Tag Archives: psych

…..news letter #897 – balloons…..

Correct me if I’m wrong, but isn’t summer usually longer? And warmer? Anyway… killer week for new stuff so come down for a dig.

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…..picks of the week…..

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Herbie Hancock: Mwandishi (Antarctica Starts Here) LP
After releasing their Warner Bros. debut, the Herbie Hancock Sextet underwent a major transformation in the early ’70s. Over the course of a year, every member was replaced (except Herbie Hancock himself and bassist Buster Williams) and each adopted Swahili names. (Williams even led the group in occasional sessions of Buddhist chanting.) Hancock chose the moniker Mwandishi (meaning “composer”), and the Sextet became unofficially known as the Mwandishi Band. The lineup’s first album—simply titled Mwandishi—reflects Hancock’s new aesthetic and spiritual directions. Stretching out from the R&B / jazz fusion of Fat Albert Rotunda, the pianist would draw inspiration from his time with Miles Davis (whose classic Bitches Brew came out in 1970) as well as through the creative relationship he had formed with producer David Rubinson (known for his work with Moby Grape and Santana). “Ostinato (Suite for Angela),” dedicated to political activist Angela Davis, is an extended jam with stunning rhythmic complexity—enhanced by studio effects, such as Echoplex delay. On the ballad “You’ll Know When You Get There,” Hancock’s tight arrangements are saturated in reverb, which gives an ever-shifting dimensionality. Side-long closer “Wandering Spirit Song,” written by trombonist Julian Priester (aka Pepo Mtoto), goes even further out: alternating between dynamic soloing and group improvisation, the Sextet fully manifests the radical potential of their collective identity / energy. Mwandishi remains a bold and expansive statement, even after nearly 50 years.

File Under: Jazz, Jazz-Funk
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King Gizzard & The Lizard Wizard: Fishing For Fishies (ATO) LP
Sit back and strap yourself in as seven-headed Aussie rock beast King Gizzard & The Lizard Wizard return with Fishing for Fishies, perhaps their most perfectly-realized album to date. The fourteenth album since their 2012 debut—and their first following the release of five vastly different albums in 2017—Fishing for Fishies is a blues-infused blast of sonic boogie that struts and shimmies through several moods and terrains. King Gizzard are no longer a band, they are a cult, a youth movement, an exploration, a double-drumming trip, a cottage industry centered around their own Flightless Records. Perhaps most importantly they provide transportive fun, a valuable and often-overlooked commodity in an increasingly fraught world. As Pitchfork noted, they have waged war against two tired clichés: “One, that rock is dead; and two, that the album is dead.” More than that, King Gizzard have staked their claim as one of the most innovative, exciting and productive bands of the 21st century. Pressed on U.S. Toxic Landfill Edition Vinyl.

File Under: Blues, Psych, Boogie
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…..new arrivals…..

LDB12912_Big Thief: U.F.O.F. (4AD) LP
U.F.O.F. is the highly anticipated third record by Big Thief and their first on 4AD. U.F.O.F. was recorded in rural western Washington at Bear Creek Studios. In a large cabin-like room, the band set up their gear to track live with engineer Dom Monks and producer Andrew Sarlo, who was also behind their previous albums. Having already lived these songs on tour, they were relaxed and ready to experiment. The raw material came quickly. Some songs were written only hours before recording and stretched out instantly, first take, vocals and all. Others were explored in search of perfected moments of dynamic feedback and spiritual, rhythmic togetherness. A careful New Age sprinkle of mystical textures and stabs was added and kept in the mix only when all agreed that each element had become absolutely crucial to the tune. The completed palette feels classic, upfront and honest, with an occasional, welcome glimpse into the magic box. “Making friends with the unknown…All my songs are about this,” says Adrianne Lenker (guitar, vocals). “If the nature of life is change and impermanence, I’d rather be uncomfortably awake in that truth than lost in denial.”

File Under:Indie Rock
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Body Without Organs: Isis & Thoth (Dark Entries) LP
Body Without Organs were a duo from New York City consisting of Richard Behrens (lyrics, vocals, guitar) and Carl Howard (electronics, effects) formed in 1982. The pair brought together skill and ideas from such diverse areas as writing, poetry, ceremonial magic, studio technology, and mass media sounds and images. The name Body Without Organs could mean several things: a body, being an organization, without organs, or hierarchy; a form of anarchy, certainly opposed to the capitalist system, and if not directly opposed, then deeply skeptical of its effects on society. Richard was interested in anthropology and mythology and the Golden Dawn System of Magick as a meditative tool. Sort of aural performance artists doing their performance work who released four cassette albums through Howard’s Audiofile Tapes between 1985 and 1987. We are proud to reissue their debut album “Isis and Thoth” from 1985 on vinyl for the first time. The album’s title pays homage to Isis: the protectress of the dead whose mournful tears for her husband/brother Osiris [the god of the dead who was murdered by his brother Set] were said to flood thee Nile annually, and unto the ibis or baboon headed Thoth: the heart [intelligence] and tongue [voice] of the sun god Ra. The nine compositions were created as scenes or moods with taped effects, delay pedals and found vocals. The duo employed droning synth syncopated with sparse percussive accents, esoteric vocal chanting, looping delayed beats, dissonant guitar and stuttering bass lines. Richard sadly passed away in 2017 and his widow Anna sent us the entire BwO cassette archive and we discovered a previously unreleased track “Scrap” included here. All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each copy includes an 8.5×11 insert with photos and interview with Richard Behrens. “When you will have made him a body without organs, then you will have delivered him from all his automatic reactions and restored him to his true freedom” – excerpt from the radio play by Antonin Artaud: “To Have Done with the Judgment of God” (1947)

