Tag Archives: record store day

…..news letter #789 – rsd…..

 

Alright! Here we go! Weeks of ordering and receiving and plotting and in about 24 hours, all hell is gonna break loose around here. Tonight we’re gonna close up early and completely strip the walls and replace everything will all them glorious RSD exclusives.

AND just in case you don’t get what you wanted, or maybe you don’t want any of the exclusives, all the other records in the shop will be 20% off as well as gear and other accessories.

AND if that isn’t enough we’ll be giving away all kinds of swag through out the day.

AND if that isn’t enough, our pals from Elm Cafe will be here giving all you early birds free coffee.

AND our pal Nadir is coming down to play some music for y’all around 3:30 pm.

AND IF THAT ISN’T ENOUGH SOMEONE IS GOING TO WIN A $500 REGA QUEEN TURNTABLE JUST FOR SHOPPING HERE ON SATURDAY! 

AND if you don’t win the turntable you could still win one of two boards from Local 124.

OR if you don’t win a skateboard you could win one of three coffee prize packages from Elm Cafe.

OR you could win a double guest pass to see the Descendents.

Not so fine print… We will be opening at an hour early, 10am. However,  people do start lining up well before that. We do try process this all as fast as possible, but it will likely be crisp out in the morning. Plan to spend a good while outside in line, and dress accordingly. Some exclusive releases are extremely limited, and we have very few copies. Others, not so much. Exclusives are first come, first served and one per customer.

Also, we’ll be launching some new Listen swag on Saturday…

…..top RSD picks…..

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Various: Function Underground: The Black & Brown American Rock Sound 1969-1974 (Now Again) LP
“14 tracks by Jimi Macon, Black Maffia, Blacklites and more, many reissued for the first time. Includes a 16 page booklet with extensive notes on an overlooked and important portion of rock n’ roll’s history & a download card to WAV files of the full album. Nearly everyone in the world can rattle off the great African-American musical forms. Jazz, blues, R&B, soul, hip-hop, house, gospel. One influential genre is always left off of the list: a folk music known as rock n’ roll. Rock n’ roll was a term originally coined to market the white-friendly version of a genre that already existed; prior to 1965, the line between rock n’ roll and R&B was thin: Ike Turner recorded and released ‘Rocket ’88’ ‘ in 1951 and, while its Chess Records release reached number one on the Billboard R&B chart, it is regarded by many as the first rock n’ roll record. The Great Divide between R&B and rock n’ roll came after the Beatles and the British Invasion decimated the Top 40 chart in 1964. Simultaneously, R&B entered a new phase, soon to be labeled ‘soul,’ which upped the music’s gospel quotient and turned its frantic twang. So somewhere in the mid to late-1960s, rock n’ roll became perceived as something for the Caucasian kids. When Jimi Hendrix and Arthur Lee made the scene, they were said to be black musicians entering into a white world. While that couldn’t be farther from the truth, that false dichotomy has existed in America’s popular conscious ever since, to the point where the idea of a black rock musician is on the level with the idea of a black cowboy. In the mid-1960s, funk replaced soul as the rhythm that was going to move the world. We know all its progenitor – James Brown, The Meters, Kool & The Gang – and their innovations: the syncopated, 4/4 dance between the bass and drums, horns repurposed as percussion, chicken-scratch and wah-wah guitar. We can trace where they came from. But there is one crucial funk influence that no one seems to want to acknowledge — a devil-may-care attitude we can attribute to rock n’ roll. It’s not a stretch to say that funk is the African-American answer to psychedelia and hard rock rolled into one. The idea of ‘progressivism’ that took over rock music after psychedelia’s heyday in the late 1960s belatedly spilled over to funk. In the early 1970s, as the underground/psychedelic fire burnt out in the white rock world, it roared to a blaze in the black musical community. Nearly every American city with a large black population boasted self-contained funk bands that didn’t consider themselves simply revues or backup groups, but rather fully-operational ensembles in these bands, everything from composing, arranging, record production and distribution, was handled in house by band members. These are the bands whose music comprises this anthology, and while they’re all different, they’re unique in one way: they kept their ears open for new developments in funk and rock music. This anthology presents earnest questions as to why we know so little about these bands and the movement of which they were a part. While we don’t anticipate that we’ll ever find a definitive answer as to what these ensembles’ true goals were, then, we do know that they took their charges seriously. And they knew they were onto something different, something that, though only they and their immediate kin might recognize it, was more interesting than the status quo. Function Underground shines light on an important and overlooked part of rock n’ roll’s history and talented ensembles that toiled in the shadows, derided by their peers ‘Do you realize that Hendrix was dead before most black people in America knew he was a black man?’ Ebony Rhythm Band drummer Matthew Watson questions rhetorically. ‘We was scorned. In that era, everybody else in the black community was wearing three-piece suits, processes and Afro wigs and that shit. We was the first guys to wear bell bottoms. The first guys to wear big hats. We were off into a whole other thing.’ “

