorrow… Soave present a reissue of Bebo Baldan’s Vapor Frames 86/91, originally released in 1991. The alchemist Bebo Baldan, accompanied by Steve James on violin and sarod (as well as on instruments of various geographical extractions) mixes, in a personal way, sounds from a bevy of different cultures — from Mediterranean and Indian, to South American — with synths, samples, and loops. The result is a boundless music that carries you, riding soft waves and bobbing between Balearic ambient, jazz, and electronic, on islands that have been quietly, yet carefully cultivated; peaceful, fascinating, and reflective — places where time appears to dissolve. Vapor Frames 86/91 was originally released for Venetian Divergo — a non-profit label, which after the Baldan album, also released The Wind Collector by Gigi Masin and Alessandro Monti a few months later (1991). This reissue includes two added bonus tracks from the same sessions, both at the end of each side. The result is a stunning auditory atmosphere that relaxes the spirit in the same vein as a reiki treatment.

File Under: Ambient, Jazz, Electronic
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superior-viaduct-battiato-franco-clic-lp

Franco Battiato: Clic (Superior Viaduct) LP
On his fourth album, Clic, Franco Battiato moves further out—into realms of pure and elemental approaches to sound—to create a seminal work that flows naturally from one musical form to the next. Every second ripples with orbital chords, kosmische textures and schizophrenic string quartets, yet somehow manages the same dramatic pacing and variety as his avant-rock albums Fetus and Pollution. Originally released in 1974 on Bla Bla, Clic features Battiato on VCS3 synthesizer and piano, along with trusted collaborators Gianni Mocchetti on guitar and Gianfranco D’Adda on percussion. While only “No U Turn” bears the maestro’s voice, these seven tracks contain some of his boldest melodies, an underlying thread that runs through the choral arrangements and meditative compositions. Clic’s dedication to Karlheinz Stockhausen comes into focus on the final piece, “Ethika Fon Ethica”—a rapidfire journey into Italian shortwave radio, interrupted by fleeting fragments of folk music from around the world (sampled from Henry Cowell’s celebrated Folkways compilations from the 1950’s). It’s the perfect ending to Battiato’s beautiful and expansive tour of the cosmos, signaling the uncompromising experimentalism that would dominate much of the composer’s mid-1970s oeuvre. Superior Viaduct presents the first-time domestic release of Clic. Reproducing the original gatefold jacket and booklet, this reissue is part of an archival series that chronicles Franco Battiato’s masterful body of work from 1971 to 1978.

File Under: Electronic, Prog
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batto

Ogon Batto: Hedoro (Aguirre) LP
Many years in the works, Ōgon Batto finally unleashes his album Hedoro. A journey into Japanese soundtracks and ’90s adventure-gaming. Ōgon Batto is Bent Von Bent from Antwerp, Belgium. Besides working as a visual artist around archiving systems and collections, he is also the co-runner of the Hare Akedod label, together with David Edren, aka DSR Lines. Following his debut release (2014), Ōgon Batto secretly started working on a second album Hedoro, meaning “slime” or “chemical ooze”. Bent is immensely fascinated by Japanese traditional and contemporary culture ever since he first visited the country. Mixing his European background with these Japanese influences, he shifts easily between abstract electronic tracks and pieces with a more classical Japanese tool kit. Think Oneohtrix Point Never or Mica Levi composing a soundtrack to a fantasy game. With an amazing sense for detail Hedoro’s musical story — entirely composed with synthesizers — is reduced to a collection of situations and drama, with space for suggestion and imagination. Every track, how short it may be, is essential to the whole, maximizing the general dramatic effect. The album was mixed in Sapporo, Japan with the typical sounds of cicadas on the background (not on the album though) and some glasses of sake. The ceramic sculpture on the front cover is a reinterpretation of Rolls Royce’s “Spirit of Ecstasy” and is created by Benny Van den Meulengracht-Vrancx. Remastered by Kris Delacourt. High-glossy sleeve; Edition of 300.

File Under: Electronic, Experimental
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bixby

Dave Bixby: Ode To Quetzalcoatl (Guerssen) LP
Repress in vintage-styled tip-on hard cardboard sleeve. Guerssen Records present a reissue of Dave Bixby’s Ode To Quetzalcoatl, originally released in 1969. Since its discovery in the late ’90s, Dave Bixby’s legendary $2000 private press album from 1969 is considered by all serious record collectors as the king in the loner/downer folk genre. After being involved in ’60s Michigan folk and garage-rock bands such as The Shillelaghs and Peter & The Prophets, Bixby started playing acoustic guitar and experimenting with LSD. After a year of drug abuse, he felt broken. Starting a soul-searching, spiritual journey, he wrote Ode To Quetzalcoatl and most of the material for his second album, Harbinger’s Second Coming (1970) in just one month and a half. Assisted by fellow musician Brian MacInness, who played some guitar parts on the album, Dave recorded Quetzalcoatl using an echo-laden four-track machine in a flat’s living room. The sound is lo-fi and sparse: just acoustic guitars and some occasional harmonica and flute, added to Bixby’s haunting, emotional vocals, spiritual lyrics, and solid songwriting. The opening cut, the eerie and painful “Drug Song” sets the mood perfectly for the rest of the album which contains more tormented titles like “666”, “Lonely Faces”, “Open Doors”, “Secret Forest” — never has an acoustic folk album sounded so intense. Carefully remastered sound from vinyl (no master tapes exists) done at Shadoks Music Studios. Includes insert with detailed liner notes by Matvei Procak, who found Bixby in 2006, plus some rare pictures.

 File Under: Folk, Private Press
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ferrari

Luc Ferrari: Atelier De Liberation De La Musique (Alga Marghen) LP
Alga Marghen present recordings from Luc Ferrari’s Atelier De Libération De La Musique, a collective he created together with Martin Davorin Jagodic, Philippe Besombes, and Alain Petit in 1975 for a series of performances at the Galliera Museum in Paris. It was in those years that Luc Ferrari investigated open forms and created some of the most experimental and elusive works of his entire catalog. “Exercices D’improvisation”, first recorded by Brunhild Ferrari with GOL, issued on PLANAM in 2010; but specially “Ou Donc Est-T-On?”, a very complex piece forthcoming on Alga Marghen including both “Dance”, issued on Alga Marghen on the occasion of the presentations at Centre Pompidou in 2009 and “Ephemere”, issued on CD by Alga Marghen in 2010, as well as the “Labyrinthe De La Violence”, an audio-visual permanent labyrinth for which Ferrari created four fantastic electronic music pieces forthcoming on Alga Marghen. After these experiences the composer decided to discontinue these open practices for a more controlled work in the studio. And within the “Labyrinthe De La Violence” installation Luc Ferrari conceived a series of electro-visual concerts to be performed by the newly created Atelier De Libération De La Musique. The collective included some of the most creative artists of the time: together with Luc Ferrari playing the electric organ you find on electric piano Martin Davoric Jagodic (whose masterpiece of electronic music titled Tempo Furioso was issued on Cramps in Italy that same year), on synthesizer Philippe Besombes (of Pole fame) and on sax, flute, and clarinet, Alain Petit (who was at the time collaborating with Besombes at the wonderful Besombes / Rizet double LP). These four artists met in February and March of 1975, rehearsing for a series of concerts to take place within the audio-visual labyrinth. It is the previously unheard recordings from these wild rehearsals which make up this incredible LP. The sound of Atelier De Libération De La Musique is a thrilling and overwhelming ride. Rattling, difficult polyrhythms play against droning, pulsing and simmering sonorities. These recordings are human and open, wild and incredibly ahead of their time. Obi strip; Edition of 500 (numbered).

File Under: Avant Garde
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frahm

Nils Frahm: Encores 1 (Erased Tapes) LP
For the past two years, Nils Frahm has been building a brand new studio and making music at Funkhaus in Berlin. Out of that time came not only his 7th album, the universally acclaimed All Melody, but a huge amount of additional material, of which Encores 1 is the first offering. With only twelve out of sixty initial sketches forming All Melody, there was so much more music that needed to be heard. “The idea behind Encores is one we had from before All Melody; to do three releases each with their own distinct musical style and theme, perhaps even as a triple album. But All Melody became larger than itself and took over any initial concepts.” — Nils Frahm Meant as a companion to All Melody and with The Dane even becoming a live favourite on the current world tour, Encores 1 focuses on an entirely acoustic pallet of sounds with solo piano and harmonium. Perhaps suggesting the story of All Melody is far from over.

File Under: Ambient, Neoclassical
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gorillaz

Gorillaz: The Now Now (Parlophone) LP
The Now Now, Gorillaz’s sixth studio effort, features 11 all-new songs from the World’s Most Successful Virtual Act, co-produced with James Ford and Remi Kabaka, and recorded entirely at Studio 13, London in February of 2018. In contrast to the cast of characters that joined the apocalyptic party thrown by Damon Albarn and his cartoon crew on 2017’s multiple-Grammy-nominated Humanz, The Now Now sees the band largely eschewing guest stars (save George Benson, Snoop Dogg and Jamie Principle), taking it back to the core Gorillaz crew: blue-haired, sweet-natured dreamer 2D on vocals; whip-smart Japanese badass Noodle on guitar; Brooklyn-born philosopher and the meat – behind-the-beat Russel Hobbs on drums. And with Murdoc Niccals temporarily indisposed, bass duties on the new album have been taken up by erstwhile Gangreen Gang member Ace. Vibrant lead single “Humility” features legendary jazz guitarist George Benson. Heavyweight black vinyl 12″ LP in spined sleeve with printed inner bag and download card.

File Under: Rock, Pop
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heads

The Heads: RKT! (Rooster) LP
“A timely reissue of the first three releases The Heads put out on the Rocket label. From their first split 7-inch release (with Lilydamwhite) in 1998 to their much-lauded Sessions 2 freakout 12-inch from 2002 — all compiled here in their remastered glory, The Heads we quite prolific back in the late 90s / early 00’s, and in between the Everybody Knows We Got Nowhere album and Undersided album they released their jams and raw rehearsals via the burgeoning Rocket Label. Compiled here with extensive sleeve notes from Rocket founder Simon Healey, this limited 3xLP and 2xCD set captures the band at their most laconic and free. A psychedelic sprawling morass of sound and aural distortion grooves that draw both from the band’s wide influences and from simply plugging in and letting go.”

File Under: Psych
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hecker1

Tim Hecker: Haunt Me, Haunt Me Do It Again (Kranky) LP
This is the first reissue of Tim Hecker’s classic 2001 debut full length release. The original recordings were remixed by Tim Hecker and mastered by Matt Colton at Alchemy Mastering. “Haunt Me is alien, amorphous and occasionally noisy, but always welcoming.” —Pitchfork // “Haunt Me Haunt Me, Do It Again is a brilliant album of subtle, evocative mood music.” —AllMusic// “Hecker was already on a different wavelength with Haunt Me, clearly seeking something that would trigger ASMR-induced enlightenment, and he ran with it.” —Stereogum

File Under: Ambient, Electronic
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hecker

Tim Hecker: Radio Amor (Kranky) LP
This is the first reissue for Tim Hecker’s classic 2003 album. The original recordings were remixed by Tim Hecker and mastered by Matt Colton at Alchemy Mastering. “Hecker at his most painterly and evocative.” —Pitchfork // “Radio Amor has a simultaneous tangible / intangible quality that is both miraculous and enigmatic.” —Tiny Mix Tapes // “Tim Hecker may be the finest sonic photographer around, the re-release of Radio Amor being further evidence for this claim.” // — Brainwashed // “Hecker’s 2003 standout is a stirringly emotional narrative, without the slightest aid of a single voice.” —Treble // “A slow-shifting mix of steely headrush and protracted morse code dispatches from the bottom of the ocean.” —Dusted

File Under: Ambient, Electronic
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heldon

Heldon: Third (It’s Always Rock ‘N’ Roll) (Bureau B) LP
In tomorrow… Bureau B present a reissue of Heldon’s third album Third (It’s Always Rock ‘N’ Roll), originally released on Disjuncta in 1975. Third album from the French space-rock electro combo masterminded by Richard Pinhas. Heldon’s darkest work lays another stone in their sonic mosaic: synths, drones, fuzz, and trippy improvisations. There’s something wicked happening on Heldon’s third album It’s Always Rock And Roll. Richard Pinhas’s essential attack of searing guitar and space-bound synthesizer didn’t change radically after the first two Heldon albums, 1974’s Electronique Guerilla and 1975’s Allez-Teia. But there’s dark energy coursing through this double album, a chilly aura that makes even the quietest pieces shiver with tension. “At this time, I tried to turn Heldon into a darker band,” Pinhas admits. “But dark is not negative to me.” The darkness of It’s Always Rock And Roll is more about exploring what’s hidden and overturning convention — about diving beneath bright surfaces to find something more mysterious. If It’s Always Rock And Roll stands up in Heldon’s catalog, perhaps it’s due to expansion — both in the sense of big ideas and lengthy durations. Most tracks last over seven minutes, and two are side-covering epics. “I think the length of a track is part of the creation of the track,” says Pinhas. “There are imperatives. You can do something very complex with a lot of events in four minutes, and then some other things need to be done very slowly. You have to do the length that it demands.” “We recorded this after having met with Philip K. Dick in California for two days,” recalls Pinhas. “It was such an event for a 23-year old; he was to me one of the last real prophets. We talked about Jung, we talked about a lot of things. Maybe this encounter gave birth to all of Heldon Third.” So the sci-fi master spawned a dark audio creation to rival his own work. Like the Heldon albums that precede it, It’s Always Rock And Roll is undoubtedly Pinhas’ baby. But its depth-probing sounds earned it a godfather, too. 2018 remaster by Willem Makkee.

File Under: Electronic, Prog
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heldon4Heldon: Agneta Nilsson (Heldon IV) (Bureau B) LP
In tomorrow… Bureau B present a reissue of Heldon’s fourth album Agneta Nilsson, originally released on Urus Records in 1976. Agneta Nilsson opens with a mind-paralyzing track that proves stillness can have a pulse. “Perspective I” spends ten minutes poring through tectonic layers of heavy sound, piling everything so thick that the song becomes like quicksand for your brain. It’s one of the most daunting works in the Heldon catalog, made all the more impressive by how simple it is. It’s just sounds put together and turned up. It’s the vital alchemy of Richard Pinhas’s wizardry, deployed with maximum force. As on other early Heldon albums, the rest of Agneta Nilsson is diverse in a nearly contrarian way. Each track refuses to mimic its predecessor in a way that feels rebellious, like a child running away from home. This is true despite the fact that three of the four pieces are actually chapters of “Perspective”, partners in a thematic whole. “Each one is a different point of view on the same field,” explains Pinhas. “Different parts, different arrangements, but with a full concept in place.” It’s not easy to divine that concept in these pieces, but their sibling nature has a subconscious effect. The album-closing “Perspective IV” is one of Pinhas’s most unabashedly proto-prog guitar-hero epics, boosted by a technical upgrade. “This was the first album where I had enough money to rent one or two days in a real studio to do the drumming,” says Pinhas. “After that we had real budgets for studio time. That all changed with and after Agneta Nilsson — that was a good turn.” Pinhas parlayed Heldon’s change of direction into three more adventurous albums in the ’70s, and simultaneously spurred himself toward a solo career that continues to prod and probe the sonic universe today, over 40 years since he began. It would be wrong to say this album was the big bang of this singular career; the seeds of were planted years before, and every work Pinhas has been involved with sprouts more sounds and ideas that can grow into their own branches. But Agneta Nilsson is one of the most convincing pieces of evidence that Pinhas is incapable of sitting still. 2018 remaster by Willem Makkee.

File Under: Electronic, Prog
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hereliesHere Lies Man: You Will Know Nothing (Riding Easy) LP
Here Lies Man took the music world by storm in 2017 with their self-titled debut positing the intriguing hypothesis: What if Black Sabbath played Afrobeat? Rough Trade named that album in their prestigious Top 10 Albums of 2017. BBC 6 and Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises. This June, the L.A. band comprised of Antibalas members quickly follow their auspicious debut with the even more thoroughly realized album You Will Know Nothing. Its eleven tracks expand upon the band’s exploration of heavy riff-based rock and psych within the ancient rhythmic formula of the clave. Sonically, the dynamic range is thicker, crisper and more powerful on this album. It glistens as much as it blasts. The songs are even catchier, more anthemic, and the production reflects that of a band truly come into its own. While it also certainly maintains its gritty grooves, there’s an interesting conceptual mathematics to the entire proceedings. “There are interludes between each song that are 2/3 to 3/4 of the tempo of the previous song,” vocalist / guitarist / multi-instrumentalist Marcos Garcia says. “The reason it breaks down to 2 over 3 or 3 over 4 is that everything in the music rhythmically corresponds to a set of mathematical algorithms known as the clave. The clave is an ancient organizing rhythmic principle developed in Africa.” Lyrically, the album is also an equally more conceptualized effort that reflects upon states of being and consciousness—a driving force that carries throughout the words and moods of all of the band’s releases, interconnected to their trancelike music. This band have truly honed their sound and their focus, and soon, you will truly know nothing.

File Under: Metal
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katenvKate NV: для FOR (RVNG Intl.) LP
Moscow is mythologized for its grandeur and gravity but its parable pleasures offer splendor and even absurdity. Over the ten, symmetrical pieces of для FOR, Kate NV scores her native urban environment with just enough whimsy to gurgle through the city cracks and grow psychotropic foliage. Each sound assumes its own personality, moving through the album metropolis like miniature, mutating molecules viewed from NV’s apartment window. Alternately a guitar-wielding, post-punker and one within the multitude of Moscow Scratch Orchestra’s avant-garde, NV is a versatile artist that maneuvers instinctively in whatever musical environs she finds herself. NV’s second solo album is an even more abstract endeavor than the hybrid pop of 2016’s Binasu. Inspired by casual moments of ephemeral sound from within and beyond her apartment walls, the record has a clarity arrived altogether and from right under her nose. Recorded at home, NV says it was as if the music was not written by herself, but her chair. для FOR inhabits a stage that Piero Milesi & Daniel Bacalov, Ann Southam, or Hiroshi Yoshimura may have written music for and dresses it with Viktor Pivovarov’s psychedelic depictions of Moscow – contorting bodies, flying pencils, and multi-dimensional faces dance with subtle arpeggiations, conversational voice synthesis, and anthropomorphic MIDI. Animating objects is essential to the album. Like a surreal still life, each piece is an alien arrangement of common elements that extend the everyday ritual into an eternal landscape of unconscious activity. Somewhere along that landscape, Kate awaits and greets with apples for hands and fish for feet. Like the album title, each composition contained within is represented as a three letter word, in Russian and English. The first half of для FOR was written in the spring. Starting with “yxo EAR,” previously released on the Peaceful Protest compilation cassette in 2017, melodies meander and lollygag. “двa TWO” incorporates human breath played like notes on a pump organ. “дуб OAK” offers a warm tune to tango. “как HOW” loops curious notes that bump into each other with a chirpy acknowledgement. “вас YOU,” the only track on для FOR with lyrics, sets a Wassily Kadinsky poem to song. The second half of the album was written in the autumn. The feathery edges of “раз ONE” extend like watercolors bleeding off a rubber scroll. “зря SEE” is a subdued, shadowy variation of “как HOW”, as if the same song were played in different weather, dimmer light, or by Kate’s devious doppelganger. The electronics unravel and unwind on “пес DOG” until the final track, “кто WHO,” ends with vague solemnity and rattled metals. A short online film series by Sasha Kulak will accompany the release of для FOR. The films follow a solitary figure performing ordinary tasks through a slow, warped lens — each song enacting a daily habit: waking, dressing, reading, and so on. In her live performances around the album, Kate NV will play each song from memory, allowing for variation from the recorded tracks, and scenes from the films will be re-created and improvised in the moment.

File Under: Electronic
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khemmis

Khemmis: Desolation (20 Buck Spin) LP
Anticipation was high for the release of Hunted in 2016, the sophomore album from Denver’s Khemmis and follow up to acclaimed debut Absolution. Rather than the all too common sophomore slump, the band raised the stakes and blew everyone away with their rapidly progressing songwriting and production quality, culminating in Hunted being named Album Of The Year for 2016 by Decibel Magazine. Now in 2018, after wrapping up the Decibel Magazine Tour with Enslaved, Wolves In The Throne Room and Myrkur, the excitement for their third album Desolation is palpable across the metal spectrum. From the stadium-sized opening notes of “Bloodletting,” it is immediately evident that the band are again putting distance between themselves and their earlier influences to inform a sound that is singularly their own. Working for the third time with Dave Otero at Flatline Audio in Denver, the band and producer now have the familiarity and mutual experience to arrive at the perfect symbiosis of songwriting, arrangement and production value. While Khemmis are undeniably influenced by doom and classic metal, to tag them with those labels doesn’t do justice to what’s accomplished on this album, a perfect representation of modern heavy metal in 2018 that integrates the past in a way only possible in the present.

File Under: Metal
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konstruktKonstrukt: Oryantal (Holidays) LP
Istanbul based multi-instrumentalist Umut Çağlar founded the Turkish free jazz band Konstrukt at the beginning of 2008. Since then the band went through many line-up changes and collaborated with the likes of Peter Brötzmann, Joe McPhee, William Parker, and Keiji Haino, continuously evolving its sound. The band is currently formed by Çağlar, Korhan Futacı, Apostolos Sideris, Erdem Göymen, and Berkan Tilavel and Oryantal — recorded at Hayyam Studio in Istanbul in 2017 with two drummers and a double bass player on board — shows a more melodic and groovy side of the band. The session explores their rhythmic roots with the use of traditional instruments such as bendirs, tefs, and double reeds, trying to carry these sounds to the future with the help of electronics. Edition of 300.

File Under: Jazz
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PHS007LP_CUEkrin Koray: Elektronik Turkuler (Pharaway Sounds) LP
In tomorrow… Technically his second LP after a collection of singles, this benchmark record from 1974 taught Istanbul’s musicians and pop fans how to put Turkish folk songs from the 17th century together with meaty, thundering guitar solos. With a crack bass player by his side (Ahmet Güvenç from Bunalim and Baris Manco’s Kurtalan Ekspres) and an electrified bağlama in his hands, Erkin Koray lets his gloomy baritone voice float over wiry double-reed melodies, bulging riffs, and hammer-ons that go on for-friggin’-ever. Savagery begins at home people, so make sure you get a physical copy of the best record by the Turkish Hendrix into your house.