File Under: Electronic, Industrial
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Alex Cameron: Live in San Francisco (Castle Face) LP
“Here we have the final entry into our Live In San Francisco series: an intimate evening with Alex [Cameron] and his indispensable sax man, Roy Molloy (beard in briefcase) performing at the Swedish American Hall in San Francisco, a very classy and lovingly maintained venue originally built in 1907 on Market Street, just a pube or two into the Castro District. “I was first introduced to Alex Cameron by Adam Beris, a real swell fellow who’s been drawing Castle Faces for us for years. He asked if I had heard of this “Suicide meets sad Springsteen” act and showed me the mysterious Geocities-style website (complete with shady porn ads). I was immediately hooked on the skeletal throb, the stark portraits of hard luck losers, the ego-maniacal squares, and the swagger on this prosthetically wrinkled Australian song and dance man. On a paid website, as he reminds us. Both sharp-witted and steeped in thespian courage, this is exactly what the world needed in this hungry, hungry time we live in. We got in touch, things led to other things, and when Alex was opening for Oh Sees at the Chapel in San Francisco we hatched a plan to make a live record, over white wine spritzers (as all the best deals are inked). “Al and Roy are the real deal, folks…and this wasn’t to be just any old show. I was determined to do something a little special, and I got the idea from working on John’s book of poster art (Exploded Globes) to bill it as a semi-formal, encourage people to ‘get dressed up and messed up’ as John puts it, and do it in a classy sort of hall, make it muy romantico. We got flowers from the Mission De Flores (who have sadly joined the ghost ranks of SF small businesses past), one of which made it to the cover, the champagne and fine wines flowed, and I like to think we helped San Francisco get a little luckier that night. There’s flower petals all over the mix here; Roy’s sax slinks sultrily, Al is in fine form, adding the occasional barb on the stem, sounding well oiled and comfortably bantering between tunes, and Justin Nijssen hangs back and window-dresses the whole thing with some well placed guitar and a few backups. These are professionals, need I remind you, hard workin’ road dogs with deep thoughts that inspire deep respect, and they put some dancing sweat on all the hits from Jumping The Shark as well as “Candy May” from Forced Witness, which at the time wasn’t yet out. We couldn’t be prouder of our final Live In SF disc, and it’s out on Castle Face Records in partnership with Secretly Canadian.”   – Matt Jones

File Under: Indie Rock
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Loren Connors & Daniel Carter: The Departing of a Dream Vol. vii (Family Vineyard) LP
The Departing of a Dream, Vol. VII is the debut collaboration between two giants of the New York avant-garde ­ – guitarist Loren Connors and saxophonist/trumpeter Daniel Carter. It’s a gorgeous, languorous soundscape distilled from the darkest reaches of blues and jazz. For nearly 17 years Connors has used the Departing series to continue his meditation on Miles Davis’ epic “He Loved Him Madly” and expand his efforts to create disappearing music. The duo does just that, vanishing behind decaying trumpet drones and choral-like sheets of electric strings. Carter and Connors both active since the mid-1970s only began performing together in the past year. Carter is a master improviser on assorted horns and reeds and known as a member of the legendary NYC ecstatic/creative improvisational groups Other Dimensions In Music and Test and for accompanying everyone from Sun Ra, Yo La Tengo, and Matthew Shipp. Connors has released records of his singular guitar improvisations and compositions since 1978.  A few past Connors’ albums contained saxes and more – Come Night (1991) and Hoffman Estates (1998) – but those were overdub, studio affairs. Here, Connors responds in real-time, processing effects and crafting an intimate world, shimmering like a black crystal.

File Under: Experimental, Avant Garde
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Cube: Decoy Street (W.25th) LP
Cube is the prolific and chimeric nom de plume of one Adam Keith, formidable tape experimentalist and artist / abraser currently operating in Oakland, California’s vibrant subterranea. After countless cassette releases, 2016’s well-received My Cube LP and a tenure in no-wave faction Mansion, Keith reaffirms Cube’s pledge with Decoy Street—his second album and the most developed work he has made under any guise to date. Opener “In This House” serves as the ideal introduction to Cube: cellular interference, colliding circuitry, metal-on-metal grind and simplistic guitar distortion meet a towering and damaged beat. While “Habit” merges downtempo and industrial touchstones via layers of heavily treated vocals, “Sanctuary” tilts further towards propulsion—a dark treatise on discomfort, yet contagious enough to charm DIY and post-punk devotees. Released on W.25TH, Superior Viaduct’s sub-label for contemporary bands, Decoy Street is recommended for fans of Prurient, Puce Mary and Alan Vega.

File Under: Electronic, Industrial
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Ghosts of Dance: Walking Through Gardens (Dark Entries) LP
We are proud to release a compilation from British post-punk/Futurist group Ghosts of Dance formed in North Devon in 1981. The members were Yvette Norris (vocals), Kevin Maynard (drums), Daryl Hunt (bass), Mark Butcher (keyboards), and Pete Heaton (guitar). Ghosts of Dance took their name from the song ‘Ghosts’ by David Sylvian which appeared on the first Japan album. After playing an early gig in Barnstaple, a gentleman in the audience named Richard Newman expressed his interest to start a record label and release their music. Richard scheduled a recording session for the band at Otter Studios in Georgeham with producer Harry Williamson, son of Henry Williamson, member of progressive rock band Gong. The debut single ‘Ghosts of Dance’ was released in 1982 on Plastic Canvas Records to mixed reviews as it was very different from anything being released at the time. Our compilation includes their debut single along with 9 bonus tracks recorded between 1981 and 1983 on vinyl for the first time. The band call themselves “Vocal Trance Music” on the 7” sleeve credits and it’s accurate. We call it melancholic pop with gloomy atmosphere and dream-like melodies. The final track shows the band moving in a New Romantic direction with Mark taking over the main vocals. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a jacket featuring original artwork by John Hurford and includes an insert with photos, lyrics and liner notes by Pete Heaton.