File Under: Funk

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Moondog: s/t (Sony Legacy) LP
He was born Louis Hardin, but the world knew him as Moondog—and his avant-garde compositions influenced a generation of minimalist composers like Philip Glass and Steve Reich. Now, Moondog, The Viking of 6th Avenue’s seminal 1969 album recorded with producer James William Guercio, will be reissued on white vinyl, its first pressing in over a decade. Featuring original symphonic and classically-inspired works (including material dedicated to Charlie Parker and Benny Goodman), Moondog is an album that must be heard to be believed.

File Under: Experimental, Avant-Garde

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Various: Psychic Migrations (Cinewax) LP
For Record Store Day 2017, Cinewax is teaming up with influential California-based board sports and lifestyle brand Volcom to release the original soundtrack to their 2015 surf film Psychic Migrations. Directed by multifaceted surf filmmaker Ryan Thomas, Psychic Migrations was shot on Super 16-mm film & Red Digital Cinema in the West Indies, East Indies, Australia, Polynesia, and the Americas. The global scope of the film is complimented by an international cast of surfers, including Yago Dora, Ryan Burch, Ozzie Wright, Dusty Payne, Mitch Coleborn, and Kelly Slater, among others. To match the cinematic poetry of this psychedelic surf journey, a suitable soundtrack was necessary: proto-New Age piano music by Gurdjieff / de Hartmann, drone jams from Bitchin Bajas and Al Lover, and garage-psych from Thee Oh Sees, Cave and White Fence. An artistic synthesis of eclectic music, pulsating surf action, and mesmerizing scenery, this highly acclaimed film builds on and advances the rich history of surf flicks. The package is completed with a deluxe gatefold jacket, housing double pink vinyl and a digital download card for both the film and soundtrack. Limited to 1,000 copies worldwide.

File Under: Psych, Garage

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Various: Nuggets – Come to the Sunshine (Rhino) LP
Originally released as a 2004 compilation by Rhino Handmade, one of two new compilations using the Nuggets name. The title comes from the first track, “Come To The Sunshine” performed by Harpers Bizarre. This orange/yellow marble double vinyl set follows the Record Store Day 2016 release Hallucinations: Psychedelic Pop Nuggets from the WEA Vaults. (Limited worldwide release of 3500.) SOFT LIKE A KITTEN. DEAL.

File Under: Soft Rock, Pop

popol vuh.jpgPopol Vuh: Cobra Verde (One Way Static) LP
One Way Static Records presents exclusively for Record Store Day 2017: COBRA VERDE (Original 1987 Motion Picture Soundtrack composed by POPOL VUH). Born as Florian Fricke’s brainchild, Popol Vuh needs little introduction, the band stayed active between the late 1960s & late 1990s (until Florian’s passing in 2001). Regarded as pioneers in avant-garde German electronic music, their early works practically laid down the foundations for Kosmische Muzik (Space Music) with the then new sounds of the Moog synthesizer joined with ethnic percussions. Later the group evolved to include all kinds of instruments (both electric and acoustic alike) shrouding their music in a spiritual & introspective mystical aura. Popol Vuh influenced many other European bands with their uniquely soft but elaborate instrumentation, which took inspiration from the music of Tibet, Africa and pre-Columbian America. With music sometimes described as “ethereal”, they created soundscapes through psychedelic walls of sound, and are regarded as precursors of contemporary ‘world music’, as well as of ‘new age’ and ‘ambient’. The band regularly contributed soundtracks to the films of Werner Herzog that include classics like Aguirre, Nosferatu, Heart Of Glass & of course Cobra Verde. Cobra Verde (featuring Klaus Kinski) was the final collaboration between Popol Vuh & director Werner Herzog. Originally released in 1987, this is the first time the soundtrack gets a vinyl release outside of Europe. Regal chants accompanied by hand drums, guitars, piano and clavier in a sacred manner are alternated with synthesizer themes that have a tense/dramatic & haunting effect. African ceremonial music and the Choir of the Bavarian State Opera corner this as a landmark meditative & ambient piece of cosmic music. Out of print since 1987, now back available as a gorgeously packaged deluxe vinyl edition, exclusively for Record Store Day 2017. Strictly limited to 1000 copies on green vinyl & comes with insert and extensive liner notes. A necessary purchase for both Popol Vuh fans and Herzog collectors.