File Under: Psych, Turkey
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williamsCharles Lloyd & The Marvels + Lucinda Williams: Vanished Gardens (Blue Note) LP
In tomorrow… Vanished Gardens is a transcendent new album that presents the fascinating collaboration between NEA Jazz Master saxophonist/composer Charles Lloyd and acclaimed Grammy-winning singer/songwriter Lucinda Williams. Together they weave several threads of American music (Jazz, Blues, Americana, Country, and Rock) into a thrilling and uplifting musical hybrid. The Marvels are Bill Frisell on guitar, Greg Leisz on pedal steel guitar and dobro, Reuben Rogers on bass, and Eric Harland on drums. Vanished Gardens was produced by Lloyd, Dorothy Darr, and Don Was. “A friend had turned me on to Lucinda when Car Wheels On a Gravel Road came out,” Lloyd recalls. “Lu has worked a lot with Bill Frisell and Greg Leisz, so a couple of years ago she came to one of my Marvels concerts at the Lobero Theater in Santa Barbara. It was our first meeting and I sensed a deep Southern crossroads connection. Not long after that meeting she invited me to guest at her UCLA concert and then I invited her to guest at one of my concerts about a year later…It was clear we had something we wanted to explore together.” Williams is featured on five of the ten tracks on Vanished Gardens, including expansive new versions of her well-known songs “Dust,” “Ventura” and “Unsuffer Me,” as well as a full-hearted interpretation of Jimi Hendrix’s “Angel” that closes the album. Alternating with the vocal tracks are five sublime instrumental offerings including three new Lloyd originals and versions of Thelonious Monk’s “Monk’s Mood” and the Roberta Flack popularized song “Ballad of The Sad Young Men.” “I’ve worked with a lot of poets,” Lloyd says, “especially during my Big Sur days; Lawrence Ferlinghetti, Charles Bukowski, Gary Snyder, Diane diPrima, Schyleen Qualls, Michael McClure, Bob Kaufman, James Dalessandro…putting words and music together. Lu is a poet. An authentic, American voice. Her sound is like an emotional barometer. A weather vane. Sometimes it swirls around in the tempest of a storm and sometimes it is sweet and pure as a Southern breeze carrying the intoxicating perfume of magnolia to you. As a poet, her imagery knocks me out. She is a reporter of the human condition, of life on planet Earth.”

File Under: Jazz
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melodyMelody’s Echo Chamber: Bon Voyage (Fat Possum) LP
In tomorrow… Made up of seven expansive tracks, Melody’s Echo Chamber’s second album marries Melody Prochet’s breathless soprano to the wildest sonic excursions, always pinned to an emphatic, clattering groove as she delivers her fables of spiritual search and emotional healing in multiple tongues (French, English and Swedish). Bon Voyage is a collaborative record between Prochet and Dungen’s Reine Fiske and The Amazing’s Fredrik Swahn with Melody sculpting and producing the sessions as well as encouraging the players around her to experiment, often with instruments that might be less familiar to them. It also features special guests Gustav Esjtes and Johan Holmegaard (both from Dungen) and Nicholas Allbrook (Pond). A musical journey of discovery, Bon Voyage delves deep into the collective musical psyche of Melody and her Swedish fellow travellers, who she met one serendipitous summer’s afternoon in Angers back in 2015. Prochet describes the members of Stockholm’s premier neo-psychedelic overlords Dungen as “soulmates and extreme beings, uncompromisingly intense and sensitive.” These kindred souls daydreamed about making music together, and then Prochet took matters into her own hands and moved to Sweden in the winter of 2016 to begin their adventure. Working in the woods of Solna, Melody says: “Swedish nature helped me to breathe and soothed me in times of anxiety. I had a majestic forest with a lake three minutes’ walk from my home. Recording sessions were a break in our lives, an escape from our frustrations as young adults, parents, musicians and embittered life jugglers. What transpired was a kind of modern fairytale full of duality: beautiful and disenchanted, happy and painful, internal and external, childish and mature, but also violent and measured. We had no structure and no limits and we stepped out of our comfort zones.” Bon Voyage arrives more than five years after Melody’s Echo Chamber’s debut, and it is the soundtrack to a trip back from the brink, the sound of spiritual renewal, and a pilgrimage to the sonic outer limits.

File Under: Pop, Rock, Psych
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melvinsMelvins: Bullhead (Boner) LP
Available again with updated artwork and a new gatefold sleeve! Melvins’ follow-up to 1989’s Ozma was 1991’s groundbreaking Bullhead. The songs are longer, the mood is calmer, yet more menacing. “Boris” (which gave the Japanese group their name) is a long, slow, low death march of addiction and self-abuse. “Zodiac” is a frantic punk rock machine gun blasting away at Buzz’s demons (both inner and outer). “Cow” is a happy baboon bashing away at the best drum solo of his life. “It’s Shoved” is a groovy beat for the cast of Shindig to bop along to, until their carefree performances of The Pony, The Mashed Potato, and The Watusi are horribly interrupted by the soundstage tilting up and sliding them all into a mangled heap of screaming dancers, broken cameras and flaming electronic equipment at the bottom.

File Under: Metal
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monopolyMonopoly Child Star: Make Mine, Macaw (Discrepant) LP
In tomorrow… Earlier this century, Spencer Clark, aka Monopoly Child Star Searchers, created a sound phantasy with Skaters and after that he pursued a new alchemy under various aliases (Charles Berlitz, Fourth World Magazine, Monopoly Child, Typhonian Highlife, etc.) and projects (like Egyptian Sports Network, Tarzana, or The Temple Defectors). The different aliases aren’t a mode of dispersion or to create confusion, they’re setups for the different possibilities he imagines for music. Make Mine, Macaw — previously released in 2010 as a limited CDR on Pacific City label — references a large long-tailed parrot and is part of a trilogy about birds, Spencer’s Tropical Bird Romance Audio, which also includes, Bamboo For Two (2010) and The Garnet Toucan (2012). A deep dive into this record makes it clear why it should be re-released. In the field of experimental-tropical-cocktail music, no one does it like Spencer Clark, especially through his output Monopoly Child Star Searchers. Make Mine, Macaw explores the best cocktail recipes through five colorful pieces, using Clark’s premium technique of blurry repetition and dreamy percussions. A tropical fantasy that starts in your ears, feeds your brain, and changes your life. You won’t know what a pacific city sound vision is until you see one. Make Mine, Macaw makes you see one clearly.

File Under: Electronic, Experimental, Gamelan
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neurosisNeurosis: Pain of Mind (Neurot) LP
“Pain Of Mind marks the inception of one of the weirdest and most powerful bands there ever was as they begin their odyssey through the sonic landscape: thirty-three years, thirteen albums and counting. These gritty punk songs bear little resemblance to what Neurosis would become, but the future was written here, and if you listen closely to these kids—barely out of high school at the time, you can hear their early influences: the guitars and existential anguish of Amebix and Rudimentary Peni, the passionate politics of Crass, the heaviness of Sabbath—and here, too, they lay the foundation for some of their enduring concerns: the pursuit of transcendence, and contemplation on the downward suck of despair. “As Ian MacKaye coyly suggests in the East Bay Punk doc Turn It Around, there are ‘a lot of holes to fall into’ growing up in the Bay Area. In 1987 Dave Edwardson was 18, Scott Kelly was 19, Jason Roeder was 16, Chad Salter, the band elder, was 21, and they had already fallen into many of them, including, of course, the great abyss of depression. Only a teenager could write the punk anthems ‘Black,’  ‘Grey,’ ‘Life on Your Knees,’ and of course the title track, ‘Pain of Mind.’ They are songs of survival. “With Pain of Mind, Neurosis sunk their claws into the hearts and minds of the East Bay scene like no one else. They were fucking dark, gazing right into the abyss and refusing to turn away. The cacophony of vocals on this album—Kelly’s unhinged screams, and Edwardson’s guttural growl, suggested a familiar sort of internal mania: like the voices in an unquiet mind, paranoid, but for all the right reasons. And Jason Story’s original cover art perfectly captures that torment. “Neurosis shows in the Pain Of Mind-era were like nothing else. The pit was wild; people rolled around on the floor, climbed the walls, threw themselves off the stage. For a few days after a show, you always felt real mellow. “Neurosis reminded us that maybe we weren’t free, but at least we were locked up together. It sounds melodramatic, but Neurosis might have saved our lives.” — Anna Brown

File Under: Metal
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nineNine Inch Nails: Bad Witch (Null) 12″
In tomorrow… Nine Inch Nails complete the trilogy that began with 2016’s Not The Actual Events and 2017’s Add Violence with the new six track 12″ release Bad Witch. In support of the EP, the band will launch their Cold And Black And Infinite North America 2018 Tour with support from The Jesus and Mary Chain and bring their “musical, visual, emotional sensory onslaught” (The New York Times) to some of the most iconic venues in the USA.

File Under: Electronic, Rock, Pop
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noprobNo Problem: Let God Sort Em Out (Deranged) LP
Standing on the precipice of a damaged world circling the drain Edmonton Punks No Problem are set to figuratively “kill’em all” with the release of Let God Sort’em Out, their ambitious third studio album out on Deranged Records. No Problem welcomes listeners into a frightening world filled with heavy riffs and nervous, gloomy, frustrated sounds. The perfect summer playlist to underscore our impending doom. A mainstay in Edmonton Alberta’s underground punk community, No Problem formed in 2010, blending the mutant sounds of early Canadian punk with the classic primitive stomp of American hardcore. Drenched in atmosphere No Problem have created the ultimate soundtrack to society’s impending doom. No Problem’s notorious high energy show has toured over twenty countries across three continents, sharing the stage with bands like Career Suicide, Fucked UP, DOA, Night Birds, Red Dons, The Regulations and many more. With three studio albums and over four 7”/EPs, No Problem are one of Canada’s top DIY exports.

File Under: Punk
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nwwNurse With Wound Plays The New Blockaders: Changez Les Blockeurs LP
In tomorrow… In 1982 The New Blockaders self-released their debut LP Changez Les Blockeurs in an edition of only 100. Steven Stapleton was the very first person to purchase/hear the album and subsequently distributed copies via United Dairies. The LP has since attained a somewhat mythical/legendary status (Record Collector magazine included it in a list of the rarest, most collectable records ever) and 2017 was the 35th anniversary of its original release. In celebration of this, TNB invited Steven Stapleton to rework the original which is now available in all its glory here. The LP cover features brand new artworks by Steven (aka Babs Santini). It comes with an insert including a TNB/NWW article by Paul Hegarty, author of the much-acclaimed Noise Music: A History (2007). The cover is printed on heavy 550mcn matte laminated board, and the insert on 250 gsm art board. Edition of 300.

File Under: Experimental, Noise
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NA5169LP_CUMike Nyoni & Born Free: My Own Thing (Now Again) LP
OBI strip and resealable “Japanese-style” plastic sleeve. 145 gram vinyl; Gatefold jacket; Hand-numbered edition of 1000. Download card for WAV files of the album and bonus tracks from solo releases from Nyoni and his Born Free band. Contains booklet that presents an overview of the Zamrock scene, Nyoni’s story, and the confluence of the Zimbabwean and Zambian rock scenes in the ’70s. “The latest release in Now-Again’s deluxe Reserve Edition series: the first ever anthology of Zamrock musician Mike Nyoni’s funky, psych-rock and folkloric 1970s recordings spread over 2 CDs. Zambian guitarist and singer/songwriter Mike Nyoni’s music is Zamrock only because he came of age during the country’s rock revolution. His preferred wah-wah to fuzz guitar, James Brown to Jimi Hendrix. His 70s recordings — often politically charged and ranging from despondent to exuberant — are amongst the funkiest on the African continent. He was also one of the only Zamrock musicians to see his music contemporaneously issued in Europe. This anthology collates works from his three 70s LPs — his first, with the Born Free band, and his two solo albums Kawalala and I Can’t Understand You — and presents a singular Zambian musician on par with celebrated artists Rikki Ililonga, Keith Mlevhu and Paul Ngozi. The package also features an extensive, photo-filled booklet contains an overview of the Zamrock scene and Nyoni’s story.”

File Under: Psych, Zamrock
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SR455LP_CUOiseaux-Tempete: Tarab (Sub Rosa) LP
In tomorrow… Red/white vinyl; Includes four-page insert and download code which includes a bonus track featuring Radwan Ghazi Moumneh, “Through The Speech Of Stars”. Tarab (in literary Arabic: euphoria, secular exaltation, ecstasy), Oiseaux-Tempête’s sixth release on Sub Rosa, is the result of live recordings captured during the AL-‘AN! tour. In a handful of improvised albums circumnavigating the troubled waters of the contemporary Mediterranean — Greece with the eponymous Oiseaux-Tempête, Turkey and Sicily for Ütopiya?, and Lebanon with AL-‘AN! — the collective Oiseaux-Tempête has stretched its electric arc over musical genres and borders, imposing itself in a river of tours and releases like a wild UFO within the hexagonal indie scene. It is little surprise that following the remix album — Re-Works — and collection of B sides — Unworks & Rarities 2012-15 — Oiseaux-Tempête unveils, by way of a new opus, an album entirely recorded in concert. Tarab is the result of live recordings captured during the AL-‘AN! tour which led the group, after a preliminary residency at l’Autre Canal in Nancy, to cross Europe and into Canada, performing at Le Guess Who? in Utrecht, opening for Suuns and Jerusalem In My Heart in Montreal and Toronto, following Jerusalem In My Heart through France then from Brussels to Berlin, and closing at the Irtijal festival in Beirut. Tarab is a meeting of the Parisian founding members Frédéric D. Oberland and Stéphane Pigneul, electronic sound wizard Mondkopf, G.W.Sok (The Ex), Sylvain Joasson (Mendelson), videographers As Human Pattern, and the Lebanese musicians Charbel Haber, Abed Kobeissy, and Ali El Hout (Two Or The Dragon). The studio pieces are stretched, deconstructed, and rearranged here while new works from the road — poems “Grasse Matinée” by Jacques Prévert and “Tuesday And The Weather Is Clear” by Mahmoud Darwish — find unique musical settings. It is in symbiosis, in the fever and visceral experimentation, that the musicians seek rapture. Arranged in a semicircle, they invoke the elements and attempt the catharsis, inviting the spectator to spiral with them, entwined in the sonic explosions, finding beauty and peace in the spaces of improvisation and elaboration. Marrying free-rock, organic electronics, traditional instruments, and unbridled electricity, Tarab, far beyond the vibrant testimony, is a generous invitation to experience, to meditate, and to share.

File Under: Rock, Experimental, World
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potterColin Potter: The Where House? (Dark Entries) LP
Colin Potter is a sound engineer and musician currently based in London. He has worked within the fields of electronic and experimental music for over 35 years, collaborating with the likes of Current 93, The Hafler Trio, Organum, Andrew Chalk, and most notably as a key part of Nurse With Wound alongside Steven Stapleton. He started the esteemed ICR (Integrated Circuit Recordings) label in 1981 releasing a clutch of wonderful home recordings of his own, over half a dozen small run cassette only releases. ‘The Where House?’ was recorded in 1981 at IC Studio, a converted wash house in Sutton on the Forest in North Yorkshire. The album was self-released on cassette that same year via ICR. This expanded double LP edition features all 13 tracks from the original tape on vinyl for the first time plus 4 bonus tracks. ‘The Where House?’ is a prime example of early UK post-punk/industrial electronic music. “Combining dub, electro, and krautrock rhythms with psychedelic, kosmische noise in multiple mutations ranging from almost pop-wise songcraft to horizon-scanning motorik flights,” says Boomkat. Most of the damage was done by Colin using guitars, synths, sequencers, drum machines, percussion, and modified toy keyboards with fairly primitive 4-track recording equipment. He was assisted on some of the tracks by Stephan Jadd-Parry (guitar, percussions), Jon Caffery (guitar, bass, e-bow, percussion) and Nick Jackson (synth). All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is sleeved in a replica of the original cassette artwork by Jonathan Coleclough. Every copy includes a double sided postcard insert with notes from Colin.

File Under: Experimental, Post Punk, Electronic, Industrial
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rollingRolling Blackouts Coastal Fevers: Hope Downs (Sub Pop) LP
It’s rare that a band’s debut album sounds as confident and self-assured as Rolling Blackouts Coastal Fever’s Hope Downs. To say that the first full-length from the Melbourne quintet improves on their buzz-building EPs from the last few years would be an understatement: the promise those early releases hinted at is fully realized here, with ten songs of urgent, passionate guitar pop that elicit warm memories of bands past, from the Go-Betweens’ jangle to the charmingly lo-fi trappings of New Zealand’s Flying Nun label. But don’t mistake Rolling Blackouts Coastal Fever for nostalgists: Hope Downs is the sound of a band finding its own collective voice. With the help of engineer/producer Liam Judson and his portable setup, the band recorded Hope Downs live, and co-produced ten guitar pop gems over the course of two weeks in Northern New South Wales during the winter of 2017. Hope Downs possesses a robust full-band sound that’s all the more impressive considering the band’s avoidance of traditional recording studios. If you loved Talk Tight and The French Press, you certainly won’t be disappointed here – but you might also be surprised at how the band’s sound has grown. There’s a richness and weight to these songs that was previously only hinted at, from the skyscraping chorus of “Sister’s Jeans” to the thrilling climax of album closer “The Hammer.” Hope Downs is as much about the people that populate the world around us – their stories, perspectives, and hopes in the face of disillusionment – as it is about the state of things at large. It’s a record that focuses on finding the bright spots at a time when cynicism all too often feels like the natural state. Rolling Blackouts Coastal Fever are here to remind us to keep our feet on the ground – and Hope Downs is as delicious a taste of terra firma as you’re going to get from a rock band right now.

File Under: Indie Rock
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superior-viaduct-spacemen-3-for-all-the-fucked-up

Spacemen 3: For All The Fucked-Up Children of this World (Superior Viaduct) LP
In 1984, Spacemen 3 made their first-ever recording session and sold a few cassettes at now-legendary, incendiary gigs. Growing out of the dual guitar attack of Jason Pierce and Pete Kember, the band’s three-piece line up with Natty Brooker on drums offered a liturgical take on ’60s psychedelia, bare-knuckle blues and stunning feedback. This early glimpse into the Spacemen 3 cosmos—crafted by and for all the fucked-up children of this world—captures the band’s unorthodox approach to rock ’n’ roll with nuance and power. While the raw atavism of “Things’ll Never Be The Same” and “Walkin’ With Jesus” would be scaled back considerably on later recordings, the one-chord propulsion of “T.V. Catastrophe” and hardwired stomping of “Fixing To Die” draw from a primitive force that served as the impetus for the group’s formation. For All The Fucked-Up Children remains the perfect introduction to Spacemen 3. Not only do these demos reveal the auspicious beginnings of two teenagers born on the same day in Rugby, England, but also compelling clues that point toward the exploration and eventual refining of their signature sound.

File Under: Rock, Psych
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superior-viaduct-spacemen-3-taking-drugs-to-make-mSpacemen 3: Taking Drugs to Make Music to Take Drugs to (Superior Viaduct) LP
Amidst the swirl that is Spacemen 3’s discography, Taking Drugs To Make Music To Take Drugs To occupies a pivotal position — one right at the nexus between their garage beginnings and their expansionist future. While much of this material is expanded upon via Sound Of Confusion and The Perfect Prescription, many devotees consider these urgent, minimally treated recordings as the prime document of Spacemen 3 at this stage. Taking Drugs To Make Music To Take Drugs To casts Spacemen 3 alongside the mid-80s cadre of UK front-line rockers, contributing a distinct variation of high pop shining through layered noisy guitars.  Ultimately, this collection serves to exalt the strength of Spacemen 3’s songwriting over the atmospherics and production assemblage that would permeate their later efforts.  Be it the rave-up rendering of “The Sound Of Confusion” or the churning take on “Losing Touch With My Mind”, these full band recordings capture the excited and inspirational spark of psychedelia rather than deep-dive ruminations on sonics and space.

File Under: Psych, Rock
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ALGA0432LP_PRODJacques Thollot: More Intra Musique (Alga Marghen) LP
Produced in collaboration with the legendary Jac Berrocal’s label d’Avantage, More Intra Musique is the second LP in Alga Marghen’s series dedicated to previously unreleased recording by the drummer and experimentalist Jacques Thollot. While the furious Intra Musique free jazz first LP was centered on a live recording with Michel Portal, Eddie Gaumont, and Mimi Lorenzini at the Faculty of Law in Paris, on an evening in 1969, it is an unexpected Jacques Thollot that you encounter on this second LP, vivid and blazing even more than you might have already known. Jacques Thollot was a major force in the French free jazz scene, collaborating with artists at the level of Don Cherry, Steve Lacy, Sonny Sharrock, Joachim Kühn as well as with French pioneers Jef Gilson and Barney Wilen. Starting from 1971 he released Quand Le Son Devient Aigu, Jeter La Giraffe A La Mer or Watch Devil Go on Futura and Palm Records, or some of the most relevant and revolutionary sonic masterpieces in France. More Intra Musique is free improvisations of course, but also synthetic jitters, musique concrete, and loop experiments, sketched pop songs, minimalist trances with African accents, or simply the promiscuity of a lullaby or the voice of a child posed like a bird in a Norman garden. These long-lost visionary recordings featuring Eddie Gaumont on prepared piano and Jacques Thollot on drums, piano, prepared piano, synth, and tapes are an absolute revelation which make you rethink everything you know about French free improvisation. Tape manipulation created as a potential background for a live set… Bursting rehearsal with Eddie Gaumont… Is the piano well prepared? Besides the stingy mention Intra Musique sticked on the reel, nothing is known of this recording. Edition of 350 copies.

File Under: Experimental, Free Jazz

tinman

Tin Man: Acid Acid Acid (Acid Test) 4LP
In tomorrow… Acid Test reissues the highly sought-after Acid Acid LP from Tin Man, originally released in 2005. Now titled Acid Acid Acid, it includes a fourth disc of unreleased material recorded from the period. Remastered by Stefan Betke.

File Under: Electronic, Acid
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tombTomb Mold: Manor of Infinite Forms (20 Buck Spin) LP
Bubbling up from the oozing sewers of Toronto like a bizarre insectoid of mutant genotype, Tomb Mold reanimates with their second album, and first for 20 Buck Spin, Manor Of Infinite Forms. Constructing monumental towers of obscure shape, jarring yet coherent, this band’s compositions evoke a distorted world alongside this one, where all manner of oddity and peculiarity are permitted. Songs on this album move in strange ways, recklessly contorting into cohesion until suddenly they’re proceeding with a force and purpose in perfect synchronicity to the universe that contains them. Disharmoniously melding the pulverizing heaviness of Finnish death metal with a never overbearing technicality, Tomb Mold careen through world after world of alien landscape with formidable singularity. Tracked in Toronto, this then landed in the hands of Arthur Rizk (Power Trip, Pissgrave, Code Orange) to achieve its organically huge mix. A remarkable puzzle of an album, Manor Of Infinite Forms constitutes a creative high point for 2018’s many strong death metal releases.