File Under: Synthwave, Post Punk
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Herbie Hancock: Crossings (Antarctica Starts Here) LP
Crossings was the second release by the Herbie Hancock Sextet lineup known as the Mwandishi Band, following 1971’s Mwandishi which stretched Hancock’s already-adventurous writing and expanded the music through post-production. This approach would play an even larger role on Crossings, the pianist’s final album for Warner Bros. For two of Crossings’ three pieces (“Quasar” and “Water Torture”), Hancock took basic instrumental tracks to Patrick Gleeson’s Different Fur Studios, hoping to learn how to play the Moog synthesizer. Instead, Hancock let Gleeson contribute layers of sound to both pieces. On “Quasar,” a ballad in 7/4 time, Gleeson extends the horn playing of Bennie Maupin, Julian Priester and Eddie Henderson through electronic accents, while on “Water Torture,” he provides a ghostly counter melody on the Mellotron, a keyboard that utilizes samples from string instruments. These studio enhancements give Crossings an otherworldly dimension, making the album feel bigger and more fantastical, yet the Sextet’s playing—recorded without much in way of edits or overdubs —keeps everything grounded. Indeed, Gleason’s additions are often so natural that it is hard to pick out what’s acoustic and what’s synthesized. While the Mwandishi Band’s tenure was unfortunately short-lived, the advances Herbie Hancock made with them still sound exciting today and would propel him into further inventive territory with future jazz-funk project The Headhunters.

File Under: Jazz, Jazz Funk
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Herbie Hancock: Fat Albert Rotunda (Antarctica Starts Here) LP
If Fat Albert Rotunda sounds like the most fun Herbie Hancock had in his early years as a band leader, it should. He composed the music for the pilot of the children’s television show Fat Albert, redirecting the post-bop jazz he honed in a five-year stint with the Miles Davis Quintet towards the R&B and funk styles with which he was becoming enamored. The result was a playful, joyous album in which Hancock clearly had a great time. The same goes for the rest of his Sextet, which by the time of recording in late 1969 was both razor sharp and confidently loose from rehearsing and touring. Flying high with three horn players—Joe Henderson on sax and flute, Garnett Brown on trombone and Johnny Coles on trumpet and flugelhorn—alongside Hancock’s soaring Fender Rhodes electric piano, the group could swing freely on a track like the rousing “Fat Mama” and emote precisely on the subtle “Tell Me A Bedtime Story.” Their versatility won over Warner Bros. who signed Hancock after hearing these infectious compositions and watched Fat Albert Rotunda climb the Billboard Jazz Charts. In subsequent years, Hancock would expand and experiment with the Sextet’s sound, creating two more albums for Warner Bros. Regardless of where he went next, Fat Albert Rotunda is still, 50 years later, about as fun as music gets.

File Under: Jazz, Jazz-Funk
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Kevin Harrison: Inscrutably Obvious (Superior Viaduct) LP
Hailing from Nuneaton, England, Kevin Harrison recorded both solo and collaboratively throughout the late ’70s and early ’80s. While his early recordings would come out in hyper-limited editions or go unreleased for decades, Inscrutably Obvious remains his sole LP—a lost gem of Britain’s ’80s cassette culture and DIY bedroom aesthetics. Originally released in 1981, Inscrutably Obvious covers a lot of ground on its seventeen inscrutable tracks—from analog synth workouts to mutated disco and shimmering guitar improvisations. The album maintains a late-night vibe, filtered through a post-punk lens. Harrison clearly wears his influences on his sleeve—major debts are paid to Brian Eno, Robert Fripp and Manuel Gottsching—yet finds his own unique voice, combining quirky instrumentals and surrealist sensibilities. This first-time reissue is recommended for fans of Chris & Cosey, Cupol and The Normal. Inscrutably Obvious sounds as fresh today as it must have nearly 40 years ago.

File Under: Electronic, Experimental, Industrial

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LDM72111_Mekons: Deserted (Bloodshot) LP
Emboldened by a sold-out tour and a surge of interest in the States after the release of the documentary Revenge of the Mekons, the band retreated to the fringes of Joshua Tree National Park and popular culture to record their new album Deserted. The long-running, genre-hopping, impossible-to-kill British folk-punk collective summoned the forces of magic, fear, and superstition for an album of shifting sand Sturm und Drang. It is at once a distorted howl into the emptiness of space, as well as a quiet submission to the shimmering allure of a mirage. The heat and endless horizon can lead to madness or clarity, and while there is relief when the sun goes down, you know the deep chill is not far off. Cinematic and widescreen in its sonic scope and with a live band immediacy, Deserted is the Mekons at their finest. And whether you are up against yourself, or an entire system, the indifferent stars still shimmer above, while rage, humor and irony are usually on the same side of the Mekons coin. From the onrushing sunrise squall of “Lawrence of California,” the album plays like the soundtrack to a movie of flames, romance, dissolution, and destruction. Jon Langford’s prickly and jagged guitar, angry pub singalong exhortations, and Susie Honeyman’s Middle Eastern-touched fiddle make the song a distorted lodestar for the journey. With the rhythms and atmospherics of Steve Goulding (drums), Dave Trumfio (bass), and Rico Bell (accordion/vocals) as a foundation, the album is full of space; never claustrophobic, but often susceptible to the blurry hallucinations on the horizon. Tom Greenhalgh’s parched vocals on “HARAR 1883” and “How Many Stars?” add a mournful sense of fragility to the disoriented traveler, while Sally Timms’ dream-like voice turns “Into The Sun” into an oasis – the incantations at the end rising as a shield. On “In The Desert,” Timms is a bulwark against the cruelty that awaits beyond pools. Throughout, Lu Edmonds’ obscure stringed instruments are as psilocybinally piercing as Peter O’Toole’s blue eyes. Deserted is folk music made by folks who are pissed and disillusioned, lost and longing to be found, but only on their terms.