File Under: Kosmische, OST

…..RSD Exclusives…..

At this point almost all of this has shown up, some is due tomorrow, there may be some surprises, but this should all be here….

Against Me!: Stabitha Christie 7″
Air: Le Soleil Est Pres De 12″
Alexisonfire: Crisis LP
Alice In Chains: What The Hell Have I 7″
Alien Sex Fiend: Edit/Overdose LP
Andre 3000: All Together Now 7″
Animal Collective: Meeting of the Waters 12″
Atomic Bomb Band: Plays the Music of William Onyeabor LP
Band of Pain/Nurse with Wound: Abbey Rd LP
Banks & Steelz: Wild Season 7″
Ben Folds: Live in Perth LP
Bevis Frond: Triptych LP
Big L: Devil’s Son 12″
Big Star: Complete Third Vol 3 LP+Box
Blitzen Trapper: Unreleased Recordings Vol.1 12”
Blonde Redhead: 3 O’Clock LP
Blowfly: Forever Fly LP
Bonnie “Prince” Billy & Nathan Salsburg: Beargrass Song 7”
David Bowie: Bowpromo Box
David Bowie: Cracked Actor LP
David Bowie: No Plan LP
Brian Jonestown Massacre: Pol Pot’s Pleasure Penthouse LP
Brother Ali: Undisputed Truth LP
Danny Brown: Ain’t It Funny 10”
Harriet Brown: Contact LP
R.L. Burnside: Long Distance Call LP
Alex Calder/Homeshake: Nankhatai / Stuck Inside 7”
Camera/Pinhas: RSD 12″
Tristram Cary: Quatermass & the Pit (Electronic Cues) 10″
Tristram Cary Quatermass & the Pit OST LP
Johnny Cash: Children’s Album LP
Cat Party: s/t LP
Archie James Cavanaugh: Black and White Raven LP
Vic Chesnutt: West of Rome LP
Cinematic Orchestra: Ma Fleur LP
Claypool Lennon Delirium: Lime and Limpid Green LP
Cleaners from Venus: Best Of… LP
Coheed & Cambria: Good Apollo I’m Burning Star IV LP
Jerry Cole: Astro-Sounds From Beyond the Year 2000 LP
Colleen: Golden Morning Breaks LP
Colleen: Les Ondes Silencieuses LP
Colleen et les Boites: s/t LP
Inna Baba Coulibaly w/ Ali Farkar Toure: Sahel 10″
Crushed Butler: Uncrushed: British Punk from 1969-1971 LP
Curanderos (Bardo Pond): S/T LP
The Cure: Acoustic Hits LP
The Cure: Greatest Hits LP
Miley Cyrus: Bangerz LP
Czarface: First Weapon Drawn LP
Dave Matthews Band: Live at Red Rocks 8.15.9 Box
Deee-Lite: Groove is in the Heart 12″
Thomas De Hartmann: The Music of Gurdjieff 5LP Box
Dillinger Escape Plan: Instrumentalist 7″
Klaus Dinger & Prejapandorf: 2000! LP
Distillers: Coral Fang LP
Doors: Live at the Matrix LP
Steve Earle: Live 7″
Easybeats: Vigil LP
El Nino & The Southern Oscillators: s/t 10″
Faust/Ulan Bator: RSD 12″
Flamin’ Groovies/Dylan Gardner: Side By Side 7″
Flaming Lips: Onboard the ISS Concert for Peace LP
Flower Travellin’ Band: Anywhere LP
Blaze Foley: Sittin’ By the Road LP
Follakzoid w/J. Spaceman: London Sessions LP
Goat: Goatfuzz 7″
Goblin: Notturno LP
Gold Panda: Kingdom 12”
Dexter Gordon: Walk the Blues LP
Grateful Dead: P.N.E. Garden LP
Emmylou Harris: Queen of the Silver Dollar 5LP
Hawkwind: Best of United Artists LP
Hawklords: Live 1978 LP
Head & The Heart: Stinson Beach LP
Heads: Relaxing with LP
Heldon/Pinhas/Schizo: Singles Collection LP
Iron & Wine: Archive Series Vol No.3 12”
Jason Isbell: Live from Welcome to 1979 LP
Jane’s Addiction: Been Caught Stealin’ 12″
Robert Johnson: Centennial Collection LP
Glenn Jones & Matthew Azevedo: Waterworks LP
Sharon Jones: Heaven Bound 7″
Kinks: Got Love If You Need 7″
Kinks: All Day 7″
Kylesa: Live At Maida Vale Studio 10″
Hamilton Leithauser + Rostam: Live at KCRW Morning Becomes Eclectic LP
Lhasa: La Llorona LP
Lumineers: Song Seeds 10”
Luna: Penthouse LP
Madrigal: S/T LP
Marcy Playground: S/T LP
Marajita: This is Marajita LP
Mayer Hawthorne: Party of One LP
Metavari: Metropolis Re-OST LP
Meters: A Message from The Meters LP
Meredith Monk: Key LP
Moondog: s/t LP
Kevin Morby: Beautiful Strangers 7”
Beny More: El Barbaro Del Ritmo LP