File Under: Metal
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vargVarg: Nordic Flora Series Pt. 5: Crush (Posh Isolation) LP
In tomorrow… Following on from the previous iterations of the series, particularly the widely acclaimed Nordic Flora Series Pt. 3: Gore-Tex City (2017), the cast of collaborators remain familiar. Some faces are more prominent on this occasion, while others were folded into the series for the first time at last year’s Berlin Atonal festival where Varg’s Nordic Flora program was unveiled. The album’s most tender moments arrive when the acoustic instrumentation and ambient ascents cross and tangle with the spoken word performances from AnnaMelina and Chloe Wise. They speak in lullabies of decadence. And the sincerity catches you out, tapering the rush, awakening the crush. When working with both AnnaMelina and Vanity Productions, the gentle details get scaled up for bigger arenas, the track signaling a kinship with last year’s Yung Lean collaboration. Not surprisingly, Varg configures this side of Crush alone, perhaps letting this stormy intensity out just the once in a mournful piece with Ecco2k. True to the Nordic Flora Series, the artwork comes from American multidisciplinary artist Cali Thornhill DeWitt. Features Morning Star, Ecco2k, AnnaMelina, Chloe Wise, Matti Bye, Christian Augustin, Henrik Söderström, and Vanity Productions.

File Under: Electronic, Techno, Ambient
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wahnfriedRichard Wahnfried: Time Actor (Dark Entries) LP
Dark Entries is honored to re-issue one of the greatest and most overlooked albums of the 1970s. “Time Actor” was the result of a collaboration between legendary Crazy World & Kingdom Come visionary Arthur Brown and German synthesizer and ambient genius Klaus Schulze, recording under the pseudonym of his alter-ego Richard Wahnfried. “Richard” is the name of Klaus’ son born in 1979, and the first name of the German composer Wagner. “Wahnfried” is the name of Richard Wagner’s house, from the German “wähnen Frieden fand” (that his search and hopes will find peace). The album was a unique fusion of Brown’s eccentric musical vision and Schulze’s mastery of synthesis. The album was originally released in 1979 on the German Innovative Communication label. Time Actor stands out amongst Schulze’s massive catalog as a masterwork of avant garde new age. Schulze helms the project on electronics, and guests include Michael Shrieve on percussion, Vincent Crane on keyboards, and vocalist Arthur Brown, who sings – or should we say, speaks – on top of it all. Schulze describes the Wahnfried project in the liner notes as “the collective pseudonym of an idea: Time-Electronic, an experiment between avantgarde and muzak: Utility-music for sound-covered environment, in which a new generation grows up: Richard Wahnfried is this generation: Music between genius and nonsense: New ideas transported by an old medium to your ear.” This newly re-mastered reissue expands the original 60 minutes of music across a double LP to help with playback and distortion experienced on original pressings. We’ve added a bonus track in the form of a Cosmic 12-minute extended remix by Italian producer and DJ Maurizio Delvecchio from 1983. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a gatefold jacket with original album artwork featuring a surreal painting by German artist Peter Nagel plus lyrics and notes. “I wish you plenty of TIME” – Klaus Schulze

File Under: Electronic
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weeeedWeeed: This (Important) LP
In tomorrow… Weeed’s debut for Important Records, titled This, has an expansive musical vision and an astonishingly mature sound from a young band. Despite their relatively young ages Weeed has been together for ten years — a fact made apparent by the fluidity and unity of their sound. Labels such as stoner/psych/jam/alt/krautrock fall short as the band draws from a deeper pool of inspiration including gnawa, traditional folk, jazz, minimalist orchestras, overtone singing, and much more. This is the product of both a desire to make such influences more apparent as well as a desire to explore the boundaries of the members’ abilities to connect with each other; to become, in essence, one mind. Though the skeleton of the album was written during practices, the dynamics and fullness of each song were often reconnoitered and spawned through the improvisations which occurred during live settings and tours. The idea was discovery through the act of being present, and This was the result. Sonically, This is an outgrowth of their last release, Meta (2017), which saw the band beginning to experiment with ambient and vocal looping, flutes, synthesizers. Those explorations are present here, as is the notable (and permanent) addition of a second drummer, which is defined through the mixtures of tight syncopations and pulsing polyrhythms present in these songs. Recorded and produced at Bear Creek studio in Woodinville, WA, This marks a shift in sound that will only lead to further exploration into new musical territory.

File Under: Garage, Psych
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wilkins

Wilkson/Edwards/Noble: 3 of a Kind (Bo Weavil) LP
The trio of Alan Wilkinson, John Edwards, and Steve Noble continue to plot their course ever outward and ever upward. These new songs, recorded in South London at that wonderful performance space — at the heart of the improve scene here at this moment — Iklectik, are the very beating heart of improvised music. It’s not that they are good, or even representative — such relative terms fail to express the continuum of which these sounds are a key part. This is music that evades the strictures of scientific measurement or critical theory. It just is. Wilkinson is a master of the tribal, balls-out approach to sax playing. He lets it all hang out. But there is great subtlety in what he does with his horn, in the range of inflection, the space between the phrases, the singing tone. At times he sounds like a tight knit sax section in a swinging big band all on his own. There is definitely jazz in there. Edwards and Noble form the rhythmic base for much that is good and beautiful in the improv scene today. Years of playing together and individual brilliance mean they mesh like the gears of a micro-tuned machine. Together the trio make music. And that is all that needs saying. Personnel: Alan Wilkinson – alto, baritone saxophones, bass clarinet; John Edwards – double bass; Steve Noble – drums.

File Under: Jazz

…..Restocks…..

Francis Bebey: African Electronic Music (Born Bad) LP
Bell Witch: Longing (Flenser) LP
Glenn Branca: Lesson No. 1 (Superior Viaduct) LP
Leon Bridges: Coming Home (Columbia) LP
Leon Bridges: Good Thing (Columbia) LP
The Clash: London Calling (Legacy) LP
Grouper: Grid of Points (Kranky) LP
Gruppo d’Improvvisazione Nuova Consonanza: s/t (Superior Viaduct) LP
Guided By Voices: Bee Thousand (Scat) LP
Lhasa: s/t (Audiogram) LP
MF Doom: Operation Doomsday (Metal Face) LP
Oh Sees: Carrion Crawler (In The Red) LP
Oh Sees: Orc (Castle Face) LP
Orb: Birth (Castle Face) LP
OST: Blade Runner 2049 (Lakeshore) LP
Parquet Courts: Wide Awake (Rough Trade) LP
Parquet Courts: Human Performance (Rough Trade) LP
Pixies: Doolittle (4AD) LP
Radiohead: A Moon Shaped Pool (XL) 3LP
Terry Riley: Persian Surgery Dervishes (Aguirre) LP
Damien Rice: O (East West) LP
Scientist: Introducing Scientist (Superior Viaduct) LP
Ty Segall: Manipulator (Drag City) LP
Ty Segall: Melted (Goner) LP
Ty Segall: Sleeper (Drag City) LP
Ty Segall: Twins (Drag City) LP
Sleep: Volume One (Tupelo) LP
Sonic Youth: Daydream Nation (Goofin) LP
Sonic Youth: Evol (Goofin) LP
Sonic Youth: Sister (Goofin) LP
Stars of the Lid: Avec Laudenum (Kranky) LP
Stars of the Lid: Tired Sounds of (Kranky) LP
Sunn o))): Monoliths & Dimensions (Southern Lord) LP
Taake: Noregs Vappen (Napalm) LP
Chrissy Zebby Tembo: My Ancestors (Mississippi) LP
Various: Panama! 2 (Soundways) LP
Various: Spider Jazz (Trunk) LP
Zeal & Ardor: Stranger Fruit (MVKA) LP

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…..news letter #853 – sled…..

Well, it’s probably safe to assume you are reading this on your phone between bands at Sled Island right now, unless you are like me and stuck in Edmonton. And if you are stuck like me in Edmonton, good news… there’s lots of rad new records to stick in your ear this weekend!!!!

Hopefully you’ve had a chance to check out our new webstore… if not CHECK IT OUT!  The inventory is live with the shop, so if it’s in stock there, it’s in stock in the store. We have an instore pick up option, so if you are local, but going out of town, or just don’t want to miss out on something, by all means, buy it through the site and it’ll be here waiting for you when you have time to get in.

…..pick of the week…..

washington

Kamasi Washington: Heaven & Earth (Young Turk) 4LP
Kamasi Washington’s sophomore album Heaven and Earth is the sequel to his critically acclaimed debut The Epic, and consists of two halves where the groundbreaking artist explores the realities and cosmic themes of life. The album is about Washington’s settlement with today’s global chaotic states, as well as his vision for the future. Heaven and Earth not only fulfills its overarching ambition, but illustrates the dialectic between seen and unseen, real and imagined, citizen and culture, self and self, as well as self and other, and does so through the lens of a mature but never jaded revolutionary consciousness. Washington gathered his band, The Next Step, along with members of the well-established collective The West Coast Get Down in Henson Studios in Los Angeles to record the album’s 16 tracks. The artist’s own words best convey the inspiration behind this monolith of an album: “The world that my mind lives in, lives in my mind. This idea inspired me to make this album Heaven and Earth. The reality we experience is a mere creation of our consciousness, but our consciousness creates this reality based on those very same experiences. We are simultaneously the creators of our personal universe and creations of our personal universe. The Earth side of this album represents the world as I see it outwardly, the world that I am a part of. The Heaven side of this album represents the world as I see it inwardly, the world that is a part of me. Who I am and the choices I make lie somewhere in between.” Over 2.5 hours worth of music across 4 pieces of vinyl housed within a be-spoke gatefold sleeve.

File Under: Jazz, Funk, Fusion
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…..new arrivals…..

purple blue

Eric’s Trip: Purple Blue (Sub Pop) LP
Hailing from Moncton, New Brunswick, indie rockers Eric’s Trip formed in 1990 when musicians Rick White and Christopher Thompson of The Forest joined Julie Doiron and Ed Vaughan (who was later replaced by Mark Gaudet of Purple Knight). The first Canadian band signed to Sub Pop Records, White described their sound as “sappy melodic pop music on top of thick distortion.” 1996’s Purple Blue is the group’s third album, issued just prior to their first break up. The psych and noise flavored anthemic pop affair served as the only record where Eric’s Trip recorded together rather than White piecemealing individual parts, as on their first two albums. It’s been out of print on vinyl since its original pressing.

File Under: Indie Rock
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forever

Eric’s Trip: Forever Again (Sub Pop) LP
Hailing from Moncton, New Brunswick, indie rockers Eric’s Trip formed in 1990 when musicians Rick White and Christopher Thompson of The Forest joined Julie Doiron and Ed Vaughan (who was later replaced by Mark Gaudet of Purple Knight). The first Canadian band signed to Sub Pop Records, White described their sound as “sappy melodic pop music on top of thick distortion.” The raw and emotional Forever Again (1994) is the group’s second full-length effort and follow-up to their Sub Pop debut Love Tara (1993), recorded in 1994 at White’s home  studio, Stereo Mountain. It’s been out of print on vinyl since its original pressing. Eric’s Trip broke up in 1996 and subsequently reunited in 2001, and again in 2006.

File Under: Indie Rock
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express

Express Rising: Fixed Rope II (Numero) LP
The fourth Express Rising LP (and second featuring the expanded lineup of William Suran and Kevin Blagg, in addition to leader Dante Carfagna) finds the trio largely eschewing percussion in favor of twelve concise, three-minute-or-so-long bittersweet excursions that nevertheless retain the restrained, measured, and highly melodic scaffolding of their previous work. There’s more than a bit of Santo & Johnny at their most somnambulant on Fixed Rope II, slightly glazed, definitely reverbed out, mysteriously bottling the flaring, saturated light of the desert at dusk.

File Under: Experimental, Post Rock
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prass

Natalie Prass: Future and the Past (ATO) LP
Natalie Prass had her new album written, her band ready, the recording studio booked. Then the 2016 election happened, and out of her despair and disappointment in those results came an impulse she could not ignore: she rewrote the album to reflect these swirling emotions. The result is The Future and The Past, a stunning snapshot of a musician in a state of personal rediscovery and surging femininity. The celebratory and defiant collection also signals a significant artistic leap for Prass on the heels of her 2015 breakthrough debut. It finds Prass tapping into deep, dancey grooves that glisten with ’80s pop and ’90s R&B, nestled alongside quivering, lushly orchestrated ballads. Like her debut album, Prass made The Future and The Past in Richmond, VA with long-time friend and collaborator Matthew E. White at his Spacebomb Studios. She added some new collaborations to the mix as well: Blue (Solange’s A Seat At The Table, Blood Orange, Carly Rae Jepsen) and Michael Brauer (Elle King and James Bay). The Future and the Past is ripe with a myriad of grooves, string orchestrations, piano flourishes, snaking synth lines and fuzzed out guitars while Natalie’s vocals float on top, light as a feather and tough as nails. “Short Court Style” dials the tempo into 90s R&B territory – punctuated by handclaps, sampled “woos,” and a Dr. Dre-esque whistling synth line. Lyrically she wields a sharp knife as well on the love torn “Lost” and the empowering feminist anthem “Sisters.”

File Under: Rock, Pop
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happy

Happy Rhodes: Ectotrophia (Numero) LP
The first authoritative compilation of American dream pop artist Happy Rhodes, whose singular songwriting and 4-octave vocal range emanated from the pastoral confines of upstate New York in the ’80s. Her melding of classical music influences with synthesizer and acoustic guitar, and her enchanting and idiosyncratic singing, are favorably compared to heralded English chanteuse Kate Bush. Fans of such artistic pop music would be remiss to overlook Rhodes’s similarly remarkable and otherworldly sonic transmissions, traversing tales of dreamers, outsiders, lovers and other lovely and terrifying creatures born of a wellspring of wild creativity and bold imagination. Affectionately remastered from the original tapes, Ectotrophia gathers essential songs from Rhodes’s mid-’80s salad days, many written when she was just a teenager – wildly ahead of her time and unafraid to bare her soul to regional audiences, the ectophiles who’d eventually coin an entire subgenre of pop music in her honor. Dive deep into ecto, with the woman who started it all!

File Under: Indie Rock, Dream Pop
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sleep

Sleep: The Sciences (Third Man) LP
Finally a good stack of these in! Sleep unleashes their first full-length album of new recordings since 1998 on Third Man Records. Years after the release of Volume One in 1991, Sleep’s Holy Mountain in 1992 and Dopesmoker in 2003, the sonic titans reaffirm their place at the top of the riff pyramid with the brand-new six-track double album masterpiece, The Sciences. Featuring guitarist Matt Pike (High On Fire), bassist/vocalist Al Cisneros (Om) and new drummer Jason Roeder (Neurosis), “This is Dopesmoker Beyond the Thunderdome, a lawless, yet demanding exploration of Sleep’s stock-and-trade, and hopefully just the hazy horizon of riffs to come” (NPR Music).

File Under: Metal, Stoner
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sylvian

David Sylvian & Holger Czukay: Plight, Premonition, Flux & Mutability (Gronland) LP
Groenland reissues one of ambient music’s hidden gems, by two unique musicians whose paths crossed in the early-80s while working on David Sylvian’s debut solo album, Brilliant Trees. In 1986, Sylvian – of British Art-Pop band Japan – and Holger Czukay – founding member and bassist in legendary German Kosmiche band Can – were ostensibly reconvening for Sylvian to record a vocal for Czukay’s Rome Remains Rome. But on arriving at Czukay’s studio – a former cinema in Köln – Sylvian began playing freeform, improvising on readily available instruments located in the studio itself. No sooner had Sylvian started to structurally define/refine the performance than Czukay would stop the recording he’d surreptitiously been making. Czukay had attempted to capture the process of creation without a musician’s inclination for refinement. This process, drawn out over two nights, gave birth to the duo’s first, full-fledged, collaboration, “Plight and Premonition.” Having been out of print for some time, the parallels between the original release 30 years ago and now are quite stark; at the time of recording the Cold War was lifting – but still very real – after a bitter winter. The names “Plight & Premonition” and “Flux & Mutability” themselves hint at an instability. In Sylvian’s words, the sessions seemed to touch on something: “A form of music that seemed to have been created while we were absent by instruments abandoned to the earth and the woods, sounded by the coarse winter elements.” The version of “Plight and Premonition” included here is a new mix by Sylvian from 2002. All the recordings have been fully remastered. The packaging has been redesigned by Chris Bigg with Art Direction by Sylvian with new, previously unseen, photographs by Yuka Fujii, accompanied by an extensive essay by David Toop. Originally released separately, they are now packaged in a 2LP set.

 File Under: Ambient
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GRAZIE_LP

Piero Umiliani: Grazie! (Nature Sounds) LP
Nature Sounds is proud to present GRAZIE! – A quintessential and truly unique approach to the work of legendary Italian composer, Piero Umiliani. Understandably inspired by a recent whirlwind Italo-adventure to both meet the maestro’s family and friends, as well as to visit his Sound Work Shop, renowned soundtrack and library record collector Mike Wallace immediately got to work compiling and mixing an all Umiliani DJ mix. The result is a fitting tribute and sonic treat for the senses: a double-LP compilation album and mix CD consisting of a prime selection of Umiliani’s soundtrack and library work, meticulously sourced off iconic rarities, and including classic tracks such as “Lady Magnolia”, “Nostalgia”, “Chaser”, and many more. Limited to only 1000 copies, GRAZIE! is sure to become an indispensable addition to the record collections of Italian soundtrack and library music aficionados worldwide.

File Under: Library, OST
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zeal

Zeal & Ardor: Stranger Fruit (MVKA) LP
Creative firebrand Manuel Gagneux returns with the brand new Zeal & Ardor album Stranger Fruit. Mixing blues, gospel, and soul with harsher music has opened up a world of possibilities for Gagneux. Previously creating as a one man solo effort, the immense interest and critical acclaim Zeal & Ardor attracted upon release of debut album Devil Is Fine, has led to the project becoming a fully-fledged, internationally-touring band. After months hidden away, crafting the new songs for Stranger Fruit, Gagneux entered the studio with producer Zebo Adam and mixer Kurt Ballou (Converge, Kvelertak, Nails). While the finished sound is larger and heavier, it’s still unmistakably Zeal & Ardor. The diverse yet cohesive nature of the sixteen tracks on Stranger Fruit is designed to encourage the listener to dig a little deeper and find their own meaning in its words. In contrast to first LP Devil Is Fine, these songs are deliberately intended to play off each other both lyrically and musically. While the record seethes with a justifiable rage, its wider-reaching aim is to unify, not divide, and to inspire action, not inertia. Elements of a bleak melancholy are tempered by hope. Superficially, the album tells small isolated stories, but there are also references to the Goetia, Yoruba, and obscure occult literature and history within.

File Under: Metal
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thisissoul

Various: This is Soul (Atlantic) LP
Appearing first in the UK in 1968, This Is Soul was an immediate success. The compilation features the best of Stax and Atlantic artists, at a time when mainstream radio was not focused on soul music, and buying a compilation like this was UK’s first introduction to the great soul music from the US. This reissue is a replica of the original release, in mono, starting and ending with Wilson Pickett and featuring the likes of Ben E. King, Sam & Dave and Percy Sledge.

File Under: Soul, Funk RnB

…..Restocks…..

Big Black: Headache (Touch & Go) 12″
Bill Callahan: Sometimes I Wish I Were an Eagle (Drag City) LP
Bill Callahan: Apocalypse (Drag City) LP
Kenny Dorham: Afro-Cuban
Funkadelic: Maggot Brain (Westbound) LP
Funkadelic: America Eats Its Young (Westbound) LP
Funkadelic: Cosmic Slop (Westbound) LP
Massive Attack: Heligoland (EMI) LP
Lee Morgan: Cornbread (Blue Note) LP
Lee Morgan: Sidewinder (Blue Note) LP
Lee Morgan: Search for the New Land (Blue Note) LP
Neutral Milk Hotel: In The Aeroplane Over The Sea (Merge) LP
Liz Phair: s/t (Universal) LP
Tom Petty: Full Moon Fever (Universal) LP
Lou Reed: Berlin (Legacy) LP
Lou Reed: Coney Island (Legacy) LP
Rolling Stones: Exile on Main Street (Abkco) LP
Yasuaki Shimizu: Kakashi (Palto Flats) LP
Smog: Red Apple Falls (Drag City) LP
Cecil Taylor: Conquistador (Blue Note) LP
Various: Don’t Stop Recording Tap (Numero) LP
Various: Drive (Lakeshore) LP
Various: Technicolor Paradise (Numero) Box
Various: Westbound Disco (Westbound) LP

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…..news letter #852 – dads…..

It is indisputable fact, DADS WANT RECORDS FOR FATHERS DAY. So, we’ve got you covered. Loads of great stuff in this week, both new and used. Come dig for dad.

Hopefully you’ve had a chance to check out our new webstore… if not CHECK IT OUT!  The inventory is live with the shop, so if it’s in stock there, it’s in stock in the store. We have an instore pick up option, so if you are local, but going out of town, or just don’t want to miss out on something, by all means, buy it through the site and it’ll be here waiting for you when you have time to get in.

…..picks of the week…..

takahashi

Kuniyuki Takahashi: Early Tape Works (1986 -1993) Vol. 2 (Music From Memory) LP
The Japanese producer and DJ Kuniyuki Takahashi is the subject of Music From Memory’s latest retrospective compilation with Early Tape Works (1986-1993). Composed of two volumes, the compilations gather together a selection of tracks from a tiny run of privately released tape only albums, highlighting a fascinating early period in Kuniyuki’s musical output, one of which little is known. After discovering the world of nightclubs in Japan around 1986, and the seemingly boundless freedom expressed there through music as well as art, Kuniyuki became inspired to experiment with electronic music. Excited by the possibilities of new music technology, he would begin to gather together a number of, at that time, reasonably accessible and inexpensive local keyboards, drum computers, and recording equipment. This became for a way for Kuniyuki to explore music not as such made for nightclubs, but certainly inspired by them. Setting up a home studio in his hometown of Saporro, Kuniyuki would record extensively during this period with the equipment he had gathered together, equipment such as Roland’s Juno60, TR-606, TB-303, Casio FZ-1, Korg 770, Boss DE-200, Foster A8, and a Yamaha MT44 track cassette recorder. Driven to develop a musical language derived as much by an exploration of music technology and a desire to create new sounds, Kuniyuki was also looking to evolve the possibilities of what he refers to as a “new Oriental sound”. Early Tape Works )1986-1993) then brings together two albums of material which not only highlights the evolution of Kuniyuki’s own work but also of Japanese electronic music as a whole.