File Under: Rock
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603111732411_mainMonolord: Fairies Wear Boots (Riding Easy) LP
Monolord’s 12-minute cover of Black Sabbath classic “Fairies Wear Boots” pressed on gray w/ black smoke colored vinyl with etching on the b-side. Monolord’s enveloping, syrupy sludge is a vibe, it’s a state of mind. Not riffs for riffs sake, but a collective buzzing, rattling and rumbling that’s more total environment than collection of songs. Together, guitarist/vocalist Thomas Jäger, drummer Esben Willems and bassist Mika Häkki create a massive, dynamic sound with ultra-low frequencies serving as its fourth member. Monolord is a rare breed: A band both encompassing and transcending genre; a vortex of heavy rock density that consumes all others. Rust, the band’s third full length, truly exemplifies why it received universal praise in reviews and landed atop multiple Album of The Year lists for 2017 — including the #1 Album of 2017 on the Doom Charts collective of journalists, bloggers, radio and podcasters.

File Under: Metal
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Protomartyr: No Passion All Technique (Domino) LP
When Protomartyr – vocalist Joe Casey, guitarist Greg Ahee, bassist Scott Davidson, drummer Alex Leonard – stepped into a studio together for the first time, in November 2011, they didn’t know they were about to record an album. With only four hours of studio time booked and one case of beer between them, their plan was to walk out with enough songs for a seven-inch single. Instead, at the suggestion of engineer Chris Koltay, the newly formed Detroit outfit recorded as much as they possibly could, in what little time they had. They left with 21 songs – enough material for two singles and a full-length album that, years later, is still vital listening. Sold out and out of print shortly after its original release on Urinal Cake Records in 2012, – No Passion All Technique is a sometimes messy look at one of rock’s most magnetic bands – and lyricists – just as they were coming to life. Primal, cerebral, heartbreaking, funny – it’s an accidental tour de force that’s also become an unlikely collector’s item. “My memory is shot,” Casey says, “but I appreciate now, looking back, how raw and off-the-cuff it was. There’s tons of mistakes in it and that wasn’t because we planned on it. We still can’t really admit that it’s as good as it is. You never want to say that your first is the best, but I’m happy that the first ended up not being terrible. It gave us doorway to what we’d want to do later. ” Protomartyr’s spectacular debut has previously seen only a highly limited vinyl pressing (which fetches up to $200 on Discogs), and a limited digital release on iTunes only. In spite of its elusiveness, it has acquired a passionate fanbase over the years – one who have been demanding a re-issue at every possible opportunity. Along with the original 13-song tracklist (including live staple “Jumbo’s”), the No Passion All Technique vinyl re-issue will be accompanied by 4 additional digital bonus tracks: three songs from an early 7″ which have never before enjoyed digital availability; and one entirely unreleased track, “Whatever Happened to the Saturn Boys?” Also included is a 20-page zine.

File Under: Punk
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647603405087_mainStonewall: s/t (Permanent) LP
“So you’re addicted to hard rock from 1972 and getting tired of LPs that don’t take you for the full ride. You check out tons of ’em. Stonewall? Hmmm… only the most potent and rare stuff can get you off nowadays. Kicks intense enough to remind you why you got into it in the first place. Jams you can’t wait to lay on your friends so uncontrollably alive you know it’s gonna wipe ’em out. Yeah… you really need Stonewall. It’s ritual time. Drop the needle into the groove. Side One. Stoned swaggering confidence, attitude and energy right out of the gate. Stonewall immediately take charge with ‘Right On,’ an ‘incite-the-audience, invoke-the-jams’ renegade rocker akin to ‘Are You Ready?’ by Grand Funk or ‘Combination of the Two’ by Big Brother conceptually but taken way further. I can’t say more without some sort of spoiler alert. To mess with your head, after a near cluster-fuck with the audience in the opening track comes ‘Solitude.’ After a savage encounter with ‘Bloody Mary’ the side ends with my favorite track. As soon as the guitar riff ignites ‘Outer Spaced’ you know you’re gonna get crushed. I hear people all over the world saying Stonewall is a ‘Holy Grail’. I agree. ‘Holy Grail’ status for an LP requires the most extreme and exciting combination of quality and rarity. That’s not all. It has to have mystery. It has to reek of humanity. There can be no other LP that beats it at its game. Top dog. It has to be a mindfuck capable of destroying anybody who hears it, including those who have previously only experienced the usual killer classics. Finding a copy must come as close to impossible as possible and remain that way even after everybody knows about it. As an original pressing, Stonewall fulfills all of the ‘Holy Grail’ requirements and I am jacked that a legitimate reissue finally happens some 30 odd years after it first blew me away!”—Paul Major. Edition of 500 copies.

File Under: Hard Rock
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Vampire Weekend: Father of the Bride (Sony) LP
Vampire Weekend’s highly anticipated fourth album, Father of the Bride closes a six-year gap since 2013’s Modern Vampires of the City – a period during which the band’s Ezra Koenig was anything but idle: In addition to touring the world and winning a Best Alternative Grammy for Modern Vampires…, Koenig released his Netflix anime series Neo Yokio and co-wrote and produced Beyonce’s “Hold Up”… all the while living the experiences and observations that would inform the next Vampire Weekend album. Father of the Bride’s title is something Koenig chose years back, well before recent significant developments in his life. In typical Vampire Weekend fashion, the title has multiple layers of meaning, expressing the band’s signature paradox: creating songs that easily find a home on any playlist – or car radio, TV show, film soundtrack, airport PA, etc. – but reveal their complexities upon closer listening. Produced by Koenig and Ariel Rechtshaid (Adele, Madonna, Charli XCX, Usher, HAIM, Solange), the 18-track double album comes introduced by the fresh yet familiar sounding numbers “Sunflower,” “Big Blue,” “Harmony Hall” and “2021,” and includes collaborations with Jenny Lewis, David Longstreth (Dirty Projectors), Steve Lacy (The Internet), Rostam Batmanglij (VW co-founder who left the band in 2016) and Haruomi Hosono among others. Koenig said that band will release, “three 2-song drops every month until the record is out.”