Motorhead: Clean Your Clock LP
NBRQ: High Noon LP
Nico & the Fraction: Fata Morgana LP
Stevie Nicks: Rarities LP
Harry Nillson: Nilsson Schmilsson LP
Noise Addicts: 10,000 Kids LP
Notorious B.I.G: Born Again LP
Old 97’s: Off My Mynd EP 12”
Oneida: Live at Secret Project LP
OST: Abdullah LP
OST: Dark Crystal LP
OST: Don LP
Emmanuelle Parrenin: Maison Rose LP
Emmanuelle Parrenin: Perelandra LP
Dolly Parton: Puppy Love 7”
Pearl Jam: State of Love & Trust 7″
Penguin Cafe & Cornelius: Umbrella EP 12”
Art Pepper: Quintet LP
Pin Group: Ambivalence 7″
Pin Group: Coat 7″
Pink Floyd: Interstellar Overdrive LP
Iggy Pop Post Depression: Live From Albert Hall Box Set LP
Popol Vuh: Cobra Verde OST LP
Roberto Pregadio: Kriminal OST LP
Roberto Pregadio: Satanik OST LP
Prince: Batdance 12″
Prince: I Could Never… 12″
Prince: I Wish U Heaven 12″
Prince: Partyman 12″
Prince: Pop Life 12″
Prince: Sign o the Times 12″
Psychic TV: Fishscales Falling LP
Ramones: Singles Box 7″ Box
Red Hot Chili Peppers: Go Robot 12″
Lou Reed: Perfect Night LP
Ike Reiko: You, Baby LP
John Renbourn & Wizz Jones: Joint Control LP
Jody Reynolds: Devil Girls With Raven Hair LP
Malvina Reynolds: Little Boxes and Magic Pennies LP
Rockabye Baby!: Lullaby Renditions of the Doors LP
Run The Jewels Tote Bag+Pins
Sand: Golem LP
Sara & Tegan: Under Feet Like Ours LP
Lalo Schifrin: My Life in Movies LP
Sex Pistols: Singles Box 7″ Box
Sia: Spotify Sessions LP
Sinn Sisamouth & Ros Serey Sothea: Navy A Go Go 7″
Sloths: Makin’ Love 7″
Patti Smith: Hey Joe 7″
The Smiths: Boy With the Thorn in His Side 7″
Soul Assassins: Muggs Presents LP
Spacemen 3: For All the Fucked Up Children LP
Spacemen 3: Playing with Fire LP
Spacemen 3: Recurring LP
Spoon: Hot Thoughts 12″
Bruce Springsteen: Hammersmith Odeon, London 75 4LP
Star Wars: New Hope OST 10”
Sun Ra: Janus LP
Superchunk: Cup of Sand LP
Super Furry Animals: Fuzzy Logic LP
Suuns: Hold/Still Remixes 12”
Sword: Low Country 12”
Tegan & Sara/Regrettes: Side By Side 7″
Temples/Kadhja Bonet: Fortune 7″
The Time: What Time is it? LP
U-Roy: Dread in a Babylon LP
U.K. Subs: Live n Loud 89 LP
Vangelis: Blade Runner LP
Vanishing Twin: Dream By Numbers 10″
Venom: At War with Satan LP
Arthur Verocai: s/t LP
Vitamin String Quartet: Performs Kanye West LP
War on Drugs: Thinking of a Place 12″
Dennis Wilson: Bambu LP
Wipers: Better Off Dead 7”
Link Wray: Be What You Want To LP
Link Wray: Beans and Fatback LP
Neil Young: Decade LP
Zombies: A Rose for Emily – Cello Version 7”
Various: Ciao! Manhattan OST LP
Various: Close to the Noise Floor LP
Various: Function Underground: The Black & Brown American Rock LP
Various: Giant Single LP
Various: Girls in the Garage: Groovy Gallic Gals Vol.10 LP
Various: Girls in the Garage: Oriental Special Vol.9 LP
Various: Guitars of the Golden Triangle LP
Various: Insane Times LP
Various: Let the Children Techno LP
Various: Like Nashville In Naija: Nigeria’s Romance With Country LP
Various: Lost in Space LP
Various: Magic Cube 10″
Various: Max Kansas City 1976 & Beyond LP
Various: Mighty R&B Instrumentals LP
Various: Nuggets: Come to the Sunshine LP
Various: Nigeria Soul Power 70 7” Box Set
Various: Pineapple Express OST LP
Various: Psychic Migrations OST LP
Various: Really Rock Em Right: Sun Records LP
Various: Rough Guide to Gospel Blues LP
Various: Rough Guide to Blues Women LP
Various: Rough Guide to Cuban Rare Groove LP
Various: Soho Scene ’61 LP
Various: Soul 70 7″ Box Set
Various: Soul Slabs Vol.1 LP
Various: Soul Transfusion LP
Various: Southwest Side Story Vol 19 LP
Various: Space Jam OST LP
Various: Studio One Hi-Fi Special 7″ Box
Various: We’re Gonna Have A Party! LP