File Under: Ambient, Electronic, Japan
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spiderjazz

Various: Spider-Jazz (Trunk) LP
If you hadn’t already ordered or confirmed a hold on this we are sold out, but we do have a restock coming real soon. If you want one, let us know ASAP to ensure you get one! 
Subtitled: … That We Are Not Allowed To Mention For Legal Reasons. Rare and brilliant music as used in the late 1960s amazing animated series we are not allowed to mention for legal reasons. And the same music was used in all the NFL clip shoes throughout the ’60s and ’70s too. Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue-and-red dressed character that had originated in 1962, through Marvel Comics by Stan Lee and Steve Ditko. This amazing series ran on ABC TV in the USA, then Canada, then a few years, it ran in the UK. The series was notoriously low budget. After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat (1972). Krantz also slashed the already cripplingly small spider budget and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent production turned to the KPM catalog. This was one of the few really established library catalogs around at the time with a modern edge; it was full of fabulous, modern dramatic music tracks — often all on the same LP. But more importantly all the tracks were far longer than the one-minute musical cuts that many of the fledgling USA library companies were issuing at the time. Krantz produced two amazing spider series, and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground. For many enthusiasts this really is formative music — a junior foray into hip swinging crime jazz and esoteric musical grooviness. So, what features on this Spider-Jazz LP? Well it’s music from the amazing TV series, but, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across the episodes. It’s all distilled down into one exciting and enthralling LP. Features Syd Dale, Johnny Hawksworth, Bill Martin/Phil Coulter, David Lindup, Johnny Pearson, Keith Mansfield, and Alan Hawkshaw.

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

abrams

Joshua Abrams: Excavations 1 (Feeding Tube) LP
“The Chicago-based string genius Joshua Abrams first talked to us about the idea of this album a while back. It took a couple of years to get together, but in a way, it’s cool that it’s being released in 2018 — the 50th anniversary of the recording of the first free bass solo LP, Barre Phillips’ Journal Violone. Issued by Opus One in the U.S., Music Man in the UK (as Unaccompanied Barre), and Futura in France (as Basse Barre), Phillips’ groundbreaking album was a gorgeous and gritty exploration of textures that are usually bound deep inside the creative flow of unit improvisation. Hearing these sonorities explored, at length, without extraneous gabble was revelatory, but not easy to replicate. I could only think of a dozen other LPs of the stuff that have been done in the intervening years (CDs don’t count)*. But Abrams is undaunted by such shit. Anyone who has seen him play or listened to him on record knows he has an aggressively wide palette and a fearless drive to explore new regions of sound. The tones on Excavations 1 have a much gnarlier feel than many of the tones Joshua explores inside group dynamics. Almost more like some of the bassists associated with avant garde composition (Bertram Turetzky, Fernando Grillo, etc.), Abrams’ work here is about pushing against accepted precepts of melody and rhythm, freeing the bass from its accepted role, and allowing it to scream for real.” –Byron Coley, 2018 Edition of 500.

File Under: Jazz
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against all

Against All Logic: 2012-2017 (Other People) LP
Nicolas Jaar shows he is paying attention to the masses by issuing a widely called for vinyl press of his A.A.L. (Against All Logic) album 2012-2017. Originally issued as a digital-only release back in February of 2018, it’s slowly grown to become one of the most cherished releases in the entire Other People discography. Much like Kerrier District did to disco, A.A.L. (Against All Logic) borrows heavily from the samples and sounds ingrained deep within Jaar’s listening habits and evidently a record collection packed to the brim with classic soul, house, and most importantly, funk hooks. Keenly twisting these sounds and filtering them through a studio set up that’s leaning heavily on the beefed-up kick drums and reverb units to make a well-executed homage to these sounds, pieced together with the inherent idea of making the listener unable to resist the urge to move, be it in a bedroom, basement, or just sat in work staring at a computer screen. A.A.L. (Against All Logic) is both a well-executed homage to all of the above references, yet also just a really strong and enjoyable record from Nicolas Jaar. Its undeniable popularity digitally is sure to see the vinyl evaporate in no time at all.

File Under: Electronic
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facetime

Ambarchi/Jaeger/Rushford: Face Time (Black Truffle) LP
Face Time is the second release from the trio of Oren Ambarchi, Kassel Jaeger, and James Rushford, following on from their 2016 debut Pale Calling (BT 020LP). Recorded at the GRM studios in Paris in June 2017, the record immediately returns to the idiosyncratic sound-world of the trio’s first release, a simmering stew of electronic smears, pitched-down animal moans, and mysteriously emotive microtonal organ chords. But before long the record takes an unexpected turn, as sounds that initially enter as occasional percussive pitter-patter build to a halting rhythm. Equally reminiscent of Basic Channel-style dub techno and the sound of a microphone loose in a pocket, these stumbling rhythmic figures provide the framework for the remainder of the record’s two sides, occasionally receding into the background to allow squelching electronics, chiming bells, distorted autoharp, inchoate grunts, and the sound of a Cristal Baschet to take center stage, but each time returning with the inevitability of an idée fixe. Eschewing any clear sense of form, the two side-long pieces move seamlessly through episodes with the organic flow of improvisation, embracing the happy accidents of events conjoined by chance and lingering on liminal moments. Gradually washing out into a cavernous roar, the record’s final moments are suddenly enlivened by shimmering metallic percussion and a sequence of woozy synth chords, combining with the muted rhythms and a distant thunderstorm to become a sort of oneiric tribute to the work of Wally Badarou. Bringing together three of contemporary experimental music’s most individual voices, Face Time is an essential slice of outsider electro-acoustics. Cover design by Stephen O’Malley. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Comes on neon orange vinyl.

File Under: Experimental
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baschet

Baschet/Deneuve: 4 Espaces Sonores (Transversales) LP
Transversales Disques present a reissue of Bernard Baschet and Michel Deneuve’s 4 Espaces Sonores, originally released in 1982. Rare 1979 recording of Bernard Baschet performing on his Sound Sculptures. The Baschet brothers are known worldwide as creators of Sound Sculptures, fantastic shapes of molded metal and glass, which combine the visual arts with music. François Baschet had always been fascinated by acoustics, by the relationships between the shape and material of an instrument and the beauty of its sound. Bernard Baschet was passionately interested in contemporary music and firmly believed that such instruments were the proper tools for modern music, for they offered, to the artist and performer, a personal means of expression denied by electronic devices. Together the brothers began to design and produce Sound Sculptures, which could also be regarded as musical instruments. Circa 1965, Bernard worked alongside Pierre Schaeffer as a member of the GRM (Musical Research Group) on the elaboration of what was to become Schaeffer’s Traité des objets musicaux (“Treatise on Musical Objects”). The Baschet brothers also created structures and instruments of all sizes, including bell towers, windmills, and fountains, using the natural elements of wind and water to make music. Bernard Baschet was especially proud of his pedagogical work amongst deprived and handicapped children, with the instrumentaium made up of fourteen pieces. Double-LP comes in gatefold sleeve.

File Under: Avant Garde
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dagar

Ustad Zia Mohiuddin Dagar: Ragas Abhogi & Vardhani
(Ideologic Organ) LP
“Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O’Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar. Dhrupad, for those who do not know, is a branch of Hindustani classical music said to ‘show the raga in its clearest and purest form’. It’s pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance . . . In early 2015 I was able to make contact with Zia Mohiuddin Dagar’s son Bahauddin and some of his American students/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access to a massive archive of recordings and developed these two paired titles for my label . . . I’m proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time. Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad. Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar’s life and teaching (a long story also in Seattle, my hometown!), the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release. Ragas Abhogi & Vardhaniwere recorded in a private house concert in Seattle at the home of the Benegals in March 1986 (the week before the accompanying release, Raga Yaman, was recorded). The Benegals were friends (and Shantha Benegal was also a student) of Dagarsahib who sometimes hosted Hindustani music concerts in their home. It’s a rare glimpse of a more intimate, personal and perhaps different kind of performance considering the form of dhrupad.” –Stephen O’Malley, March 2018, Paris, France Mastered and cut by Rashad Becker at Dubplates & Mastering.

File Under: World, Middle East
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dagar1

Ustad Zia Mohiuddin Dagar: Raga Yaman (Ideologic Organ) LP
“Around ten years ago, deep into a cozy and hazy night following a concert with my sound brothers Daniel O’Sullivan and Kristoffer Rygg in London (as Æthenor), they graciously introduced me to a recording of rudra veena (a kind of noble deeper bass relative to the sitar, in a way) as performed by dhrupad master Zia Mohiuddin Dagar. Dhrupad is a branch of Hindustani classical music said to ‘show the raga in its clearest and purest form’. It’s pacing concentrates heavily on the slow, contemplative alap section and works with specific microtonal gestures and deep characteristics of resonance . . . In early 2015 I was able to make contact with Zia Mohiuddin Dagar’s son Bahauddinand some of his American students/disciples, primarily Jeff Lewis. Over time we developed a friendly and educational exchange, access to a massive archive of recordings and developed these two paired titles for my label . . . I’m proud to be able to reveal these to date unreleased archival recordings of one of the masters of dhrupad, Z. M. Dagar, to the public for the first time. Zia Mohiuddin Dagar was the nineteenth generation in a family tradition known as Dagar gharana, a rich lineage which continued and performed the musical form of dhrupad. Initially, dhrupad was a rigorous, austere, devotional genre that was sung in Hindu temples. But between the 16th and the 18th centuries, it became the preeminent genre in royal courts in North and Central India, and the Dagar gharana developed and continued publicly following the eventual loss of court patronage for dhrupad in the 19th century. The French ethnomusicologist Renaud Brizard covers the story of Zia Mohiuddin Dagar’s life and teaching, the Dagar family and gharana, the rudra veena and more topics in an extensive set of liner notes in this release. Raga Yaman was recorded at a public concert in Seattle at the HUB Ballroom at the University of Washington in March 1986 (the week after the accompanying release Ragas Abhogi & Vardhani(SOMA 028CD/LP) was recorded) at the end of his last tour of the United States. Yaman was a special raga for Zia Mohiuddin Dagar, one of his signature raags. For centuries, Yaman has been considered as one of the most fundamental ragas in Hindustani music and is one of the first ragas which is taught to students.” –Stephen O’Malley, March 2018, Paris, France Mastered and cut by Rashad Becker at Dubplates & Mastering.

File Under: World, Middle Eastern, Ragas
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flu

The Flu: Patsy: A Collection of Absolute Insanity (Artoffact) LP
“Artoffact Records is proud to offer a this reissue of what is the absolute rarest cEvin Key-related album of all time. Between 1986 and 1989, cEvin Key (Skinny Puppy) and the late Alan Nelson (Hilt) spent countless hours recording out of Nelson’s third story apartment in Toronto as The Flu. The music they produced in those sessions is quite remarkable, blending electronics, guitars, live drums, drum machines, live singing by cats, and recordings from tele-personals, all with Al’s inimitable lyrics and vocals.”

 File Under: Electronic, Skinny Puppy
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harris

Emmylou Harris: Ballad of Sally Rose (Rhino) LP
One of the singer’s most personal albums, Emmylou Harris once called her concept album, The Ballad Of Sally Rose a country opera. Released in 1985, the song cycle is loosely based on her short time with influential singer-songwriter Gram Parsons, who died in 1973. Known more for singing songs written by others, this was Harris’ first self-composed album and it remains one of her favorites. Rhino/Warner Bros. revisit this underrated gem with a 2LP Expanded Edition that features a newly remastered version of the original album along with unreleased demos for most songs on the album. For years, Harris used the name Sally Rose as an alias on tour. So when she started writing songs about a singer whose lover and mentor – a hard-living, hard-drinking musician – is killed while on the road, the name Sally Rose was a natural fit. Harris says the idea for the album had been brewing for years, but she needed time away from the road to write. “That happened in 1982, when, after hearing and being stunned by Bruce Springsteen’s masterpiece, Nebraska, I realized it was time to leave my comfort zone as interpreter, and follow Sally’s muse into the unknown territory of full-time songwriter.” Highlights from The Ballad of Sally Rose include the singles “White Line” – which reached No. 14 on the country charts – and “Rhythm Guitar” with Waylon Jennings on lead guitar. In addition, Dolly Parton and Linda Ronstadt sing harmony throughout the album. Two years later, the friends and frequent collaborators would release their first album together, Trio, which sold more than four million copies and won two Grammy Awards. The Expanded Edition’s bonus LP introduces unreleased demo recordings for 10 tracks. Most feature Harris accompanying herself on acoustic guitar giving these versions a stripped-back intimacy. In the liner notes, Grammy-winning music writer Colin Escott says the demos are the Nebraska edition of Sally Rose. “Stark and haunting. Vulnerability and resilience, always her hallmarks, were never closer to the surface.”

File Under: Folk, Country
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hval

Jenny Hval: The Long Sleep (Sacred Bones) LP
The follow-up to Jenny Hval’s acclaimed 2016 album Blood Bitch is The Long Sleep, an adventurous new EP that sees the Norwegian multidisciplinary artist embracing an instinctive, even subconscious, approach to creating meaning. In contrast to Hval’s more explicitly conceptual work, The Long Sleep foregrounds the act of composition itself, letting the melodies and structures reveal the other elements of the songs. All of the songs on the EP recycle the same compositional motives, but manipulate them into very different shapes that take them further and further out of their original, “life-like” context. Hval recorded The Long Sleep with longtime collaborator Havard Volden and producer Lasse Marhaug, along with an ace new supporting cast of talented players from the jazz world – Kyrre Laastad on percussion, Anja Lauvdal on piano, Espen Reinertsen on saxophone, and Eivind Lonning on trumpet. Hval calls them some of her favorite contemporary musicians, and their musical background helps to give the songs on The Long Sleep their intuitive, improvised feel.

File Under: Indie Rock, Experimental
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long branch

Long Branch: Found the Setting Sun (DWR) LP
“Members of Shadowy Men on a Shadowy Planet, the Good Family and Adaptor 45 Announce Debut Album as Long Branch” “The band brings together a number of music vets, including Lisa Myers and Laura Pitkanen of Adaptor 45, D’Arcy Good of the Good Family, Don Pyle of Shadowy Men on a Shadowy Planet, and Sally Lee of Venus Cures All (and Myers’ all-girl punk group Chicken Milk). After crossing paths at various times and places over the decades — from seeing each other play to rallying together to fight “evil” landlords in Parkdale — the group are finally set to unveil their first full-length. ” – Exclaim!

File Under: Alt-Country, Shadowy Men
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lowman

Leon Lowman: Liquid Diamonds (Music From Memory) LP
2018 repress. Following on from co-compiling one of 2012’s best-received compilations Into the Light: A Journey into Greek Electronic Music, new Amsterdam-based record label Music From Memory sets sail with a compilation of lo-fi beach funk and lazy synth jams from the Rhode Island keyboardist and ocean-loving Leon Lowman. As well as a devoted painter and East Coast surfer, the synthesizer-loving Lowman privately released two albums Syntheseas (1980) and its follow-up cassette-only Sound Horizon (1982). Something of a homage to his love of the local seashore and the women he was trying to woo there, the albums also express Leon’s pure love of the sound of the synthesizer and reflect his unique melodic wanderings. With Leon’s albums meeting little commercial success at the time of their release, both albums have in recent years become highly sought-after. Along with previously-unreleased material from the time, Liquid Diamonds highlights Leon Lowman’s unique blend of lo-fi synth-funk and surf ambience.

File Under: Electronic, Funk, Synth
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piccioni

Piero Piccioni: Al Cinema Con Piero Piccioni (Sonor) LP
Sonor Music Editions present a reissue of Piero Piccioni’s Al Cinema Con Piero Piccioni, originally released in 1968. Originally composed of two volumes and released on the famed RCA SP series in 1968, compiled with a curated selection of the best tracks and presented with renewed striking artwork. Two absolutely cult and impossible to find albums of Italian discography released in a unique LP edition and carefully remastered by from the original RCA master tapes. Includes original soundtrack of the films Il Terrorista (1963), Le Mani Sulla Città (1963), Nude, Calde E Pure (1965), La Donna E’ Una Cosa Meravigliosa (1964), Chi Lavora E’ Perduto (Tinto Brass) (1963), with the huge jazz imprint of maestro Piccioni. 180 gram vinyl. Heavy cardboard sleeve, like the originals; Limited to 300.

File Under: Library
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protoProtomartyr: Consolation (Domino) LP
Protomartyr follow-up their critically acclaimed Domino debut, Relatives In Descent (2017) with the Consolation EP, a 4-track collection of new material recorded in collaboration with Kelley Deal (The Breeders) and Mike Montgomery (R. Ring, Ampline). Captured at Montgomery’s own studio, Candyland, the EP encapsulates the breadth of mood and stylistic variety of a full-length Protomartyr album – from the short sharp shock of the opener “Wait,” through the mutant pop of “Same Face In A Different Mirror,” the epic “Wheel of Fortune,” to the beautiful closer “You Always Win.” Add to this Montgomery’ss recording skills, Deal’s unparalleled vocals, and the arrangements that see the inclusion of Jocelyn Hatch (viola), Evan Ziporyn (bass clarinet), and Lori Goldston (cello), and the EP becomes a truly unique prospect in Protomartyr’s discography.

File Under: Punk
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mirage

Enzo Scoppa & Cicci Santucci: Mirage (Sonor) LP
Sonor Music Editions present a reissue of Enzo Scoppa and Cicci Santucci’s Mirage, originally released in 1971. Absolute mythical Italian library LP out of the New Tape micro-label vaults. Mirage is an album signed by SCOEN, aka Enzo Scoppa, and actually composed and arranged by Francesco Cicci Santucci, originally released in 1971 in an edition of 100 copies only. Dreamy collectors’ item and super obscure gem, this outstanding LP is another must-have jewel from the unlimited Italian music library production of the ’70s and easily one of the top of this game. What we have is mental jazz-funk beats with fat basslines and killer drum breaks, bewitching exotica groove, and dope lounge moods, all driven by a solid groovy key for the whole album. Another monster Italian library is just filed. Edition of 500.

File Under: Library
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selmanWilliam Selman: Musica Enterrada (Mysteries of the Deep) LP
What if music had no beginning, no end? Can music exist “for itself” or “of itself”, without structure constraining it, defining it? Can music be non-linear, non-narrative, simply experiential, existential? The second full-length album on Mysteries Of The Deep, Musica Enterrada from Portland’s William Selman, neither answers these questions nor supposes them. But in listening, one can’t help but wonder: What if I disappeared into this record forever? In another time and place, William Selman was known as Warmdesk, an alias through which he issued a series of sharply precise minimal techno records. In recent past, Selman shifted gears, shedding the dynamics of tension and release that characterized his previous alias’s output. Under his own name, Selman began releasing process-oriented, freeform experimental music on cassette-focused outlets like Digitalis and Hausu Mountain. Now comes Musica Enterrada, a diaphanous, weightless musical vision not unlike the theoretical square root of GRM and Popol Vuh’s early electronic forays. Split into six tracks across two sides of vinyl, Musica Enterrada bubbles, churns, drifts, and dozes. Dulcet tones pile up gently like waves on shore. Patterns repeat and reconfigure, as if heard from different angles. Rhythms appear, shift the frame, then disappear, into the ether whence they came. Play Musica Enterrada on repeat. And if you disappear into it, fret not — you have drifted into solace. Full color jacket — deluxe printed sleeve; 140 gram vinyl; Includes download code.

File Under: Country
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snailmail

Snail Mail: Lush (Rough Trade) LP
Lindsey Jordan is on the brink of something huge, and she’s only just graduated high school. Her voice rises and falls with electricity throughout Lush, her debut album as Snail Mail, spinning with bold excitement and new beginnings at every turn. Recorded with producer Jake Aron and engineer Johnny Schenke, with contributions from touring bandmates drummer Ray Brown and bassist Alex Bass as well, Lush sounds cinematic, yet still perfectly homemade. “Is there any better feeling than coming clean?” sings the 18-year-old guitarist and songwriter halfway through the sprawling anthem that is “Pristine,” the album’s first single. You can’t help but agree with her. It’s a hook that immediately sticks in your head – and a question she seems to be grappling with throughout the record’s 10-songs of crystalline guitar pop. Jordan’s clear and powerful voice, acute sense of pacing, and razor-sharp writing cut through the chaos and messiness of growing up: the passing trends, the awkward house parties, the sick-to-your-stomach crushes and the heart wrenching breakups. Jordan’s most masterful skill is in crafting tension, working with muted melodrama that builds and never quite breaks, stretching out over moody rockers and soft-burning hooks, making for visceral slow-releases that stick under the skin.

File Under: Indie Rock
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thingThe Thing: Again (The Thing) LP
The Thing, recorded July 2nd and 3rd, 2017. Personnel: Mats Gustafsson – tenor and baritone saxophone; Ingebrigt Håker Flaten – electric and double bass; Paal Nilssen-Love – drums, percussion. Recorded July 2nd and 3rd, 2017 by Øyvind Gundersen at Studio Paradiso, Oslo. Mixed October 2017, by Andreas Werliin at Repeat Until Death, Stockholm. Mastered by Lupo at Calyx mastering, Berlin. Liner notes by Brian Morton.

File Under: Jazz
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umiliani 1

Piero Umiliani: Al Cinema Con Piero Umiliani (Sonor) LP
Sonor Music Editions present a reissue of Piero Umiliani’s Al Cinema Con Piero Umiliani, originally released in 1969. One of the true rarities of Italian discography out there and an absolute grail of Italian film music. Originally released in 1968 on the legendary RCA Italiana SP 8000 series (promo-only) in an edition of 100 copies, here’s an impossible jewel by maestro Piero Umiliani that contains various themes from original scores of the ’60s: Il Comandante (1963), Extraconiugale (1964), Tutto Il Bello Dell’uomo (1963), La Bella Di Lodi (1963), Controsesso (1964), La Celestina P… R… (1965). Carefully remastered from the original RCA master tapes. 180 gram vinyl; Heavy cardboard sleeve like the originals; Limited edition of 300.

File Under: Library
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kamaalKamaal Williams: The Return (Black Focus) LP
Whether re-defining experimental fusion sounds with the hugely acclaimed Yussef Kamaal, or his catalog of 12″s for imprints such as MCDE, Eglo, and Rhythm Section as Henry Wu, South London’s Kamaal Williams has been a key figure in his thriving international scene for the past few years. The Return is a natural evolution from the Yussef Kamaal project, mining the influence of visionary jazz but blended with all kinds of texture, sounds and signals from the over-saturated London streets. At times the keyboard work evokes the classic ’70s fusion work of Lonnie Liston Smith or Roy Ayers, but underpinned by rhythms more reminiscent of blunted hip-hop and arrangements subliminally laced with the cut-ups of pirate radio. Progressive, funky, cosmic, exploratory and effortlessly musical, this is the sound of a musician honing his craft into thrilling new shapes. In the US the like of Kamasi Washington and Thundercat have made great strides in opening a whole new dialogue between jazz and hip-hop, drawing in a young, highly engaged new audience in the process. Kamaal Williams mines a similar seam on the other side of the Atlantic alongside other exciting London talents such as Ezra Collective, Ruby Rushton and Shabaka Hutchings. The Return is exactly that: a return and refinement to the sound Yussef Kamaal were progenitors of, and first set the scene for one of the most exciting musical movements London has had in years. Notable tracks for old and new listeners are “Slow,” “Situations,” “Medina,” “London Shuffle” which features Mansur Brown (of Mansur’s Message) and for those die hard Yussef Kamaal fans – they should hear the interpolated roots of “Strings of Light” in the title track “The Return.” And that signature Wu funk can be heard on “Broken Theme” and “High Roller.”