File Under: Indie Rock
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LDW04417_Wooden Shjips: Shjips in the Night (Silver Current) LP
Special edition silver foil rainbow outer sleeve with colored splattered vinyl (Regular edition (SC39LP) has gold foil outer sleeve with black vinyl). Now entering their 13th year of drone and dirge drug-boogie, the Wooden Shjips, one of the linchpins of the neo-psychedelic movement of the new millennium, continue to expand on their concept of the eternal and infinite riff, ever higher and outward, year after year. Their first official live album, Shjips In The Night: Live In San Francisco, June 8, 2018 is as much a summation of their journey so far as it is an ultra-saturated, full color snap-shot of their peak live powers at present. At once cosmic and heavy, dream-like and searing in equal measures (and often all at once), this is the capture of a single live performance, multi-tracked at Slim’s in San Francisco by Eric Bauer and Damien Rasmussen and in a unique creative twist, was mixed by the band’s friends and colleagues in underground psych rock, Heron Oblivion, who hand out the Nitrous balloons and bring their own subtle (and not so subtle) enhancement of the show’s dark but kaleidoscopic color palette to the Shjips’ universe through performance mixing and post-production effects worm-holes, all the while keeping the Shjips’ long time band chemistry and natural sonic power at the forefront of the listener’s experience. Shjips In The Night is a career-spanning set that includes performances of songs from their first EP to their latest V out last year on Thrill Jockey.

File Under: Psych

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Various: Brown Acid 8 (Riding Easy) LP
The hard stuff saga continues with Brown Acid – The Eighth Trip! Yet again, Riding Easy has searched high and low to bring ten tracks of straight blue flame fire from the golden age of heaviness. As usual, these rare tracks have been carefully curated, analogically sourced, and fully licensed so one can listen guilt-free and save a lot of time and money tracking down the original copies. This Trip comes straight at ya with an all out attack, quite literally—Attack’s “School Daze” kicks out the jams Detroit-style. White Rock will knock your stank-ass socks off with their 1972 burner “Please Don’t Run Away”. This 45 was privately released by this Houston-based band that reportedly played shows with Josefus, Stone Axe, and Purple Sun. Riverside’s two-sider from 1974 rips from front to back. It’s also exclusively available here and is virtually unknown. And that’s just some of the stellar collection of rare singles featured here. Some of the best thrills of the Internet music revolution is the ability to find extremely rare music with great ease. But even with such vast archives to draw from, quite a lot of great songs have gone undiscovered for nearly half a century—particularly in certain genres. Previously, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten wonders in dusty record bins—often hoarding them in private collections, or selling at ridiculous collector’s prices. Legendary compilations like Nuggets, Pebbles, ad nauseum, have exhausted the mines of early garage rock and proto-punk, keeping alive a large cross-section of underground ephemera. However, few have delved into and expertly archived the wealth of proto-metal, pre-stoner rock tracks collected on Brown Acid.

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

Arcade Fire: Everything Now (Sonovox) LP
Arcade Fire: Suburbs (Sonovox) LP
Beastie Boys: Check Your Head (EMI) LP
Beastie Boys: Ill Communication (EMI) LP
Beastie Boys: Licensed to Ill (EMI) LP
Bing & Ruth: No Home of the Mind (4AD) LP
David Bowie: Rise & Fall of Ziggy Stardust (RCA) LP
The Clash: s/t (Epic) LP
Alvin Curran: Canti e Vedute Del (Superior Viaduct) LP
Dead Moon: In The Graveyard (Mississippi) LP
Dead Moon: Unknown Passage (Mississippi) LP
Death Grips: No Love Deep Web (Harvest) LP
Elder: Dead Roots Stirring (Armageddon) LP
Elder: Reflections of a Floating World (Armageddon) LP
Ex Hex: It’s Real (Merge) LP
Exploding Hearts: Guitar Romantic (Dirt Nap) LP
The Fall: Dragnet (Superior Viaduct) LP
The Fall: Hex Enduction Hour (Superior Viaduct) LP
The Fall: Live at the Witch Trials (Superior Viaduct) LP
Bill Fay: Time of the Last Persecution (4 Men With Beards) LP
Funkadelic: Cosmic Slop (Westbound) LP
Funkadelic: Free Your Mind & Your Ass Will Follow (Westbound) LP
Fuzz: s/t (In The Red) LP
Tim Hecker: Virgins (Kranky) LP
Kassav’: Love & Ka Dance (Heavenly Sweetness) LP
King Gizzard & The Lizard Wizzard: Quarters (Castle Face) LP
Jenny Lewis: On the Line (Warner) LP
Mission of Burma: vs (Matador) LP
Mission of Burma: Calls, Signals & Marches (Matador) LP
Monolord: Empress Rising (Riding Easy) LP
Moondog: Story of Moondog (4 Men With Beards) LP
Nine Inch Nails: Broken (Nothing) LP
Nine Inch Nails: Pretty Hate Machine (Nothing) LP
Nirvana: MTV Unplugged (Geffen) LP
Oh Sees: Carrion Crawler (In The Red) LP
Oh Sees: Smote Reverser (Castle Face) LP
OST: Blade Runner (Eastwest) LP
Pearl Jam: Ten (Epic) LP
Jessica Pratt: s/t (Birth) LP
Pup: Morbid Stuff (Little Dipper) LP
Rolling Stones: Exile on Main Street (Universal) LP
Arthur Russell: Calling Out of Context (Audika) LP
Ty Segall: Freedom’s Goblin (Drag City) LP
Ty Segall: Manipulator (Drag City) LP
Ty Segall: Melted (Goner) LP
Joseph Shabason: Anne (Western Vinyl) LP
Silver Apples: s/t (Jackpot) LP
Sonic Youth: Sister (Goofin) LP
Spiritualized: Ladies & Gentlemen We Are Floating in Space (Plain) LP
Stars of the Lid: Tired Sounds of… (Kranky) LP
Jeff Tweedy: Warm (ADA) LP
Tim Presley’s White Fence: I Have to Feed Larry’s (Drag City) LP
Ween: Chocolate & Cheese (Plain) LP
White Stripes: Under Great White Nothern Lights (Warner) LP
Wilco: Yankee Hotel Foxtrot (Nonesuch) LP
Wooden Shjips: s/t (Holy Mountain) LP
Wooden Shjips: Vol 1 (Holy Mountain) LP
Wooden Shjips: Vol 2 (Holy Mountain) LP
X: Los Angeles (Fat Possum) LP
Zodiac: Cosmic Sounds (Rhino) LP

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…..news letter #895 – bunny day…..

Hooooboy, what a day! Our eternal thank yous to all you fine folks that came out on Saturday and partook in the RSD festivities. Another great day filled with great people, great times, great vibes, and great records. So again, thank you thank you thank you. And another big thank you to our fine friends who gave us some great swag to give away… Arturo Denim, Rosebud, Local 124, Barber Ha, Sherbrooke Liquor, Daptone Records, & Didgin’ For Rainbows. Moving on… not a LOAD of new stuff in this week, but there are a few sweet new slabs, and a few of our choiciest left overs from RSD.

Also, it’s Easter this weekend, so our hours over the weekend shall be…

Friday – 12 – 5
Saturday – 11 – 6
Sunday – Closed
Monday – 11 – 6

Oh ya… if you don’t follow us on Instagram, WHY NOT?! And now you know.

CHECK OUT OUR WEBSTORE!!! 
SUBSCRIBE TO OUR NEWS LETTER!!!!

…..pick of the week…..

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Kilchhofer Anklin: Moto Perpetuo (Marionette) LP
“For the ninth Marionette, Kilchhofer and Anklin release their collaboration record Moto Perpetuo. Michael Anklin is a drummer and percussionist based in Switzerland. He’s involved in various bands, collaborations and interdisciplinary projects. Anklin has previously appeared on a few recordings from Kilchhofer’s album The Book Room. Kilchhofer uses his main instrument — the modular synth — in a more electroacoustic manner, where he derives and processes voltages from Anklin’s playing. The album title describes the fascinating idea (yet impossible reality) of a perpetual motion — where no energy is lost yet energy is constantly being created, an endless music, yet far away from generic ambient or minimal music. Anklin’s live drumming influences delicate feedback patches on Kilchhofer’s synth, where dry and transient heavy percussion and synthesizer sounds erupt into a feral electroacoustic instrument. A fluid concept of time where the rhythmic pulse constantly shifts is at the heart of the record. The idea was to create an instrument where acoustics and electronics are interconnected and dependent on each other. The smallest disturbance could sway the entire system out of order. This idea of a circular motion was at the center of the recording process and is also reflected in the artwork which resembles a topographical view of a closed natural habitat. Kilchhofer and Anklin draw inspiration mainly from their rural surroundings and mountain landscapes where natural overtones and stumbling rhythms navigate through high plateaus and velds to stony ravines and wooden trails — on a never ending quest for an ‘ur-klang’; a primordial, ancestral music.” LP includes download code; Risograph insert.

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

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Budos Band: V (Daptone) LP
As menacing and unhinged as ever, the pride of Staten Island is back with their fifth full-length offering, V. Raw and absent of the modern technological trappings, the Budos pick up where they left off with 2014’s “Burnt Offering”, and finds the group expanding on the brooding, fuzz-fueled riffs, whilst harkening back to the Ethiopian inspired rhythms and percussive proclivity that put Budos Band on the map.

File Under: Funk
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Captain Beefheart: Trout Mask Replica (Third Man) LP
A stone cold weirdo classic that for some INSANE reason hasn’t been properly reissued until now, and as this write up says, until you’ve seen this reissue, you might as well have seen a childen’s drawing of the cover, this restoration is absolutely incredible. Trout Mask Replica is a touchstone in the history of recorded music. The mix of dada absurdist blues and previously unexplored experimental avenues has long been praised as one of the greatest albums of all time. As so eloquently put by John Peel, “If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work.” In full partnership with the Zappa Family Trust and to celebrate the relaunch of the seminal Bizarre label imprint, Third Man Records is proud to announce Captain Beefheart and the Magic Band’s Trout Mask Replica. Out of print on vinyl for nearly ten years, this remaster was helmed by industry legend Bob Ludwig and cut by the estimable Chris Bellman at Bernie Grundman Mastering. Utilizing crystalline-quality safety masters kept in the Zappa family vault for decades by the trustworthy Joe Travers, the audio here is positively glorious. Every last skronk breathes full life into the room. Every twisted guitar figure uncurls onto paths previously unpaved. Every last bark and howl shines resolute through the vast emptiness of your mind. Previous countless Trout Mask Replica repressings used scans of scans of scans of the cover image, but the original Cal Schenkel cover photo has been tracked down and reproduced here at its clearest — its resolution from the original release in 1969. If you’ve only ever seen a jpg online or fuzzy, smeared-looking CD issues from the 90’s, be prepared to be wowed by the fully engaging spectrum this iconic image casts. This 2xLP is pressed on heavyweight 180-gram black vinyl for that full-on frenetic feeling.