File Under: Jazz, funk
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screamVarious: African Scream Contest 2 (Analog Africa) LP
Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin? Once Analog Africa released the first African Scream Contest in 2008, the proof was there for all to hear; gut-busting yelps, lethally well-drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space. Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasure trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks off Les Sympathics de Porto Novo’s pile-driving opener, it’s clear that African Scream Contest 2is every bit as joyous a voyage of discovery as its predecessor. Ignace De Souza & The Melody Aces’ “Asaw Fofor” would’ve been a killer instrumental but once you’ve factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it’s a total revelation. The screaming does not stop there, in fact it’s only just beginning. Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined military band Les Volcans de la Capitale, Lokonon André vanished in a cloud of dust at Ben Redjeb’s behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he’d been given. The source of this Afrobeat bounty-hunter’s impressive people-finding skills — his training with the KGB — highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the ’60s and ’70s. Happily, in this instance, Lokonon was tracking the artists down to offer them licensing deals, rather than to arrest them. Samy Ben Redjeb’s determination to track this amazing music to its human sources pays huge karmic dividends. Features Stanislas Tohon, Elias Akadiri & Sunny Black´s Band, Picoby Band D´Abomey, Antoine Dougbé, Orch. Poly-Rythmo de Cotonou, Black Santiago, Lokonon André et Les Volcans, Sebastien Pynasco and L´Orchestre Black Santiago, Super Borgou de Parakou, Cornaire Salifou Michel et L´Orchestre El Rego & ses Commandos, Gnonnas Pedro and His Dadjes Band, and Orchestre Poly-Rythmo de Cotonou. African Scream Contest 2 includes meticulously researched text and effortlessly fashion-forward photography, supplied by the artists themselves.

File Under: Africa, Afrobeat, Funk
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boombox3Various: Boombox 3 (Soul Jazz) LP
Soul Jazz Records’ new Boombox 3 compilation continues their story of the first rap records to be pressed to vinyl. It’s a jam-packed collection of original independent old school hip hop, created with just one thing in mind – to get this party jumping. After the explosion of hip hop in the parks and clubs of The Bronx in the mid-70s, it was in Harlem where the first rap records emerged at the end of ’79 – an avalanche of superb rap tracks released on small independent labels all trying to capitalize on the success of “Rapper’s Delight.” Like hip-hop culture itself, these first rap singles are the product of their own unique set of aesthetics – exciting and innovative rap performed with Bronx block party B-Boy funk breaks, disco jams and Jamaican sound system culture. The extensive sleevenotes discuss hip hop’s trajectory from the first wave of Bronx creativity – the legendary DJs Kool Herc, Grandmaster Flash and Afrika Bambaataa – through to its arrival in Harlem via the entrepreneurism of old-school African-American rhythm and blues producers and émigré Jamaican producers all living in New York. Along the way the notes discuss everything from the New York power blackout of 1977, the Italian mafia involvement in the music industry, the links between rap and Jamaican dancehall and more besides. Boombox 3 features a line-up of stunning, near unknown New York rap artists, classic disco breaks (including Chic’s omnipotent “Good Times,” MFSB’s “Love Is The Message,” Queen’s “Another One Bites The Dust”), proto-electro and more. And by the early-80s the first rap records outside New York began to emerge – L.A., Houston, Milwaukee, Phoenix – and the first of these are also featured here in this new collection. Heavyweight triple vinyl with download code and full notes.

File Under: Hip Hop, Electro

paradiseVarious: Welcome to Paradise (Italian Dream House 90-94) Vol. III (Safe Trip) LP
Safe Trip is taking one final deep dive into the warm waters of Italian dream house with Welcome To Paradise Volume III, the concluding chapter in the label’s journey through the previously overlooked world of one of dance music’s most vibrant and influential underground movements. While the influence of dream house continues to echo through the ages, the style was at its peak between 1989 and 1994, when producers across Italy delivered a high volume of loved-up, wavy, and occasionally blissful productions that fused contemporary deep house tropes — most notably from Chicago, New York, and New Jersey — with elements borrowed from ambient, jazz, and Balearica. It’s this six-year period that provides the focus for Welcome To Paradise Volume III, which draws together a spine-tingling mixture of sought-after classics, unheralded gems, and little-known delights from the original Italian dream house movement. Thrillingly, Welcome To Paradise Volume III co-curator Young Marco has managed to source two previously unreleased tracks during the dream house period: the gently unfurling, sunrise-friendly bliss of Jacy’s “Resounding Seashell” and a special “Longer Edit” of Neurostate’s brilliant “Dance To The House”, a track that — somewhat surprisingly — has never previously been issued on vinyl before. Elsewhere, there are plenty of treats to set the pulse racing, from the must-have deep house brilliance of Leo Anibaldi’s “Universal” — a rare foray into dream house territory from the Italian techno pioneer — and the Afro-bleep-goes-dream-house trip of Golem’s “Sun City”, to the cowbell-driven, New Jersey garage-influenced warmth of Deep Choice’s “Children Trip” and Cosmic Galaxy’s “Walkin’ On The Moon”, a Detroit techno-influenced outing with a deliciously saucer-eyed, extended ambient intro. You’ll also struggle to find a more inspired house record than Green Baize’s “Tramp Heart”, which mixes familiar dream house elements with spacey electronics and tribal chants that recall Italy’s early ’80s Afro-cosmic scene. It all adds up to another essential selection of rich, glassy-eyed dream house treats tailor-made for sound-tracking drawn-out Adriatic sunsets, Mediterranean sunrises, and loved-up parties the world over. Also features Optik, Deep Blue, Lonely Dance, and Don Carlos.

File Under: Italo, House
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yoribaVarious: Yoruba! (Soul Jazz) LP
Soul Jazz Records’ latest collection Yoruba! Songs and Rhythms for the Yoruba Gods in Nigeria was newly recorded in Lagos, Nigeria. The album was co-produced by Laolu Akins, founding member of the legendary 1970s Nigerian Afro-Funk/Rock group Blo, and label head Stuart Baker. The 2LP-set features songs honoring the Nigerian gods of the Yoruba traditional religion – Yemoja, Obatala, Ogun, Sango and others – as well as a selection of instrumental cuts focusing on the Bata and Dundun drums. It comes complete with extensive text and photography showing the influence of Yoruba culture throughout the world and the social and historical context for the music contained here. The enormous impact of Yoruba and West African music and culture is worldwide – from the first Afro-centric explorations of African-American jazz musicians in the 1950s such as Art Blakey, Randy Weston and Dizzy Gillespie, the explosion of Nu Yorican Latin music in New York City starting in the 1960s – Mambo, Boogaloo, Latin funk and soul – through to the sacred and powerful Afro-derived music of the religions of Santería in Cuba, Candomblé in Brazil and Voodoo in Haiti, which all came in to existence on account the Atlantic slave trade which began over 400 years ago. On a wider scale West African music remains the primary root of all African-American musical forms – from New Orleans jazz to Bronx rap, gospel, soul and more. Yoruba! features an array of local master drummers led by Olatunji Samson Sotimirin and singers (featuring the lead vocals of Janet Olufanmilayo Abe) performing heavyweight Afro-rhythms, with talking drums, Bata and Dundun drums and a mass of percussion in these deep spiritual and sacred songs used to honor and worship the traditional and ancient Yoruba gods in Nigeria, West Africa.

File Under: Africa, Percussion

…..Restocks…..

Air: Moon Safari (Parlophone) LP
Bad Religion: No Substance (Epitaph) LP
David Bowie: Ziggy Stardust (RCA) LP
Breeders: Title TK (4AD) LP
Tim Buckley: Hello & Goodbye (Rhino) LP
Che’-SHIZU: A Journey (Black Editions) LP
Cinematic Orchestra: Every Day (Ninja Tune) LP
Ornette Coleman: The Atlantic Years (Rhino) LP
Dead Moon: Strange Pray Tell (Mississippi) LP
Julie Doiron: Desormais/Heart & Crime (Jagjaguwar) LP
Brian Eno & Jon Hassell: Fourth World Vol. 1: Possible Musics (Glitterbeat) LP
Fleetwood Mac: Rumors (Rhino) LP
Hot Snakes: Automatic Midnight (Sub Pop) LP
Joy Division: Unknown Pleasures (Rhino) LP
Madvillian: Madvilliany (Stones Throw) LP
Merzbow: Noisembryo (Hospital) LP
Metallica: Garage Days (Blackened) LP
Metallica: Ride the Lightning (Blackened) LP
Roberto Musci/Giovanni Venosta: Water Messages on Desert Sand (RER) LP
Parker/Bailey/Bennink: Topography of the Lungs (Otoruko) LP
Steve Reich: Music for 18 Musicians (Nonesuch) LP
Klaus Schulz: Cyborg (Brain) LP
Sisters of Mercy: Vision Thing (Warner) LP
Sisters of Mercy: Floodland (Warner) LP
Sisters of Mercy: First and Last and Always (Warner) LP
Smog: Dongs of Sevotion (Drag City) LP
T. Rex: Electric Warrior (Rhino) LP
Wilco: Yankee Hotel Foxtrot (Nonesuch) LP
Zazou/Bikaye/CY1: Blanc et Noir (Crammed) LP
Various: Shaolin Soul 1 (Because) LP
Various: Shaolin Soul 2 (Because) LP
Various: Shaolin Soul 3 (Because) LP

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…..news letter #851 – 6…..

A much quieter week here on the new release front, which gives you some time to catch up on all the stuff that’s been coming out lately. Loads of hot new rekkids to pick up. And if new records aren’t your thing, we’ve been getting lots of sweet little stacks of used records too, and we’ve been pricing up a storm. Come have a dig.

If you haven’t had a chance to check out our new webstore… CHECK IT OUT!  The inventory is live with the shop, so if it’s in stock there, it’s in stock in the store. We have an instore pick up option, so if you are local, but going out of town, or just don’t want to miss out on something, by all means, buy it through the site and it’ll be here waiting for you when you have time to get in.

…..pick of the week…..

rega

Rega Planar 6 Sale!
Rega doesn’t have a lot of sales, but when they do, they are killer deals, and this one is no exception! Crazy savings on amazing turntables! Only for the month of June! The Planar 6 has one goal, to reproduce your vinyl as accurately as possible. We have engineered every aspect of this turntable to extract as much detail from the vinyl surface as possible. Advanced materials and engineering solutions have been used throughout the design to ensure the greatest level of performance.The Neo PSU offers electronic speed change, advanced anti-vibration control and user adjustable electronic fine speed adjustment only found on the RP10 until now. See ‘product details’ tab below for full information.

File Under: Sales, Gear, Rega
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…..new arrivals…..

behemoth

Behemoth: Messe Noire (Metal Blade) LP
Polish black/death overlords Behemoth present the brand new live collection Messe Noire, recorded at Progresja in Warsaw, Poland on August 8, 2016. Comments singer/guitarist Nergal: “‘Messe Noire’. Well, that is everything that the Behemoth live magick represents, and we’re stoked that we have a true representation on record for everyone out there to enjoy. ‘Messe Noire’ captures the true intensity of what we do as a band and the energy we share with our fans. This is also an exclamation mark, the perfect way to conclude ‘The Satanist’ cycle which has been an overwhelming experience and amazing chapter in Behemoth’s career and our lives so far!”

File Under: Metal
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bombino

Bombino: Deran (PTKF) LP
In tomorrow… Home. Where the heart is. For Bombino and most other Tuareg, there’s only one place that can be. In recent years, the rest of the world has largely written off that home as a hot and savage wasteland, a bolt hole for religious extremists and terrorists, a geopolitical video nasty with little to offer apart from the oil, gold and phosphates that lie beneath its soil. But Bombino would like us to take a closer look and think again. How to celebrate that desert home, how to protect it, develop it, unify it, respect it and, above all, never forget it, are the salient themes of his brand new album Deran. They’re dressed up in 10 songs of rare maturity and power that mark a turning point in the career of a guitarist and songwriter who was born in the shade of an acacia tree about 80 miles north west of the ancient town of Agadez, and has since risen to forefront of the new Tuareg guitar generation. It’s a turning back the source of everything that makes Bombino who he is. “My mission for this album was always to get closer to Africa,” he says. Not surprising then that the decision was made to record Deran as close as possible to his native Niger in the southern Sahara. The ideal venue emerged in the shape of Studio Hiba, a top flight recording facility owned by King Mohammed VI located in a fairly drab industrial suburb of Casablanca in Morocco. There Bombino and his steady long-term band – fellow Tuareg Illias Mohammed on guitar and vocals, American Corey Wilhelm on drums and percussion and the Mauritanian (living in Belgium) Youba Dia on bass – slept, ate and made music in blissful isolation. Their circle was widened by Moroccan percussionist Hassan Krifa, and by Bombino’s cousins Anana ag Haroun (lead singer of the Brussels-based Tuareg band Kel Assouf), and Toulou Kiki (singer and star of the film Timbuktu), who dropped in to add some ‘gang’ vocals. After Casablanca, the tapes flew to Boston to be embellished by Sudanese friend and keyboardist Mohammed Araki. Whatever emerged at the end of the process had to be fresh and powerful. Yes. Bombino and crew have conjured up a roving mystery tour of contemporary Saharan sounds, from the raw diesel rock of the opener “Imajghane” (‘The Tuareg’), to the camel gait lope of “Tenesse” (‘Idleness’), the tender lilt of “Midiwan” (‘My Friends”) and the ‘Tuareggae’ style that is Bombino’s unique contribution to desert music on the song “Tehigren.” All the desert is there, harsh and gentle, tragic and playful. But more than anything Deran had to be honest and true. The pressure to be the authentic voice of his culture and his home on the world stage weighs heavy on Bombino. “You have to begin with the question of who you are,” he says. “You’re a Tuareg. With all the travels, all the experience of world, it’s as if I’m making myself remember where I come from. Where I come from will always be my home, my memory.” Simple, raw, true, that was the brief. “We wanted him to take a deliberate step out of the shadow of the celebrity producer,” says Bombino’s manager, and Deran producer, Eric Herman. “Apart from that, the idea was to take this raw, spontaneous, unadulterated approach to capturing his songs.”

File Under: Tuareg, Desert Blues
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fatherjohnmisty-gods_1800x

Father John Misty: God’s Favorite Customer (Sub Pop) Loser Edition LP
Written largely in New York between the summer of 2016 and winter of 2017, Josh Tillman’s fourth Father John Misty LP, God’s Favorite Customer follows-up his Grammy-nominated 2017 effort Pure Comedy and reflects on the experience of being caught between the vertigo of heartbreak and the manic throes of freedom. God’s Favorite Customer reveals a bittersweetness and directness in Tillman’s songwriting, without sacrificing any of his wit or taste for the absurd. From “Mr. Tillman,” where he trains his lens on his own misadventure, to the cavernous pain of estrangement in “Please Don’t Die,” Tillman plays with perspective throughout to alternatingly hilarious and devastating effect. “We’re Only People (And There’s Not Much Anyone Can Do About That)” is a meditation on our inner lives and the limitations we experience in our attempts to give and receive love. It stands in solidarity with the title track, which examines the ironic relationship between forgiveness and sin. Together, these are songs that demand to know either real love or what comes after, and as the album progresses, that entreaty leads to discovering the latter’s true stakes. God’s Favorite Customer was produced by Tillman and recorded with Jonathan Rado (Foxygen), Dave Cerminara (Jonathan Wilson, Foster the People, Conor Oberst), and Trevor Spencer (FJM). The album features contributions from Haxan Cloak, Natalie Mering of Weyes Blood, longtime collaborator Jonathan Wilson, and members of Misty’s touring band.

 File Under: Indie Rock
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joan of arc

Joan of Arc: 1984 (Joyful Noise) LP
Over their 20-odd year discography, Joan of Arc’s astute, endlessly probing musical experimentation – steadfastly resistant to dogma and genre at every turn – has been chorused by a barrage of voices, mostly from the singular larynx of mainstay Tim Kinsella, who remains endlessly obsessed with (and infuriated by) Orwellian language and it’s dominion over American life. Richard Brautigan, Mark Twain, Elizabeth Taylor, and Assata Shakur might visit his lyrics, but it’s the band itself that contains multitudes. Throughout Joan of Arc, Kinsella and his bandmates have hewn together a true artistic democracy – some two dozen members over the years – to confront the darkening political realities and interpersonal mysteries of our time. Like their namesake – a donee of revelation who became a fierce holy warrior, only to be discarded by a king and burned at the stake as a heretic – Joan of Arc has inspired their share of true believers and dismayed legions of skeptics. And now, a series of nearly a cappella performances from Kinsella’s fellow vocalist Melina Ausikaitis, debuted live by Joan of Arc over the last several years, has become the backbone of their new LP, 1984. Remarkably, so much of the cluttered sound of earlier LPs has largely fallen away on 1984, as has Kinsella’s voice. At first it’s genuinely shocking. But the songs here are a revelation, as profound and plainspoken as parables. Thoroughly of the band’s lineage, Ausikaitis’ lyrics are equally measured with wit, despair and stubborn perseverance. There is awkward sex at Grandma’s house. There are kids in the snow wearing cop sunglasses and the crumbling psychic defenses of childhood memories. There are A-frame houses and white horses. There are trucks losing their brakes on the hill at the end of the street. There are heaps of thoroughly useful self-help advice (“stop chicken-shittin’ all over your life” has become a personal mantra.). Like the album’s striking hand drawn cover art, the music inside is often spare. Anthemic highs ring from elegiac lows and back again. At times, Ausikaitis sings in an earnestly tangy and lovely flat twang redolent of the midwest, before screwing her voice up into a fearsome roar. Sometimes her voice is electronically distorted, like bells in the sky, into ringing eternity.

File Under: Indie Rock
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megadeth

Megadeth: Killing is my Business… and Business is Good (Century Media) LP
Hailed as one of the best thrash metal debuts of all time, legendary thrash metal trailblazers Megadeth celebrate the band’s 35th Anniversary with a deluxe 180g 2LP re-issue of their revolutionary first effort, Killing Is My Business…And Business Is Good! Originally released in 1985, the album has been completely restored to band mastermind Dave Mustaine’s intended vision. Remixed by veteran metal mixer, Mark Lewis (Trivium, Death Angel, Devildriver, Whitechapel) and remastered by Ted Jensen for an optimal listening experience, the 2018 version reveals previously unheard parts and performances throughout the record, including a missing drum performance found during the mixing sessions. This rare gem includes the full original album, along with 7 live audio tracks from VHS tapes found in MegaDave’s own attic. In addition to the bonus live tracks, the re-issue also features Megadeth’s 1984 3-track demo and the previously removed cover of “These Boots,” that has been added back to the record with recut vocals true to Lee Hazelwood’s version. The re-issue is further enhanced by new album cover artwork featuring a fully executed sculpture of the iconic skull that has been lost over the many years since the album’s initial release. The packaging also includes classic flyers and band photos pulled from their archive of timeless metal moments from Megadeth’s storied 35-year history. Mustaine delves into the struggles during that time period as well as some of the surprising moments during the remixing sessions throughout the re-issue’s liner notes.

File Under: Metal
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phair

Liz Phair: s/t (Capitol) LP
Available for the First Time on Vinyl! Ever since Exile In Guyville landed in 1993, Liz Phair has been cipher for a certain kind of aesthetic. She’s been called “the female face of indie rock,” a “slacker poet of the first degree” and a “brainy bad girl,” but she forever remains America’s sardonic sweetheart. Following up her great trifecta of albums that included Exile in Guyville (1993), Whip-Smart (1994) and Whitechocolatespaceegg (1998), Liz Phair’s eponymous fourth full-length effort and second in just ten years found her working in a more mainstream pop arena with singer/songwriters Michael Penn and Pete Yorn and hitmakers The Matrix. The album debuted at No. 27 on the Billboard 200 and yielded the successful singles “Why Can’t I?” and “Extraordinary.”

File Under: Indie Rock
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whip smart

Liz Phair: Whip-Smart (Capitol) LP
Ever since her audacious debut, Exile In Guyville, landed in 1993, singer-songwriter Liz Phair has been cipher for a certain kind of aesthetic. She’s been called “the female face of indie rock,” a “slacker poet of the first degree” and a “brainy bad girl,” but she forever remains America’s sardonic sweetheart – as Guyville’s follow-up, Whip-Smart, continued to prove in 1994. Fusing lo-fi production with a singer-songwriter sensibility, Phair helped shape what would become “indie rock” and defied expectations of what a female rock star could be. Whip-Smart builds upon the foundation set forth by her debut, capturing the same intimate, DIY style but with slicker arrangements, multi-layered vocals and experimental sound effects. Whip-Smart is far more 90s power-pop than her first offering however. Lead single, “Supernova,” dominated alt.rock radio and MTV that year, and greatly introduced the once indie darling to more mainstream audiences, even earning Phair her first Grammy nomination. Whether she’s reflecting on a one-night stand to the tune of the traditional waltz “Chopsticks” or invoking the official slogan of America’s westward expansion in “Go West,” to get over an ex, her unflinching honesty and confessional songwriting is why an entire generation so strongly identified with her, and why she forever looms large as the alt.rock queen of the 90s. “Nashville” is another standout track, with its hazy shoegaze intro, and features one of the best refrains on the album. Much of the latter half of the record is dominated by downtempo bedroom rock, with the exception of the full-on rocker, “Jealousy.” Whip-Smart would go on to debut at No. 27 on the Billboard 200, later achieving Gold status and inspiring countless singers and female-fronted bands for decades to come.

File Under: Indie Rock
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whitechocolate

Liz Phair: Whitechocolatespaceegg (Capitol) LP
Ever since Exile In Guyville, landed in 1993, singer-songwriter Liz Phair has been cipher for a certain kind of aesthetic. She’s been called “the female face of indie rock,” a “slacker poet of the first degree” and a “brainy bad girl,” but she forever remains America’s sardonic sweetheart. The final installment in Phair’s great trifecta of albums which began with her audacious debut and continued with its slick power-pop follow-up Whip-Smart (1994), Whitechocolatespaceegg marked her hook-fueled return from hiatus in 1998. Drawing on themes of motherhood and family after getting married and giving birth to a son, the intimate and autobiographical collection peaked at No. 35 on the Billboard 200 and yielded the singles “Polyester Bride” and “Johnny Feelgood.”