File Under: Rock, Blues, Outsider
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Alex Zhang Hungtai: August at Akiko’s (Factory 25) LP
Hungtai has captivated us since he emerged from Montreal’s burgeoning music scene at the early 2010’s as Dirty Beaches, and his movements since have taken turns that have been both unexpected and entirely in keeping with his unique aesthetic approach, pushing ever further into the rawly expressive style that has earned him cult-like status over the course of the past decade. August At Akiko’s is in some respects his most unvarnished and personal work to date – infused with location recordings made in Hawaii, the music reflects the serene, introspective ambience of the film itself. Opening with the short, naked field recording of ‘Temple Bell’, and resolving with the harmonious glow and dissonant shards of keys in ‘Ocean Boy’, the soundtrack is dominated by two contrasting tracts featuring Hungtai on his favoured sax. The first, ‘Sky Burial’ is a starkly brooding piece opening with a menacing rumble and clatter of ceremonial Buddhist music where he joins in, tentatively at first, but growing into a ripping display of wounded beast bleats and whirling shreds as febrile and roving as the background drums. In sharp contrast, the flipside is free of drums, leaving Hungtai blowing beautifully blue whims to himself. Unadorned and as vulnerable as could be, the side ends with a meditative solo piano piece which acts as a perfect distillation of the stillness and inner peace the film manages to capture so well, living in the seams between dreams, reality, and memory, with a temporality all of its own.  Stunning.

File Under: Jazz, OST, Experimental
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Basil Kirchin: Worlds Within Worlds (Trunk) LP
This is in all seriousness, the biggest, bestest RSD release ever… maybe just reissue to come out ever! Major holy grail here for me. Needless to say I freaked out when I saw it on the list, HOWEVER, this record is not for everyone, it’s a pretty wild ride. But, if you like a little adventure in your listening, then maybe you should give it a whirl…. Worlds Within Worlds: Part I And II is one of the most important experimental and improvised jazz-based recordings of all time. Released in 1971 it sold just a handful of copies, but has become a keystone in the development of ambient sounds; originals now fetch £1000+. This is the first time this exceptional, unique, and highly desirable record has been repressed. Originally conceived whilst walking round the docklands in Hull, Basil Kirchin felt that the futuristic music he had often imagined could actually be made. Only in 1969 and with the help of an arts grant could he afford the vital equipment he needed: a Nagra tape machine and Sennheiser directional microphone. Armed with these tools he set about recording landscapes, people, places, machines, animals, birds, bees, the zoo, and the autistic children from Schurmatt in Switzerland. He then took these recordings, edited them and then began the process of slowing them down to reveal the “little boulders of sound” hidden deep within the recordings. Kirchin built up layers of noise, symphonies of slowness, and then encouraged his jazz associates including Derek Bailey and Evan Parker to improvise along. The result was WWW, and nothing quite like it had been made or heard before. Today it offers listeners a mesmerizing sonic experience that remains years ahead of its time. This first ever repress features a new gatefold sleeve (Kirchin hated the original sleeve), with images of Kirchin, his original field recording tapes, and notes by WWW fan Thurston Moore (Sonic Youth). Edition of 1500 with 300 on gold vinyl; the LPs will be mixed randomly — there will be no way of telling which color is which as all LPs will be sealed. Personnel: Basil Kirchin, Evan Parker, Derek Bailey, Claire Deniz, Graham Lyons, Daryl Runswick, Frank Ricotti. The perfect RSD release.

File Under: Jazz, Avant Garde, Experimental
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Kevin Morby: Oh My God (Dead Oceans) LP
With his four acclaimed solo albums and myriad records of various collaboration, Kevin Morby has become a true musical auteur. Each record possesses its own unique persona and explores intriguing themes and fertile terrain through shifting, focused textures and dexterous, dedicated skill. And now, with the lavish, resplendent, career-best double LP Oh My God, Morby delivers a grandiose director’s cut of his biggest statement to date, epic in scope as well as sound. Throughout his past work, Morby has noticed the ubiquity of an apparent religious theme. Though not identifying as “religious” in the slightest, Morby recognizes in himself a somewhat spiritual being with a secular attitude towards the soulful. And so, in an effort to tackle that notion head-on and once-and-for-all, he wrote what would become his first true concept-album. If Singing Saw was Morby’s LA record, and City Music was his ode to New York City, then Oh My God lives in the sky, above the weather, both nowhere and everywhere at once. “This one feels full circle, my most realized record yet,” he says. “It’s a cohesive piece; all the songs fit under the umbrella of this religious theme. I was able to write and record the album I wanted to make. It’s one of those marks of a life: this is why I slept on floors for seven years. I’ve now gotten the keys to my own little kingdom, and I’m devoting so much of my life to music that I just want to keep it interesting. At the end of the day, the only thing I don’t want is to be bored. If someone wants to get in my face about writing a non-religious religious record? Thank god. That’s all I gotta say.”

File Under: Indie Rock
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Murlocs: Manic Candid Episode (ATO) LP
The Murlocs are led by King Gizzard and the Lizard Wizards‘ Ambrose Kenny-Smith and feature Gizz’s lead guitar player Cook Craig. Their new album Manic Candid Episode was recorded at Melbourne’s Newmarket studios and was produced by Stu Mackenzie (King Gizzard) and mixed by NYC musician Jarvis Taveniere (Real Estate, Woods, Parquet Courts). Formed in late 2010, the five members of The Murlocs play their own blown-out, distorted brand of soulful R&B. Their up-tempo snare cracks and noisy guitars, accompanied by Ambrose’s warm vocals have been described as a mesmerizing, demented dance party.

File Under: Garage Rock
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Shovels & Rope: By Blood (Dualtone) LP
Known for their honest, literate, and narrative-driven songwriting, acclaimed husband and wife duo Cary Ann Hearst and Michael Trent (aka Shovels & Rope) inject raw and fiercely passionate emotion into the 10 tracks on their new album By Blood. It opens with the pulsating mantra of “I’m Comin’ Out,” a song with multiple subtexts ranging from the obvious, to a baby about to emerge, to showing up for the revolution with “the taste of blood in my mouth.” The “blood” referred to in the poignant title track is a message to their young daughter about the unbreakable union of family. As storytellers, Shovels & Rope create cinematic vignettes built around flawed characters who strive for greatness but are often overtaken by their shortcomings. Tracks such as the new wave-infused “The Wire” and the enduring epic “Carry Me Home” exude the vulnerability and fragility that comes with love. The duo puts their twist on the modern murder ballad in “Pretty Polly,” while an inspiring message of hope, strength, and acceptance is at the heart of the tale in “C’mon Utah.” As with their previous work, By Blood was produced by Trent and recorded at their in-home studio, recently upgraded to a new structure in their backyard. Outside of fiddle on one track (“Hammer”) and horns on another (“Twisted Sisters”), all instruments and vocals were performed by Hearst & Trent.

File Under: Folk, Country, Rock
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Sunn o))): Life Metal (Southern Lord) LP
Sunn O))) is pleased to collaborate with Record Store Day to release Life Metal for the first time on vinyl on April 13th via USA/UK/EU indie retail. Life Metal, their first studio album in four years, will be supported by SUNN O)))‘s first US tour since 2017 and the premier US tour of their 2019-2020 season, including stops at The Masonic Lodge in Detroit, Howard Theatre in Washington, DC, Agora Theatre in Cleveland, Ohio, Rockefeller Chapel in Chicago, Illinois (by demand second show added), The Caves in Pelham, Tennessee, and Brooklyn Steel in Brooklyn, New York. Dates and details can be found below, with more info to come soon. SUNN O))) has also revealed two very special listening events in London and Paris in the lead up to the release. These are free, open to the public and available on a first come, first serve RSVP basis. “With great pleasure we present a few special public deep-listening sessions of our forthcoming album Life Metal. Our wish and intention are to offer the astounding presence, detail and color of this recording on great PA systems in a public situation as an introduction. Part of the joy of producing and mastering this album in the studio was that we were fortunate to be able to listen on the perfect high-fidelity playback situations for the record, top precise studio sound guided by the best ears in the business. With these public listening sessions, we hope to get a step closer to that experience of being inside the studio for you all at these special events, a few weeks before the album is unleashed upon the world.” – Stephen O’Malley & Greg Anderson / SUNN O)))

File Under: Metal, Ambient, Drone, Doom

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Orville Peck: Pony (Royal Mountain) LP
Combining the lulling ambience of shoegaze with the iconic melodies and vocal prowess of classic American country music, enigmatic outlaw cowboy – Orville Peck, croons love and loss from the badlands of North America. The resulting sound is one completely his own, taking the listener down dusty rose-colored desert highways, through a world where worn out gamblers, aloof road-dogs and lovesick hustlers drift in and out of his masked gaze. Orville’s debut album, Pony, delivers a diverse collection of stories that sing of heartbreak, revenge and the unrelenting tug of the cowboy ethos. Warm lap steel guitars and echoing drums move through dreamy ballads, campfire lullabies and sometimes frantic buzzsaw tunes, all the while paying homage to his country music roots. Single-pocket jacket with poster insert and download coupon.

File Under: Country, Indie Rock
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Yawpers: Human Question (Bloodshot) LP
The Yawpers are the sheep in wolf’s clothing. Through their first three albums, the group divined a signature style-what Pitchfork described as “an expansive vision of rock ‘n’ roll, one that cherrypicks from various folk traditions: punk, rockabilly, blues, whatever they might have on hand or find in the trash.” The sound is a front-heavy, groovy, fire & brimstone punk-blues overlying a dynamic and metaphysical roots rock. On their fourth album Human Question, the Denver trio zooms out to a more vast and accessible stylistic and spiritual universe. The 38-minute thrill ride generates growth and cathartic self-reflection for audience and performer alike. If there was justice in this world, the Yawpers would be the savior that rock and roll didn’t know it was waiting for.

File Under: Rock
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…..Restocks…. 

Arcade Fire: Everything Now (Sony) LP
Courtney Barnett: Double EP (Mom+Pop) LP
Courtney Barnett: Sometimes I Sit And Think (Mom+Pop) LP
Courtney Barnett: Tell Me How You Really Feel (Mom+Pop) LP
Budos Band: s/t (Daptone) LP
Budos Band: 3 (Daptone) LP
Cochemea: All My Relations (Daptone) LP
Dylan & The Band: Before the Flood (Columbia) LP
Bob Dylan: Blonde on Blonde (Columbia) LP
Earth: Bees Made Honey (Southern Lord) LP
Michael Garrick: Prelude to Heart is a Lotus (Gearbox) LP
Jaylib: Champion Sound (Stones Throw) LP
Sharon Jones: Dip-Dappin’ (Daptone) LP
Madvillain: s/t (Stones Throw) LP
Olympians: s/t (Daptone) LP
Pink Floyd: Dark Side of the Moon (Pink Floyd) LP
Rage Against The Machine: s/t (Legacy) LP
Thundercat: Drunk (Brainfeeder) Box
Kamasi Washington: The Epic (Brainfeeder) Box

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