File Under: Indie Rock
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prof3Professor Rhythm: Professor 3 (Awesome Tapes From Africa) LP
Professor Rhythm’s 1991 recording Professor 3 is a vivid reflection of urban South Africa as apartheid was ending. Thami Mdluli’s production project had young and old dancing to a sound that sought to unite Blacks within Southern Africa. “Our music gave hope to the hopeless,” he says. Professor Rhythm’s third instrumental album (which contains some background vocals, to be exact), portrays the moment when the dominant mbaqanga and American R&B-based bubblegum sounds being produced in Johannesburg and other urban centers were transforming into house and hip-hop-inspired kwaito. The pop of the 80’s and all that went with it – from the models of synths and drum machines to the lyrical style – gave way to a changing melodic emphasis and new, much slower tempi using a completely different rhythmic skeleton. Upbeat, chipper bubblegum, often with double-time breakdowns and upstroke syncopations, faded and the sounds began to more closely resemble those of contemporary Black America – where hip-hop was slowing down and the bass-lines and melodies were getting moodier, darker in general. At the same time house music had briefly reached mainstream acceptance in the States and that popularity continued to feed into awareness overseas. These two influences blended with the burgeoning house music scenes in Johannesburg and Pretoria as Professor 3 was being produced in March 1991 (the same year apartheid ended). Mdluli explains, “We were Influenced by foreign bands and so people updated their sound.” According to Mdluli, the evolving sound was bolstered by widening availability of house and rap records from abroad while, most importantly, an increasing sense that apartheid might soon be finished was met with a new positivity vibe society. Professor 3 came out on vinyl as the LP business was dying in South Africa and sold around 20,000 copies. It was mainly distributed on tape, which sold closer to 100,000. With the help of engineer Fab Rosso, the recording features backing vocalists from Mango Groove. After making a half-dozen records as Professor Rhythm, Mdluli once again shifted his focus musically. By the mid-90’s he had veered off gospel music – and left playing in bands and started making his own solo recordings. His enormous success in the gospel realm in the years since is a remarkable story in its own right, but for now we are only dancing.

File Under: Africa, Funk, Electro
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reichSteve Reich: Live Electric Music (Analog Spark) LP
“‘It’s Gonna Rain’ was composed in San Francisco in January of 1965. The voice belongs to a young black Pentecostal preacher who called himself Brother Walter. I recorded him along with the pigeons one Sunday afternoon in Union Square in downtown San Francisco. Later at home I started playing with tape loops of his voice and, by accident , discovered the process of letting two identical loops go gradually in and out of phase with each other. “‘Violin Phase’ was composed in New York in October 1967. Here, the process discovered with tape recorders is applied to a human being playing against several pre-recorded tapes of himself. In two sections of the piece the performer gives a sort of auditory “chalk talk” by simply playing one of the pre-existent inner voices in the tape a bit louder and then gradually fading out, leaving the listener momentarily more aware of that particular figure. The choice of these figures is largely up to the performer, and I want to thank Paul Zukofsky for bringing out several very interesting ones I never would have though of without him. “‘It’s Gonna Rain’ is the first and ‘Violin Phase’ the last of a series of pieces all dealing with the process of gradually shifting phase relations between two or more identical repeating figures. This process determines both the note-to-note (sound-to-sound) detail and the over-all form as well. It is a process we can all hear.” – Steve Reich

File Under: Avant Garde, Tape Music, Experimental
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stonesRolling Stones: Their Satanic Majesties Request (Abkco) LP
Their Satanic Majesties Request (December 1967) was the first Rolling Stones album to be released on both sides of the Atlantic with the same running order and inside the same record sleeve. The title was a satirical take on the words inside a British passport: “Her Britannic Majesty’s Secretary Of State requests and requires…” Coming to fruition during a transformative year in music, the summer of 1967 had been dominated by The Beatles’ pop art masterpiece Sgt Pepper’s, Jimi Hendrix’s Are You Experienced and Pink Floyd’s The Piper At The Gates Of Dawn. Bands the world over wanted to be part of the psychedelic revolution that was changing pop music and the Stones were no different. A tangle of psychedelic sounds and influences, complete with iconic 3D artwork, Their Satanic Majesties Request reached No. 3 in the UK charts and remains a charming curiosity. Though the band went straight back to their rock and blues-based roots the following year with Beggars Banquet, their foray into flower power was a bold and fruitful attempt to branch out. “She’s A Rainbow” is a sweet chorus-based pop song that features Brian Jones on Mellotron and deft string arrangements from future Led Zeppelin bassist John Paul Jones. Another success is “2,000 Light Years from Home,” while the haunting “The Lantern” is arguably a forerunner of “Shine A Light” from 1972’s Exile On Main St

File Under: Rock
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uniform

Uniform/The Body: Mental Wounds Not Healing (Sacred Bones) LP
In Spring 2017, Uniform was asked to support fellow noisy, boundary-pushing duo The Body for a European tour. Having been longtime fans of the band, Uniform vocalist Michael Berdan and guitarist Ben Greenberg jumped at the opportunity. During the planning phase of the tour, Berdan and Lee Buford from The Body started corresponding regularly. Ultimately, Berdan asked Buford if he and The Body cofounder Chip King would be interested in making a collaborative record with Uniform. Buford enthusiastically assented, and the seed of Mental Wounds Not Healing was sown. A few months after the genesis of the idea, Berdan and Greenberg went to the legendary underground Providence studio Machines With Magnets, where The Body were finishing up work on their latest LP. King and Buford had a ton of cool beats and music ready that Berdan played synth bass lines over. Greenberg then played guitar over Berdan’s bass lines, and the songs began to take shape. After the Machine With Magnets session, engineer Seth Manchester sent Greenberg stems of the tracks to work on back in Brooklyn. Berdan recorded vocals in the hallway of Greenberg’s tiny apartment, and the raw intensity of that makeshift session served as the perfect counterpoint for King’s unmistakable voice. Effectively, every song on Mental Wounds Not Healing is a duet between Berdan and King. The collaboration pushes both bands far beyond their roots in industrial music and metal, creating an immersive listening experience that truly transcends genre. The title of the record is a line stolen from the chorus of Ozzy Osbourne’s “Crazy Train.” Most of the titles are culled from horror literature and cinema, with specific nods to Shirley Jackson, Jack Ketchum, and Elem Klimov. Thematically, the songs have to do with feeling trapped in one’s own mind, projecting images over and over again of a future in shambles before it even gets a chance to happen. It is about hopelessness, anxiety, and depression so familiar that they seem like permanent fixtures of one’s psyche and identity.

File Under: Metal
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…..Restocks…..

Beach House: 7 (Sub Pop) LP
Bjork: Homogenic (One Little Indian) LP
Boards of Canada: Campfire Headphase (Warp) LP
Boards of Canada: Tomorrow’s Harvest (Warp) LP
Leon Bridges: Good Thing (Columbia) LP
Nick Cave: Push the Sky Away (Bad Seed) LP
Chvrches: Love is Dead (Glassnote) LP
Earth: 2 (Sub Pop) LP
Bill Evans Trio: At Shelleys Manne-Hole (OJC) LP
Bill Evans Trio: Waltz for Debby (OJC) LP
Gang of Four: Entertainment (Universal) LP
Getz/Gilberto: s/t (Verve) LP
Herbie Hancock: Prisoner (Blue Note) LP
Jon Hopkins: Singularity (Domino) LP
Lhasa: Living Road (Audiogram) LP
Sturgill Simpson: Metamodern Sounds (Thirty Tigers) LP
Sleep: Dopesmoker (Southern Lord) LP
Sufjan Stevens: Illinois (Asthmatic Kitty) LP
Sunn o))): Monoliths & Dimensions (Southern Lord) LP
Townes Van Zandt: Flying Shoes (Fat Possum) LP
Townes Van Zandt: Live at the Old Quarter (Fat Possum) LP
Gillian Welch: Harrow & The Harvest (Acorn) LP

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…..news letter #850 – wah…..

Yikes, mega stock week! Loads of great stuff in this week, so strap on your reading glasses. Hopefully you’ve had a chance to check out our new webstore… if not CHECK IT OUT!  The inventory is live with the shop, so if it’s in stock there, it’s in stock in the store. We have an instore pick up option, so if you are local, but going out of town, or just don’t want to miss out on something, by all means, buy it through the site and it’ll be here waiting for you when you have time to get in.

…..picks of the week…..

che

Che’SHIZU: A Journey (Black Editions) LP
In tomorrow… Black Editions present the first ever vinyl release of Ché-SHIZU’s signature album A Journey, originally issued in 1994 by Tokyo’s legendary P.S.F. Records. Ché-SHIZU is one of the most original and mystifying groups to ever emerge from the Tokyo underground. Founded by master improviser Chie Mukai in 1981 the group has been guided by her singular vision for nearly 40 years. Throughout its history Ché-SHIZU has challenged traditional notions of song structure and improvisation. Mukai’s signature instrument, the Chinese er-hu, is an ancient two stringed bowed instrument rarely found outside of traditional music. Even within the wildly diverse roster of artists on P.S.F. Records, Ché-SHIZU is a playful and confounding outlier. Early on Mukai became active within the avant-garde movement flowering in Tokyo during the mid-1970s. She studied with renowned Fluxus composer and violinist Takehisa Kosugi, recalling, “that encounter was so huge for me, much more than any one technique. Even in terms of the er-hu, I only started playing it because Kosugi gave it to me.” In 1975 she joined his East Bionic Symphonia, a large improvising ensemble featuring students from Tokyo’s Bigakko art school. From there she contributed to improvising avant-garde groups including an early version of Marginal Consort and later the Vedda Music Workshop. Her work with Ché-SHIZU however is where her vision most clearly emerged. Ché-SHIZU released its first album I Can’t Promise in 1984 on Zero Records, in time the album would become a revered classic. It would be another ten years before another full-length would be released. During that time the group performed extensively with various rotating line ups. In the summer of 1994, Mukai led the group to Studio J in Tokyo to record an album for the P.S.F. label. Released later that year, the album was titled A Journey. Fittingly, it is a sprawling excursion through ethereal dreamscapes, the group confident in its own resplendent joy. Over the album, the group creates a spontaneous, loose form of chamber pop that weaves folk and a light psychedelia into something entirely unique. Pop songs like “Juso Station” intersect with instrumentals such as the title track to create a varied yet coherent improvisational language. Remastered; deluxe double-LP edition cut at Dubplates & Mastering, Berlin and pressed at Pallas Germany. Includes new expansive artwork and lyric translations, housed in a spot gloss heavy gatefold jacket; Includes high resolution digital download.

File Under: Chamber Pop, Psych, Japan
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cups

Various: Cups N Cakes (Double Lunch) CS
A DIY labour of love! The Cups N Cakes Network have released their very first compilation and it’s an impressive DIY statement. Out now on Double Lunch Records the packaging is designed to mimic a box of Crayola Crayons. This limited edition cassette comes in a handmade crayon box. Each tape is hand-numbered and coloured to mimic the crayons within. Other goodies found inside include a booklet, stickers and a download code.  The release features 17 songs from these 18 different acts: Screaming Targets (Edmonton), Mulligrub (Winnipeg), Dumb & Friends (Vancouver), Doug Hoyer (Edmonton/Chicago), Gary’s House (Montreal), Ultra Mega (Winnipeg), Chris Page (Ottawa), Bad Canada (Vancouver), Valiska (Calgary), Expanda Fuzz (Ottawa), Cham (Edmonton), Body Lens (Lethbridge), Counterfeit Jeans (Edmonton), Soul Mates (Saskatoon), Sister Ray (Edmonton), Jesse & The Dandelions (Edmonton), Napalmpom (Calgary) & Night Committee (Calgary). Each song was recorded exclusively for release on this compilation, you’ll only find these tracks here! Limited to a run of 300, this special edition packaging will be a one-time release.

File Under: Punk, Indie, Cups N Cakes
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…..new arrivals…..

agitation

Agitation Free: Last (Wah Wah) LP
Last, the third LP by krautrock legends Agitation Free, was originally released in 1976 on Barclay in France as a posthumous LP that included tracks from ‘73 and ’74. Agitation Free had been formed in 1967 by Lutz ’Lüül’ Ülrich, Michael ‘Fame’ Günther, Lutz ‘Ludwig’ Kramer and Christoph Franke. They soon gained the residency as the house band on Berlin’s Zodiac Club with their impressive multimedia stage show. By 1973 they had already released two LPs and suffered several line-up changes and the members of the band that recorded ‘Last’ included Michael Günther on bass, Burghard Rausch on drums, plus Jörg Schwenke and Lutz Ulbrich on guitars, plus friends – Erhard Grosskopf on loops, Michael Hoenig on synthesizer, a.o. Although the album was first released in 1976, side one was recorded live in France in March 1973 and side two live in the studio in Berlin, February 1974. But don’t be fooled by this, the whole LP sounds as a proper studio recording, no intrusive audience noises, perfect mix, outstanding audio quality.
File Under: Krautrock
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alloversAllovers: Yer Guises (Anxious & Angry) LP

Formed  in  2011,    the  Edmonton/Calgary  hybrid,  made  up  of  guitarist  Matt  Pahl,  bassist  Paul  Arnusch  (The  Wet  Secrets,  Faunts,  The  Whitsundays)  and  drummer  Garrett  Kruger  (Fire  Next  Time),  has  a  way  of  combining  genres  that’s  unique  to  them,  all  the  while  writing  songs  that  either  make  you  think  twice  or  not  think  at  all.    With  titles  like  Dog  Team  Cooperation, Hitchcock  Twist, and Rinkydink (a  song  written  from  the  perspective  of  a  breaking  down  lawnmower  as  a  comment  on  the  cheapening  of  the  modern  world),  The  Allovers  have  levels  that  belie  their  lighthearted  exterior.  With  punk  structures  reminiscent  of  The  Ramones,  melodies  and  harmonies  cut  from  the  same  jib  as  Burt  Bacharach  or  The  Everly  Brothers  and  sonic  textures  entering  similar  territory  as  Thurston  Moore,  The  Allovers  are  guaranteed  to  hook  you,  move  you,  then  keep  you  singing  along  for  years  to  come.
File Under: Punk
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burkeSolomon Burke: Best of Atlantic Soul (Run Out Groove) LP

Solomon Burke helped shape the sound of rhythm and blues as one of the founding fathers of soul music. He had a litany of hit singles in the ’60s for Atlantic Records including “Cry to Me, “If You Need Me,” “Down in the Valley,” and “Everybody Needs Somebody to Love.” Drawing inspiration from gospel, jazz, country and blues – Burke developed his own unique style and was often called “The King of Rock ‘n’ Soul.” Atlantic co-founder Jerry Wexler hails Burke as “the greatest male soul singer of all time.” In 2001, he was inducted into the Rock N Roll Hall of Fame. Run Out Groove’s twelfth title is a brand new retrospective of Solomon Burke’s critically-acclaimed, recorded material for Atlantic Records from 1962-1965 including the hit song, “Everybody Needs Somebody to Love,” featured on the Blues Brothers movie soundtrack. It is the first domestic vinyl collection of his ground breaking Atlantic recordings released since 1966. Each LP is individually numbered and comes pressed on 180g vinyl courtesy of Record Industry. An old school tip-on Stoughton sleeve with brand new artwork and liner notes rounds out the package. Run Out Groove is a new vinyl only label that caters specifically to music fanatics, pressing titles made by music fans for music fans. Their goal is to uncover, customize, reconfigure and reissue the coolest vinyl titles from the most unique artists of the last five decades. They want the fan to be a part of the process by creating a communal and collaborative environment so they manufacture and release high quality vinyl titles based on fan choices and involve the consumer in the journey from initial concept to delivery of the final product. ROG records are made with the highest quality packaging for the discerning collector and dedicated fan and are all limited to a one time pressing.
File Under: Soul
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case
Neko Case: Hell-On (Anti) LP

An indelible collection of colorful, enigmatic storytelling that features some of her most daring, through-composed arrangements to date, Hell-On is simultaneously Neko Case’s most accessible and most challenging album, in a rich and varied career that’s offered plenty of both. Case’s first solo album in five years is rife with withering self-critique, muted reflection, anthemic affirmation and the beloved singer/songwriter’s unique poetic sensibility. Neko enlisted Bjorn Yttling of (Peter Bjorn & John) to co-produce six tracks with her in Stockholm, Sweden where she mixed the twelve track album with Lasse Mårtén. Hell-On features performances by Beth Ditto, Mark Lanegan, k.d. Lang, AC Newman, Eric Bachmann, Kelly Hogan, Doug Gillard, Laura Veirs, Joey Burns and many more.
File Under: Folk, Country
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cecilia
Cecilia: Adoration (Halcyon Veil) LP

In tomorrow… Adoration is the restrained yet ravishing début album by Mélissa Gagné, aka Cecilia, a Rome-based Montreal artist who previously lit up two songs on Rabit’s Les Fleurs Du Mal album, released an EP for Yves Tumor’s label (2017), and now makes a commanding and significant impression with one of 2018’s most haunting LPs, a filigree dramaturgy of trip hop, ersatz film score music, and ambient collage. Cecilia wrote and produced Adoration, singing in English, French, and Italian with accompaniment by mutual spirits such as her friend Jasmine Pisapia and the poet activist Griséldis Réal, who help to render a stark yet subtly gilded cross-section of her psyche, which places the listener as dark interpreter to a series of tumultuous inner dialogues. “One is summoned to whisper truth, beauty, tragedy to demon ears.” Incubated for 18 months between Montreal, Toronto, and New York, Adoration reads like intimately diaristic pages recalling an amorphous lucid dream. In that phantasmagoric headspace she meditates on loss and romanticism, using a shifting backdrop of highly visual stimuli to frame her thoughts and bring them to life with an uncannily immersive effect perhaps not felt so strongly since Félicia Atkinson’s Hand In Hand in 2017. Electronic bass and percussion are shadowed with traces of synth and guitar improvisations, but the one consistent element is the female voice. Sometime detached, glossolalic, and at others uncannily familiar, plaintive, that vocal presence is integral to the LP’s quietly absorbing atmosphere, and even if the listener can’t understand their direct meaning, they connote so much more through abstracted inference and ambiguity. Following her early forays made with the Charity Whore EP for Yves Tumor’s Grooming label, and previous work as DJ/producer Babi Audi, along with her hybrid stage works, Cecilia ties all those strands into an illusory yet highly distinguished work set to resonate with listeners from myriad backgrounds and disciplines.
File Under: Electronic, Experimental
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chvrches

Chvrches: Love is Dead (Glassnote) LP
In tomorrow… If there’s a theme in Scottish synth pop group Chvrches’ world as they release their third record, Love Is Dead, it’s willful, determined openness, both ideologically and in terms of actual creative process. This time around, instead of Lauren Mayberry disappearing for days at a time, the trio stayed in the same room even while Lauren was writing lyrics. As a result, the album “feels a lot more coherent,” she says. Lauren also consciously pulled from a different psychic well when writing those lyrics, one that’s less introspective and more expansive and imagistic. “I tried to write less about romantic love specifically,” she says. “And more about the overarching concept of love.” And, for the first time ever, Chvrches opened their proverbial doors to outside influence. The Eurythmics’ Dave Stewart served as the band’s de facto mentor, providing insight Lauren says “really pushed us to focus on the artistic integrity of the album and everything that surrounds it.” Steve Mac co-produced the soaring ode to hope, “Miracle.” And thanks to some extremely productive time spent in what Lauren calls his “Aladdin’s Cave,” Greg Kurstin (Adele, Sia) wound up co-producing eight of the record’s twelve tracks. “We had similar musical tastes and we clicked in the writing process pretty quickly,” Kurstin recalls. “I got to pull out all of the things I don’t have a chance to normally use.” The result is the purest ever distillation of Chvrches’ signature pretty gloom. This conscious move towards openness in the creative process reflects a bigger, deeper existential theme as well. Lead single “Get Out” is a sprawling crescendo of heartbroken joy while”Graffiti,” with it’s lilting syncopated backbeat follows suit. Then there’s the slinky “Deliverance,” which personifies that classic Chvrches blend of punk ethos with a pure pop sound. The band doesn’t consider their music expressly political, per se, but the urgent, brightly haunted “Graves,” feels abject and despairing yet joyful in a decidedly topical way. And on, “Miracle,” Mayberry questions “I feel like but I’m falling but I’m trying to fly, where does all the good go?” The dreamy “Heaven/Hell,” gets at an issue Chvrches have been dealing with since day one: what it’s like to be a rock band with a female frontperson. That’s a lot of what Love Is Dead is about: growing up, “coming to terms with the fact that there are great things in the world and there are awful things in the world and that you can’t get one without the other,” Lauren closes.
File Under: Synth Pop
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father johnFather John Misty: God’s Favorite Customer (Sub Pop) LP

Written largely in New York between the summer of 2016 and winter of 2017, Josh Tillman’s fourth Father John Misty LP, God’s Favorite Customer follows-up his Grammy-nominated 2017 effort Pure Comedy and reflects on the experience of being caught between the vertigo of heartbreak and the manic throes of freedom. God’s Favorite Customer reveals a bittersweetness and directness in Tillman’s songwriting, without sacrificing any of his wit or taste for the absurd. From “Mr. Tillman,” where he trains his lens on his own misadventure, to the cavernous pain of estrangement in “Please Don’t Die,” Tillman plays with perspective throughout to alternatingly hilarious and devastating effect. “We’re Only People (And There’s Not Much Anyone Can Do About That)” is a meditation on our inner lives and the limitations we experience in our attempts to give and receive love. It stands in solidarity with the title track, which examines the ironic relationship between forgiveness and sin. Together, these are songs that demand to know either real love or what comes after, and as the album progresses, that entreaty leads to discovering the latter’s true stakes. God’s Favorite Customer was produced by Tillman and recorded with Jonathan Rado (Foxygen), Dave Cerminara (Jonathan Wilson, Foster the People, Conor Oberst), and Trevor Spencer (FJM). The album features contributions from Haxan Cloak, Natalie Mering of Weyes Blood, longtime collaborator Jonathan Wilson, and members of Misty’s touring band.
File Under: Indie Rock
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frickeFlorian Fricke: Die Earth Und Ich Sind Eins (Wah Wah) LP

Issued in 1983 as a limited private pressing, Die Erde und Ich sind Eins was Florian Fricke’s first ‘solo’ LP. It features the guitar of his Popol Vuh partner Daniel Fichelsher and vocals by Anni Morris Wieland, Bettina Fricke Waldthausend, Dieter Prym, Florian Fricke, Friedemann Berger, Friedemann Wieland, Gisela Von Doering, Ingeborg Jahnke, Jan Lorck-Shjmerning, Jana Faust, Karl F. Weber and Klaudia Wieland. ‘You could label it as ‘body-space-music’ (Körperraummusik) where you sing inside the body and take it in such a way that every cell in the body, from the sole of the foot to the crown of the head, starts to vibrate. In order to be able to realise this I have experimented to find where speech resonates in the body. The consonants vibrate at the body walls, the bones and flesh and the vowels fill the body spaces. And that sounds like a gong-concert: it also has a great therapeutic effect.’ – Florian Fricke
File Under: Experimental, Kosmische
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mellow drea

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

Ryo Fukui: Scenery (We Release Jazz) LP
In tomorrow… We Release Jazz (WRWTFWW Records’ new sister-label) presents its first release, the official reissue of Ryo Fukui’s highly sought-after masterpiece Scenery, originally released in 1976. Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous, and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From “It Could Happen To You” and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of “Early Summer”, or the incredible teamwork of “Autumn Leaves” where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence, and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have. The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (WRJ 002CD/LTD-LP) in 1977. He then focused on improving his live skills, often performing at Sapporo’s Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing two live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come. Sourced from the original masters.
File Under: Jazz, Japan
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gam

GAM: 1976 (Wah Wah) LP
After the big success of our reissue of Günter Schickert’s amazing Samtvogel LP we present another of his projects, GAM – on which he joined Axel Struck and Michael Leske. A powerful trio of mind-expanding krautrock sounds formed in 1973, they recorded their first sessions in 1976, improvising directly to tape in Schickert’s basement – but these weren’t released until 1986, originally in cassette format – reissued some years later on CD. The sound of GAM 1976 differs a bit to that of Samtvogel. Obviously, this is a band effort delivering their guts in a one take session, while on Samtvogel Schickert was playing all the parts, layering one after the other using the sound on sound facilities of his reel to reel recorder. Here, instead, we have an energetic echo charged jam that takes us through different atmospheres and moods, a hidden gem in krautrock’s Kosmische history legacy.
File Under: Krautrock, Kosmische
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gas

Gas: Rausch (Kompakt) LP
In tomorrow… “Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there’s nothing / Once upon a time, there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist / Heavy as lead / Music happens / To flow like gas /A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite.” –Wolfgang Voigt, 2018; Rausch was created as a single composition. The intention is to listen to the album as a whole from beginning to end. Following a global tour, GASwill continue to perform live throughout 2018 to support Rausch.
File Under: Electronic, Techno
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ghostGhost: Prequelle (Loma Vista) LP
In tomorrow… Grammy Award-winning rock band Ghost unleash their highly anticipated fourth sacred psalm, Prequelle. Previous efforts have dealt with broad themes like impending doom (Opus Eponymous – 2010), the antichrist and the Inquisition (Infesstimum – 2013), humanism and avarice (Meliora – 2015), Prequelle delves into the plague, the apocalypse, and dark ages. It’s a snapshot of the world in which we live in on a daily basis, brought to life through an emotive, enlightening, and riveting body of songs. In an interesting twist in the Ghost saga, Cardinal Copia takes over vocal duties here, introduced by the epic lead single “Rats.” The album was recorded in 2017 at Artery studios in Stockholm with producer Tom Dalgety (Opeth, Royal Blood) and was mixed at Westlake Studios in West Hollywood, CA with Andy Wallace (Nirvana, Slayer). Colored vinyl pressing with accompanying 7-inch featuring covers of the Pet Shop Boys’ “It’s A Sin” and Leonard Cohen’s “Avalanche.”

File Under: Rock, Metal
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headtechHead Technician: Profane Architecture (Ecstatic) LP
In tomorrow… Pye Corner Audio morphs into Head Technician mode for the project’s brooding second sojourn with Ecstatic. Taking inspiration from his fascination with Brutalist construction, Martin Jenkins exclusively uses Roland TR-606, MC-202, and TB-303 boxes plus the Roland System 100 modular synth to sketch out a slow, murky sound in furtive pursuit of the vibes on Zones (2017), but this time the results are even darker and obscure. Echoes of early Detroit and UK bleep and bass infiltrate the stark corridors of Profane Architecture as much as the hauntological spirits of Boards of Canada, combining to make a sound that revels in nostalgia yet yearns for the future. It’s not a new idea, but it is one that Jenkins executes with such classic style and unique character that can only lead to comparisons with acid maestros such as early Plastikman or the Analord, Richard J. James. For moody dancers, Profane Architecture is perfect; from the oozing elan of opener “First Pour” through the spheric momentum of “Béton Brut” and the mind-weaving acid of “Formwork” he establishes a slickly hypnotic sound that works its magick with more funk on the flipped, generating the tactile form of “Second Pour” and the ruggedly hewn groove of “The New Brutalism”, then closing out with the exquisite darkness of “Demolition” — a real highlight in his extensive and highly collectible catalog. Cut by CGB at Dubplates & Mastering.

File Under: Electronic,Techno
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hedleyJoshua Hedley: Mr. Jukebox (Third Man) LP
With the release of his highly anticipated debut album Mr. Jukebox via Third Man Records, Joshua Hedley embraces the role he was born to play: this generation’s classic country champion. Hedley didn’t start writing his own songs until he was about 28 years-old. So on the backend of his 20s, he finally started writing, eventually unlocking a flood of clarity and creativity. The heartbreaking, distilled, defiantly classic country that poured out of him became Mr. Jukebox, a salve and beacon for 60s honky-tonk devotees everywhere. Album opener “Counting All My Tears” carves out the collection’s gloriously tear-jerking territory from the jump. As “oooooohhhs” and “aaaaahhhs” serve as spine-tingling harmonies – a classic-country flourish carried throughout Mr. Jukebox – lonely piano is joined by a familiar cast including steel and of course, fiddle. “Mr. Jukebox” is a swinging nod to those beloved machines – both inanimate and breathing – that dependably play a lot of songs for a little money. It’s impossible to listen to the tune and not smile thinking of Hedley’s years logged in cover bands on Nashville’s Lower Broad. Lush strings kick off the sauntering “Weird Thought Thinker,” which features harmonies that evoke both bass walkdowns and angels. An ace fiddle intro opens “Let Them Talk,” a carefree ode to being in love and not worrying about who knows it. “Let’s Take a Vacation” pleads for one last lovers’ getaway to try to remember what’s been lost. Hedley delivers a masterful recitation over crying steel, soft harmonies, and rich supporting strings. He penned shuffling “These Walls” about FooBar, a beloved East Nashville dive Hedley lived near before it shut down. “This Time” paints a vivid picture of leaving that’s both proud and blue. Simple and brilliant, “I Never Shed a Tear” sounds like a standard, but just like all but one track on Mr. Jukebox, it’s a Hedley original. “You’re trying to say as much as you can in as few words as possible,” he says. “Trying to convey an emotion to make people feel their own emotions.” Hedley’s ability to capture feelings is on spellbinding display in album standout “Don’t Waste Your Tears,” a soaring, gut-punching vocal performance. The final track is the only cover: a goosebumps-inducing version of “When You Wish Upon a Star.” Hedley picked the song to honor his dad, who passed away about three years ago without seeing the record deal, glowing press, and peer admiration Hedley’s earned. “We spent a lot of Christmases at Disney World,” he says. “When I was searching for a cover song, it dawned on me that my dad didn’t get to see any of this happen, but he always wanted it.” When asked what he hopes listeners get out of Mr. Jukebox, Hedley doesn’t hesitate. “I just want people to remember they have feelings, and that they’re valid,” he says. “Not everything is Coors Light and tailgates. There are other aspects of life that aren’t so great that people experience. They’re part of life, part of what shapes people. And that’s worth noting.”

File Under: Country
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basil

Basil Kirchin: I Start Counting (Trunk) LP
In tomorrow… Sublime unreleased score for the weird cult/brutalist thriller I Start Counting! (1970). Charming, odd, and affecting score by Basil Kirchin, made “in association” with his regular cohorts, Jack Nathan and John A. Coleman. The film was directed by the multi-talented and quite radical David Greene. Greene was also an actor, a successful producer and had already employed the services of Kirchin for his 1967 horror The Shuttered Room and quirky crime thriller The Strange Affair (1968). I Start Counting!, notably starred a 14-year-old Jenny Agutter, is set in brutalist Bracknell, with Agutter’s character living in Royal Point, a classic “threepenny bit” of a 1960s tower block. When she ventures away from the safety of this concrete castle on an obsessive, erotically charged journey, her world is turned upside down. As macabre, coming-of-age thriller, the score for I Start Counting! allowed Kirchin to explore more dark edges of film music and composition: as a score, it bubbles along with lots of classic Kirchin hallmarks, but here you are also treated to a beguiling opening song that is lyrically and musically developed and then slowly pulled apart over sequential cues. There is also an unusual Eastern tinge to some of the percussion and Kirchin’s distinctive pastoral oddness is here too. His sonic jumps between low drama and high tension are extraordinary, and his use of free jazz to bring about unease is both perfectly simple and effective. Basil’s original idea for the opening song was to have it sung by Cilla Black or Jenny Agutter, but in the end Lindsay Moore, the daughter of jazz chum Barbara Moore stepped in. The score is mighty fine but a little short, so included here is more unreleased soundtrack material from the Kirchin archive — a tape labeled “Third World Documentary”. This dates from the early 1980s and was produced for either TV or a festival and musically complements the first score well, even though they are two decades apart. The names of the musicians working here died with Basil, but the drummer for I Start Counting! may well have been Clem Cattini, Evan Parker was more than likely involved with the session, and possibly Derek Bailey too. As for the later recording, there is a distinctive modern “Fairview” sound to the cues and production. Mastered and sequenced by Jon Brooks, AKA The Advisory Circle.
File Under: OST, Library
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mogardAbul Mogard: Circular Forms (Ecstatic) LP
In tomorrow… Abul Mogard presents his debut LP, a suite of four analog synth pieces. Mogard was born in Belgrade, Serbia, and spent most of his life working in a metal factory, only beginning to approach music after his retirement. Following two highly regarded cassette releases on Steve Moore and Anthony Paterra’s VCO label and a series of compilations and split releases, Mogard makes a surprising departure on this debut album for Ecstatic Recordings. Circular Forms channels a wealth of soulful modular explorations and shadowy white-noise clouds. The end result is evocative, unsettling, and beguiling modern synth music. There’s a real emotive essence to his almost lyrical arrangements that is very much removed from the contemporary modular revival. Composed and recorded in solitude using a limited equipment array of Farfisa organs in conjunction with a self-built modular synthesizer, the album’s intoxicating distortions and extreme low frequencies translate into personal space and beautifully restrained impressions. Abul Mogard: “Lately I have been reading and appreciating visual art and paintings and this has informed my work on this album. Compared to my previous albums, this was the first time that I had a clear visual representation of my music, as geometrical forms — each element of a track suggested a form that intertwined with the other elements.”

File Under: Ambient, Electronic
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mogard1Abul Mogard: Works (Ecstatic) LP
In tomorrow… Ecstatic offer a deeply arresting and definitive collection of Works by erstwhile Serbian factory worker-turned-synthesist Abul Mogard; containing selections from two cassettes released in 2012 and 2013 on Steve Moore and Anthony Paterra’s VCO Recordings, as well as a cassette only release on Ecstatic, never before available on vinyl. Abul Mogard’s relatively unusual path to releasing music is well documented, but bears repeating here. Upon taking retirement from a job at a factory which he held for decades, Mogard craved the mechanical noise and complex harmonics of the industrial workplace, and found that the best way to fulfil that need was through electronic music – using a limited set-up of Farfisa organs, voices, samplers and a self-built modular system to realize a peaceful yet haunting, sweetly coruscating sound that resonates uncommonly with music from Leyland Kirby to Alessandro Cortini, or Fennesz and Tim Hecker. The nine tracks on Works are soused in an emotional richness that’s hard to forget once experienced. Broad daubs of distorted bass and naturally glorious harmonic progressions paint panoramas of wide open, grey-scaled skies whilst equally conveying the intimate feel of a person with their nose to the machine, toiling for a sound or feeling that really means something to them, and by turns, us. The fact that Mogard hails from an area hardly well-known for its synth music, and that he’s of an age where most people take up gardening or lawn bowls, rather than synth music, only helps to aid the enigma and magic surrounding this remarkable artist and his layered, emotional music. RIYL: Alessandro Cortini, The Caretaker, Fennesz, Tangerine Dream, Brain Eno, Tim Hecker.

File Under: Ambient, Electronic
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oneohtrixOneohtrix Point Never: Age Of (Warp) LP
In tomorrow… Age Of is Daniel Lopatin aka Oneohtrix Point Never’s most cohesive and richly composed work to date weaving a tapestry of disparate musical histories – early music, country and folk balladry, melodic pop, computer music and much, much more – demonstrating both the complexity and range of the artist’s repertoire. With sounds that are unsettlingly familiar and uniquely his own, Age Of guides us through an unclassifiable new world.

File Under: Electronic
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numbers
107-34-8933 (Nik Pascal Raicevik): Numbers (Wah Wah) LP
If you check the credits of The Rolling Stones’ Goats Head Soup LP from 1973 you’ll find a certain “Pascal” listed on the percussion section. That is none other than Los Angeles based artist Nicolas Pascal Raicevik (1933-1994), aka 107-34-8933, aka Head, aka Nik Pascal, aka Nik Raicevic. Besides his hitting the bongoes on the Stones album, Nik was a great artist on his own, both as a painter and as a musician. As a musician, he was a pioneer in the use of synthesizers, preceeding the Berlin school by some years when his Head LP was released on on Buddah in 1970. Buddah probably saw in Head the opportunity to cash in some money from the remains of the psychedelic scene – the three tracks on the LP are named after drugs used in the late sixties. The sounds, however, are accomplished works that show Raicevic as one of the most interesting pioneers in the use of synths. The album probably didn’t do too well, since Buddah didn’t renew the contract with Raicevic, who instead took his own way releasing his works on his very own Narco Records and Tapes label. Between 1968 and 1975 Narco would issue 4 LPs credited either to Nik Raicevic (Beyond The End… Eternity) or Nik Pascal (The Sixth Ear, Magnetic Web and Zero Gravity) plus one credited to 107-34-8933 (Numbers, which is in fact the same LP as Buddah’s Head, albeit with different cover art). Copies of these LPs came with an ironic sticker over the shrinkwrap that read “Do not listen to this LP if you are stoned”. Numbers was the first reference in the Narco catalogue (NR101), each of the three tracks it contains is named after a drug: Cannabis Sativa, Methedrine and Lysergic Acid Diethylamide. The album was credited to 107-34-8933, there is no date of release on the disc, some sources take it as back as 1968 – in any case, this is the same record that was issued on Buddah in 1970 credited to Head and eponymously-titled. The Wah Wah reissue features the original cover artwork from the Narco edition. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain. “Nik Raicevic’s music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations. “This is an absolute must for collectors and fans of visceral, neurotic soundscapes.” (www.progarchives.com) “As far as late-60s / early-70s American Bedroom’ Electronic Music goes, these LPS have to be among the first transmissions from this sector, made all the more attractive when coupled with Raicevic’s alien topographIes – the covers are high-color portrayals of Venusian lanes, knotted growths, & future-past architecture in a style you might equate with Vintage’ sci-fi pulp-novel covers – & copious Downer’ sentiment. This music is imbued with a sort of lonely, anti-social sensibility that’s about as far as you can get from the Academic’ Early Electronic vector. I will say that if the Steve Birchall, Cellutron & the Invisible, and/or Pythagoron™ seed your garden, this will likely do the same.” (www.twoheadeddog.com)

File Under: Prog, Electronic, Kosmische, Psych
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beyondNik Raicevic (Nik Pascal Raicevik): Beyond The End, Eternity (Wah Wah) LP
Beyond The End… Eternity was released in 1971 under the Nik Raicevik monicker as Narco NR102. According to http://www.twoheadeddog.com, “Raicevic is clearly still in the early learning-curve stages,” which it a key LP to understand Nik’s evolution and setting the path for more evolved works to follow. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain. “Nik Raicevic’s music is at the intersection of radical psycho-electronic weirdness and kraut kosmische music (in particular the scifi-hypno-minimal modules of Conrad Schnitzler in Grun, Rot and Blau). It presents mega epic & tripped out electronic improvisations. – Limited Edition of 500

File Under: Electronic, Prog, Psych, Kosmische
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sixth earNik Pascal (Nik Pascal Raicevik): Sixth Ear (Wah Wah) LP
1972 saw the release of The Sixth Ear (Narco NR666), this time credited to Nik Pascal. A more complex work than Beyond The End…, it adds consistent rhythmic patterns to the mix with the addition of bongoes and also explores some interesting chord progressions. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain. – Limited Edition of 500

File Under: Electronic, Prog, Psych, Kosmische
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magentic webNik Pascal (Nik Pascal Raicevik): Magnetic Web (Wah Wah) LP
Magnetic Web was released in 1973. It appeared under the Nik Pascal monicker and showed a clear evolution in sound, favoured by the addition of an Arp 2600 and some rhythm boxes. It also included percussions and cymbals. The Two Headed Dog site thinks “this is his masterpiece in all of its acid-laced glory.” Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain. – Limited Edition of 500

File Under: Electronic, Prog, Psych, Kosmische
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zero gravityNik Pascal (Nik Pascal Raicevik): Zero Gravity (Wah Wah) LP
Nik’s last album, Zero Gravity (Narco NR123) came under the Nik Pascal name and had a fantastic side long piece on the title track which reminisces of the works of Cluster. B side features four tracks that also bear some Conrad Schnitzler reminiscences. This was to be Nik’s last LP before he would sell all his synths to ex car racer and future electronic/ambient music star Steve Roach. Besides his musical explorations, Nik was also an interesting painter. His paintings are auctioned from time to time, and are consciousness expanding works influenced by abstract cubism and surrealism, some kind of Salvador Dalí on drugs exploring the outter and inner space. All the artwork on the sleeves of his LPs is done by himself. Spacey landscapes and psychedelic colours that fit perfectly to the music they contain. – Limited Edition of 500

File Under: Electronic, Psych, Prog, Kosmische
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popol tantricPopol Vuh: Die Nacht Der Seele (Tantric Songs) (Wah Wah) LP
Die nacht der seele is the twelfth album by Popol Vuh, originally released in 1979 by Florian Fricke and friends–Daniel Fichelscher on guitar, Djong Yun and Renate Knaup on vocals, plus guests Alois Gromer on sitar and Susan Goetting on oboe. Popol Vuh had moved again one step farther, ellaborating a complex world music opus based mainly on acoustic instruments plus Fichelscher’s electric guitar and the use of multitracked vocals to reproduce the sounds of Tibetan monk chants.

File Under: Krautrock, Ambient
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popol sei
Popol Vuh: Sei Still, Wisselch Bin (Wah Wah) LP
Originally released on Klaus Schulze’s Innovative Communication label in 1981, ‘Sei still, wisse ICH BIN’ is Popol Vuh’s 13th LP. Fricke and Fichelscher worked under the production of Klaus Schulze himself and were helped for the occasion by Chris Karrer on soprano sax, Renate Knaup on vocals and the Chorensemble der Bayerischen Staatsoper. Two of its songs, Laß los and …als lebtendie Engel auf Erden where used on the soundtrack of Werner Herzog’s film Fitzcarraldo, from 1982.

File Under: Krautrock, Ambient
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pyramidPyramid: s/t(Mental Experience) LP
In tomorrow… Includes download card. 33 minutes of pure, unadulterated, psychedelic krautrock courtesy of Pyramid, an obscure studio project produced by Toby Robinson, aka The Mad Twiddler. These sessions were recorded circa 1975-76 in Cologne for the underground Pyramid label, which was operated by Toby and his friend Robin Page (the Fluxus artist). During that time, Toby worked as engineer and assistant at various studios in Cologne, including the famous Dieter Dierks studios, where most of the albums from the Ohr/Pilz/Cosmic Courier catalog were registered. Having access to the studios during dead hours, Toby recorded lot of sessions just for fun without any commercial interest, featuring friends and musicians who frequented the studios and the underground art/music scene of Cologne. Some of these sessions were later released as handmade vinyl micro-pressings on his Pyramid label with help from artist Robin Page. Master tape sound. Includes insert with liner notes by Alan Freeman. RIYL: Pink Floyd, Cosmic Jokers, Agitation Free, Ash Ra Tempel, Gila, Porcupine Tree, Amon Düül II. “… from trippy phases with echo guitars and Mellotron onto headfirst plunges into space-rock overdrive territory. In all, an excellent album of spacey krautrock” –Alan Freeman

File Under: Psych, Krautrock
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riceDamien Rice: O (East West) LP
Available for the first time on vinyl, this extended 16-track, gatefold 180g 2LP edition of Damien Rice’s O includes four additional recordings: “The Professor & La Fille Danse” and “Moody Mooday,” which were both originally b-sides to the “The Blower’s Daughter”; “Lonelily,” which also appeared alongside the track “Moody Mooday” as a 7″ single in 2004; and “Woman Like A Man,” which was recorded live in a session at Galway Bay FM and was the lead track for the song’s single release. “Prague” and “Silent Night” (featuring Lisa Hannigan), which were hidden bonus tracks after the album’s closing song “Eskimo,” are also included in this release. O, originally released in the summer of 2002, was one of the last albums to build a true word-of-mouth following before widespread streaming. The Guardian wrote, “Rice’s personality and deft songwriting hoist him above the mass of bedsit mumblers…at its best, O is gorgeous and understated, never too introverted to include a lovely melody.” Three singles were released from O: “The Blower’s Daughter” in 2001, followed by “Cannonball” and “Volcano” in 2002, with many other tracks from the album being audience favorites and mainstays of Rice’s live set, notably “Delicate,” and “I Remember.”

File Under: Indie Rock
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sexedelicSexedelic: s/t (Wah Wah) LP
With their charming look of exploitation LPs, Sexedelic’s Sexedelic and it’s ‘brother’ album The Vampires’ Sound Incorporation’s Psychedelic Dance Party (also reissued on Wah Wah as LPS185) hide the joint works of German composers Manfred Hübler and Siegfried Schwab that were used on three classic 1970 b-movies directed by Spanish film maker Jess Franco: Vampyros Lesbos, The Devil Came From Akasava, She Killed In Ecstasy. Besides the film director and the soundtrack composers, these three films also shared the presence of Spanish actress Soledad Miranda. Manfred Hübler’s work, other than the one appeared on these three films, remains pretty unknown – although prior to partnering with Siegfried Schwab he did soundtracks for several other films and TV series from 1966 through 1969, among them Intercontinental Express (TV series, 12 episodes in 1966), Code Name Is Kill (1967), Polizeifunk ruft (TV series, 6 episodes in 1968), Der Partyphotograph (1968) and The Butterfly (1970). Siegfried ‘Siggi’ Schwab, on the other hand, has an extense career with hundreds of recordings, including soundtracks and records, and is also known as a key member in albums by krautrock bands like Et Cetera or Embryo (his guitar pyrotechnics are big part of the personality of their Father, Son and Holy Ghosts LP which was also reissued on Wah Wah some years ago). Original copies of these LPs could be found for next to nothing in European flea markets until the mid 1990s, when Lucertola Media compiled them both on the 3 Films By Jess Franco CD. The amazing sounds that mixtured jazz pianos, easy listening brass section, psychedelic fuzz guitar, pop harpsichord lines, exotic sitar, and funky bass & drum beats were rediscovered and given new life when a compilation LP featuring the grooviest tracks from both albums was an instant hit which ran high in the alternative music sales charts. The legend grew when ‘The Lions And The Cucumber,’ opening track from The Vampires’ Sound Incorporation’s LP, was picked by Quentin Tarantino and given mainstream exposure on his third film Jackie Brown (1997), starring Pam Grier, Robert Forster, Robert de Niro, Samuel L. Jackson, Bridget Fonda and Michael Keaton. The ‘Vampyros Lesbos sound’ became a classic, awakening also new interest on the movies themselves which have been also issued on DVD since then. The music of Hübler and Schwab has also been sampled and revisited by many artists. Since then, original copies of The Vampires’ Sound Incorporation and Sexedelic LPs fetch small (and not so small!) fortunes in the collector’s market. Now, for the first time, the original albums from which all these amazing tracks were taken from are reissued in its original complete tracklists and sleeve artwork. Owning these two LPs is the only way to have in vinyl format all the original material issued by Hübler and Schwab – all previous reissues omit tracks from the original LPs. Now, for the first time ever, these extremely sought after LPs get a straight reissue in their original artwork, expanded with the inclusion of an 8-page full colour booklet that includes many photos and liner notes. Made in a limited edition of 1000 copies. Get yours before it’s too late!

File Under: Psych, Jazz, Lounge
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shindigShindig #79 Magazine
The Choir, Cleveland’s Anglophile masters’ 1969 unreleased album. TRIP Austria’s “turned on” 1972 TV rock-opera. Moby Grape … enter 1967. Brian James The pre-Damned psychedelic/prog years. John Howard Smartening up and playing the game: 1975’s Kid In A Big World. Gruff Rhys Gentle ruminations surrounding Babelsberg. Regulars. Shindiggin’ What’s hot on the Shindig! turntable. Thoughts & Words Your letters and emails. It’s A Happening Thing Ryley Walker, The Magic Numbers, My Generation, The Resonars, Damien Jurado, Dewolff, Left Outsides, Deep Dark Woods. Happening Right Now The hottest new bands. Family Album Bubble Puppy’s 1968 Texan classic: A Gathering Of Promises. 20 Questions Gary Brooker recollects beat music, big hits, George Harrison, Mickey Jupp… and more. Reviews The best in reissues, new releases, books and live shows. Vinyl Art A late-career statement from Thelonious Monk. Prize Crossword Win a copy of Ace’s brilliant Bob Stanley & Pete Wiggs comp Paris In The Spring.

File Under: Reading

space farmSpace Farm: s/t (Wah Wah) LP
One of the rarest psychedelic blues rock kiwi LPs gets at last an official vinyl reissue respecting its original artwork. Space Farm formed in 1971 out of the ashes of The Underdogs. When Neil Edwards quit to join Human Instinct, the remaining Underdog members Harvey Mann and Glen Absolum decided to reform under the Space Farm monicker with the addition of bass player Billy Williams and saxophonist Bob Gillet. Zodiac released their LP in 1972 featuring Harvey Mann on vocals. A second version of the album featured Underdogs’ vocalist Murray Grinder replacing Mann’s vocal track. This second version is the one that was issued in 1989 on the Little Wing label as ‘Going Back To Eternity’. The Wah Wah version features the original Harvey Mann vocal. Even though Grinder is undoubtedly a better singer than Mann the original mix is stronger and powerful and makes more justice to the high energy Hendrix influenced sound of the band, plus it makes it the very first official vinyl reissue of the original LP.

File Under: Psych, Blues Rock
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turtleMichal Turtle: Return to Jeka (Music From Memory) LP
In tomorrow… Flowers From The Ashes: Contemporary Italian Electronic Music is the latest multi-artist project to bear the acclaimed Stroboscopic Artefacts imprimatur. There is a sensibility of decadence and corroded grandeur etched within the album, reminding you that historically “decadent” times have nonetheless resulted in some of the boldest acts of individual and collective creativity. Like the “floral” theme that has remained a consistent feature of S.A.’s graphic presentation, the music here equally presents fragility and intensity in a way that really drives home this visual metaphor for good, while still holding out the promise that similar creations will be seeded in the near future. Though many of the artists involved have set of residence outside of their native Italy, all contribute here to make a captivating portrait of a shared spirit and cultural memory. The album opens with “Errori”, deceptively fragile sonic ornaments crafted and suspended in space by Blackest Ever Black artist Silvia Kastel. This is followed closely by the mellifluous, warming glow of percussionist Andrea Belfi’s “Spitting & Skytouching”, and then by the resolute electric bass patterns and luminous fog of “Lux Et Sonus” from Eeri label head Marco Shuttle. Hospital Productions alumnus Ninos Du Brasil enters with a similarly dense, amorphous construction built from tribalistic chants and rhythmic patterns, to be followed by Mannequin label boss Alessandro Adriani’s “You Will Not Be There For The End”, showcasing his distinctive take on the “paranoiac breakdance” aesthetic of classic EBM. S.A. veteran Chevelcomes in with interlacing several percolating synth lines together into a richly conversational piece. The journey continues with “Starving The Mind”, an undulating mini-epic from S.A. founder Lucy that is animated by his signature balance of seductiveness and concentration. The bright, biting acid synth tones of “PRV-HH3-X”, by Lory D, then takes a sharp right turn into an invisible metropolis ruled by reflective high fashion and hidden intrigue. The imposing architecture of “Virgo Rebellion”, designed by modular synth futurist Caterina Barbieri, acts as an excellent companion piece, and sets up the closing “4G” from Spazio Disponibile co-founder Neel — a crepuscular serenade that accurately sums up much of the foregoing activity.

File Under: Electronic
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wah-wah-vampires-sound-incorporated-psychedelic-daVampires Sound Incorporated: Psychedelic Dance Party
(Wah Wah) LP

With their charming look of exploitation LPs, Sexedelic’s Sexedelic and it’s ‘brother’ album The Vampires’ Sound Incorporation’s Psychedelic Dance Party (also reissued on Wah Wah as LPS185) hide the joint works of German composers Manfred Hübler and Siegfried Schwab that were used on three classic 1970 b-movies directed by Spanish film maker Jess Franco: Vampyros Lesbos, The Devil Came From Akasava, She Killed In Ecstasy. Besides the film director and the soundtrack composers, these three films also shared the presence of Spanish actress Soledad Miranda. Manfred Hübler’s work, other than the one appeared on these three films, remains pretty unknown – although prior to partnering with Siegfried Schwab he did soundtracks for several other films and TV series from 1966 through 1969, among them Intercontinental Express (TV series, 12 episodes in 1966), Code Name Is Kill (1967), Polizeifunk ruft (TV series, 6 episodes in 1968), Der Partyphotograph (1968) and The Butterfly (1970). Siegfried ‘Siggi’ Schwab, on the other hand, has an extense career with hundreds of recordings, including soundtracks and records, and is also known as a key member in albums by krautrock bands like Et Cetera or Embryo (his guitar pyrotechnics are big part of the personality of their Father, Son and Holy Ghosts LP which was also reissued on Wah Wah some years ago). Original copies of these LPs could be found for next to nothing in European flea markets until the mid 1990s, when Lucertola Media compiled them both on the 3 Films By Jess Franco CD. The amazing sounds that mixtured jazz pianos, easy listening brass section, psychedelic fuzz guitar, pop harpsichord lines, exotic sitar, and funky bass & drum beats were rediscovered and given new life when a compilation LP featuring the grooviest tracks from both albums was an instant hit which ran high in the alternative music sales charts. The legend grew when ‘The Lions And The Cucumber,’ opening track from The Vampires’ Sound Incorporation’s LP, was picked by Quentin Tarantino and given mainstream exposure on his third film Jackie Brown (1997), starring Pam Grier, Robert Forster, Robert de Niro, Samuel L. Jackson, Bridget Fonda and Michael Keaton. The ‘Vampyros Lesbos sound’ became a classic, awakening also new interest on the movies themselves which have been also issued on DVD since then. The music of Hübler and Schwab has also been sampled and revisited by many artists. Since then, original copies of The Vampires’ Sound Incorporation and Sexedelic LPs fetch small (and not so small!) fortunes in the collector’s market. Now, for the first time, the original albums from which all these amazing tracks were taken from are reissued in its original complete tracklists and sleeve artwork. Owning these two LPs is the only way to have in vinyl format all the original material issued by Hübler and Schwab – all previous reissues omit tracks from the original LPs. Now, for the first time ever, these extremely sought after LPs get a straight reissue in their original artwork, expanded with the inclusion of an 8-page full colour booklet that includes many photos and liner notes. Made in a limited edition of 1000 copies. Get yours before it’s too late!

File Under: Psych, Jazz, Lounge
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waits1Tom Waits: Small Change (Anti) LP
After signing with Asylum Records in the early 1970s, Tom Waits recorded a series of acclaimed albums whose noir tales about the after-midnight underworld transformed the seedy into the sublime in songs laced with both dark humor and profound longing. Decades and several musical evolutions later, Waits’ Asylum years still hold a special place in the hearts of many fans. Waits’ first seven albums on Asylum have been remastered and will be re-released via Anti-Records. 1976’s Small Change is a masterpiece that contains some of Waits’ best early work. Classic jazz, Tin Pan Alley, and Stephen Foster filtered through Tom’s unique worldview and lyrical genius. Heartbreaking, hilarious and always vivid, songs like “Step Right Up,” “Tom Traubert’s Blues,” “I Wish I Was in New Orleans,” “The Piano Has Been Drinking” and “Invitation to the Blues” are all classics that have influenced generations of songwriters since. Recorded with a live orchestra and featuring jazz legend Shelly Manne on drums, Small Change stands as one of Tom Waits’ most popular recordings.

File Under: Rock
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zanovZanov: Green Ray (Wah Wah) LP
Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of “Secret” fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself his first syths and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier… Even Gong’s Tim Blake was living in France at that time. And so Zanov soon caught the attention of Polydor, who released Green Ray in 1976. It is a work made with minimal equipment if compared to other French sythetists, not to mention their German peers, he worked on the EMS VCS3 synth and used a 4-track Teac and a Revox A77 Mk IV reel to reel tape recorders obtaining huge sound results. You can appreciate an influence from the Berlin school, Green Ray walks the same path of what artists like Tangerine Dream and the likes were producing at the time, Zanov had felt under the spell of Ricochet, but his head was boiling with ideas which gave the recordings a very personal, unique touch. Zanov’s three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe.

File Under: Electronic, Prog, Psych, Kosmische
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zanov1Zanov: Moebius 256 301 (Wah Wah) LP
Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of “Secret” fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself an EMS VCS3 and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier… Even Gong’s Tim Blake was living in France at that time. By the time of his second LP, Moebius 256 301, issued also on Polydor in 1977, Zanov had already gathered a small collection of gear, including an ARP 2600 and an ARP sequencer, his old VCS3, an RMI Harmonic and a PS 3300. Again under the influence of both first and second generation of Berlin school musicians the LP will appeal to fans of Klaus Schulze or Tangerine Dream, but they will also find a big deal of Zanov’s own personal sound on it, since as the musician himself reckons he had little contact with other peers of his generation, so besides a general love for the electronic gear used and the sounds you could make out of them the creative ideas behind his works were all his own. On his second album a richer sound is found, not only due to the use of the new gear, since some of its tracks where recorded using only his old EMS, but also due to his won experience after having taken his works to the life stages in the Golf Drouot boite, the Lase Olympia venue (on the basement of the famous Olympia), the Paris Planetarium or those for planned one month tour (of which in the end only four dates were accomplished). Zanov’s three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe.

File Under: Electronic, Prog, Psych, Kosmische
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zanZanov: In Course of Time (Wah Wah) LP
In Course Of Time, his third LP was originally issued in Canada in 1982 and in France in 1983, although it contains works that he had began working in 1979. The material was originally shelved due to legal matters, although he continued to add some changes even after that. The Canadian edition came out in Les Disques Solaris, a recently created label that wanted to specialise in “cosmic” music. Zanov used the same equipment he had used on Moebius 256 301, albeit this time he gave more use to the RMI Harmonic Synthesizer. Zanov’s three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe. Zanov’s third LP was released in 1982 in Canada on Les disques Solaris and in 1983 in France on Ondes.

File Under: Prog, Psych, Electronic, Kosmische
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zweistein-trip-flip-out-meditation_miniZweistein: Trip | Flip Out | Meditation (Wah Wah) LP
Zweistein’s trippy Kraut psych experimental masterpiece from Philips Records 1970, arguably one of the most sought after Kraut titles, period! Remastered from the original tapes, absolutely essential! With roughly a half century between us, the revolutionary spirit of the 1960’s is easily lost – watered downed, its energy and truths rubbed clean by the ubiquity of the pop machine. Our contemporary vision of the past rarely resemblances the true zeitgeist of the day. The 1960’s was an era defined by the underground – by those who made a home there, by those who exited the mainstream, plumbing unknown depths, and by the radicalism which they embraced. Few musical contexts present an accurate lens into the decade’s counter-cultural swell – the joining of pop with the avant-garde, equal to the one which emerged within Germany. Writhing, principled, and unflinchingly revolutionary, this scene pushed further sonically into experimental territory than almost any other. Few of its artifacts present this spirit as well as Trip Flip Out Meditation, the lone, astoundingly ambitious triple LP recorded by Zweistein in 1969 and released the following year. Among the most sought after and coveted artifacts in the sprawling canon of Krautrock / Kosmische, it’s long awaited reissue now joins Wah Wah’s stunning catalog of obscure treasures from the radical depths of time. Zweistein was the brainchild of Suzanne Doucet, who was joined by her sister Diane during the recording process, with added studio effects byPeter Kramper. Doucet spent the first part of 60’s as a pop star – gathering number of hits, and as a TV presenter. Filled with a radical spirit, a love of art and technology, and fueled by a heavy intake of psychedelic drugs, her successes proved unfulfilling by the end of the decade. Zweistein was born. The album, which stretches over three LPs, each with its own theme – Trip, Flip Out, and Meditation, is a writhing radical construction in sound – far closer to the revolutionary gestures of synthesis, electronic and electroacoustic practice emerging during that era, than what is commonly associated with Krautrock or Kosmische. Almost completely abstract, with passages of fleeting melody and drone – enveloping landscapes realized through sound, Trip Flip Out Meditation is pure art, creativity, and experimentation, filtered through the lens of LSD – the heights of the era and all the wonders it brought, with an unmistakable, overt attack on the pop sensibility of its day. An artist diving underground, rearing their head into the mainstream with a thrust of what was found. One of the great artifacts of the 1960’s, and of Krautrock, which few ever heard. Originally pressings of Trip Flip Out Meditation, Zweistein’s lone masterpiece, are as rare as they come, making this reissue long overdue – a grateful offering for a new generation of ears. Suzanne Doucet went on to become one of the most noted voices in the European moment of New Age. She was recently featured on Light In The Attic’s survey (The Microcosm) Visionary Music Of Continental Europe, 1970-1986, but Trip Flip Out Meditation is where it all truly began. Grab a piece of history before its gone again for good. As essential as they come. We can’t thank Wah Wah enough for placing this beauty back into our hands. “A pack of drug and art addled young Germans run amok in a recording studio on a major label’s dime Even better, a pair of sisters, one of them a popular mainstream singing star, travel around Europe making weird tapes on a portable tape recorder and then lavishly package the treated results as a triple LP set in an elaborate and expensive silver and gold foil sleeve circa 1970 in Germany? I’m so there!” Dangerous Minds

File Under: Prog, Psych, Krautrock
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o9wmjf7aacncs0x69so1Various: Flowers from the Ashes (Stroboscopic Artefacts) LP
In tomorrow… Flowers From The Ashes: Contemporary Italian Electronic Music is the latest multi-artist project to bear the acclaimed Stroboscopic Artefacts imprimatur. There is a sensibility of decadence and corroded grandeur etched within the album, reminding you that historically “decadent” times have nonetheless resulted in some of the boldest acts of individual and collective creativity. Like the “floral” theme that has remained a consistent feature of S.A.’s graphic presentation, the music here equally presents fragility and intensity in a way that really drives home this visual metaphor for good, while still holding out the promise that similar creations will be seeded in the near future. Though many of the artists involved have set of residence outside of their native Italy, all contribute here to make a captivating portrait of a shared spirit and cultural memory. The album opens with “Errori”, deceptively fragile sonic ornaments crafted and suspended in space by Blackest Ever Black artist Silvia Kastel. This is followed closely by the mellifluous, warming glow of percussionist Andrea Belfi’s “Spitting & Skytouching”, and then by the resolute electric bass patterns and luminous fog of “Lux Et Sonus” from Eeri label head Marco Shuttle. Hospital Productions alumnus Ninos Du Brasil enters with a similarly dense, amorphous construction built from tribalistic chants and rhythmic patterns, to be followed by Mannequin label boss Alessandro Adriani’s “You Will Not Be There For The End”, showcasing his distinctive take on the “paranoiac breakdance” aesthetic of classic EBM. S.A. veteran Chevelcomes in with interlacing several percolating synth lines together into a richly conversational piece. The journey continues with “Starving The Mind”, an undulating mini-epic from S.A. founder Lucy that is animated by his signature balance of seductiveness and concentration. The bright, biting acid synth tones of “PRV-HH3-X”, by Lory D, then takes a sharp right turn into an invisible metropolis ruled by reflective high fashion and hidden intrigue. The imposing architecture of “Virgo Rebellion”, designed by modular synth futurist Caterina Barbieri, acts as an excellent companion piece, and sets up the closing “4G” from Spazio Disponibile co-founder Neel — a crepuscular serenade that accurately sums up much of the foregoing activity.

File Under: Electronic
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voices
Various: Voices of Mississippi (Dust to Digital) 4CD+Book
In tomorrow… This watershed release represents the life’s work of William Ferris, an audio recordist, filmmaker, folklorist, and teacher with an unwavering commitment to establish and to expand the study of the American South. William Ferris was born in Vicksburg, Mississippi in 1942. Growing up on a working farm, Ferris began at a young age documenting the artwork, music, and lives of the people on the farm and in his local community. The archive of recordings that he created and the documentary films that he had a hand in producing have served as powerful tools in institutions of higher learning for decades. Dust-to-Digital present these films and recordings. The label’s hope is that the enjoyment and educational value that has been received by Ferris’s students over the years will be transmitted to listeners around the world and further the understanding of Southern culture. Voices of Mississippi: Artists and Musicians Documented by William Ferris includes: a 120-page hardcover book in full color edited by William Ferris Writings by Scott Barretta, David Evans, and Tom Rankin; three CDs — two of the CDs feature blues and gospel recordings (1966-1978), and the final CD features interviews and storytelling (1968-1994); and one DVD featuring documentary films (1972-1980). Transcriptions and annotations are provided for each track. Comes in a cigar box. In addition to being a groundbreaking documentarian of the American South, William Ferris is Joel R. Williamson Eminent Professor of History and senior associate director of the Center for the Study of the American South at the University of North Carolina at Chapel Hill. A former chairman of the National Endowment for the Humanities, Ferris co-edited the Encyclopedia of Southern Culture (1989) and is the author of multiple books. In 1991, Rolling Stone magazine named him among the top ten professors in the United States. The recordings feature James “Son Ford” Thomas, Lovey Williams, Wallace “Pine-Top” Johnson, Maudie Shirley, and Jasper Love, Scott Dunbar, Mississippi Fred McDowell, Louis Dotson, Sonny Boy Watson, Sam Myers, Tom Dumas, Unidentified Musician with Mississippi Fred McDowell, Walter Lee Hood, Wash Heron and “Big” Jack Johnson, James Hughes, Leland Musician, Inmates at Parchman Farm, George Lee “Sun Bud” Spears, James “Son Ford” Thomas with Sonny Boy Watson, Mary and Amanda Gordon, The Southland Hummingbirds, Lovey Williams, Reverend Smith and Family, Liddle Hines, Providence Missionary Baptist Church, Church of God in Christ, Fannie Bell Chapman, Mary Alice and Alan Mcgowan, Reverend Ott and Family, Rose Hill Church, Lovey Williams and Family, Fannie Bell Chapman and Family, Reverend Isaac Thomas and Rose Hill Church, Barry Hannah, Alice Walker, Alex Haley, Ray Lum, Bobby Rush, Joe “Skeet” Skillet, Joe Cooper, Shelby “Poppa Jazz” Brown, B.B. King, Allen Ginsberg, James “Son Ford” Thomas, and Bill Ferris, Robert Penn Warren, Pecolia Warner, Victor Bobb, and Pete Seeger.

File Under: Blues, Gospel

…..Restocks…..
Vanessa Amara: Manos (Posh Isolation) LP
Bad Brains: I Against I (SST) LP
Boards of Canada: Music Has the Right to Children (Warp) LP
Boli Group: NPDS (Posh Isolation) LP
City & Colour: Hurry & the Harm (Dine Alone) LP
City & Colour: Sometimes (Dine Alone) LP
Descendents: Milo Goes to College (SST) LP
Descendents: Somery (SST) LP
Destroyer: City of Daughters (Merge) LP
Destroyer: Thief (Merge) LP
Drinks: Hippo Lite (Drag City) LP
Firehose: If’n (SST) LP
Husker Du: Land Speed Record (SST) LP
Yussef Kamaal: Black Focus (Brownswood) LP
King Gizzard & The Lizard Wizard: Flying Microtonal Banana (ATO) LP
King Gizzard & The Lizard Wizard: Murder of the Universe (ATO) LP
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) LP
Lord Huron: Vide Noir (Universal) LP
Mariah: Utakata No Hibi (Palto Flats) LP
Massive Attack: Heligoland (Universal) LP
Vito Ricci: I Was Crossing  Bridge (Music From Memory) LP
Terry Riley: Songs for the Ten Voices of the Two Prophets (Beacon Sound) LP
Rural Alberta Advantage: Mended With Gold (Paperbag) LP
Rural Alberta Advantage: Wild (Paperbag) LP
Ty Segall: s/t (Drag City) LP
Sonic Youth: Experimental Jet Set, Trash and No Star (Geffen) LP
Taj Mahal Travellers: August ’74 (Aguirre) LP
Talking Heads: 77 (Rhino) LP
Hiroshi Yoshimura: Pier & Loft (17853)
Adrian Younge: Something About April II (Linear Labs)  LP
Frank Zappa: Freak Out (Zappa) LP
Various: Shaolin Soul 2 (Because) LP
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