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…..news letter #788 – eggs not rsd…..

Obviously, not a lot of new releases a week before Record Store Day, but there’s a few things in. If you don’t like waiting in lines, I recommend coming in over the Easter weekend this weekend and scooping the crowds on all the recent new releases. Speaking of Easter….

Friday April 14 – Noon – 5
Saturday April 15 – 11 – 6
Sunday April 16 – CLOSED
Monday April 17th – 11 – 6

Also, a couple of real nice chaps who also happen to work here are playing a show and releasing some new tunes on May 27th at our friend’s barber shop. So, if you’d like to see Slates, Switches, and Rhythm of Cruelty at Barber Ha, you’re gonna need a ticket, and we’ve got em. $15, cash only. Get em while you can.

…..pick of the week…..

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SATURDAY, APRIL 22nd is RECORD STORE DAY!
Needless to say we are busy, busy and BUSY getting things ready for next Saturday. Exclusive releases are starting to show up, other things are en route. Some things haven’t even shipped. Stress levels are rising. Typical RSD. Anywho.. you know the drill by now right? Come down early. Dress warm. Be prepared to wait in line. Etc. We are looking forward to seeing you that day!

Oh, and did I forget to mention, as with every Record Store Day, we’ll be running a draw to give away a REGA Queen Turntable! And if you don’t win that, you could win one of our other prize packages from our pals up the road at Local 124, or Elm Cafe (who also will be providing coffee for the early birds).

File Under: RSD, Parties

…..new arrivals…..

anjou

Anjou: Epithymia (Kranky) LP
Ambient power duo Anjou’s sophomore statement continues in the vein of their 2014 debut, unfurling a full hour of mesmeric synthetic drift and veiled melodic undertow. Comprised of Mark Nelson (of pioneering post-rock experimentalists Labradford and Pan·American) and Robert Donne (of Labradford, Aix Em Klemm, Cristal), the group works largely in long-form suites of sound, alternately spacious and dense. Epithymia’s six pieces embrace flux and ambiguity: drones swell and shudder, hushed currents of noise glitch and dissolve, atmospheres congeal and liquify. As with the participants’ prior projects, Anjou evokes a shadowed, mysterious mood, variously melancholy and transcendent. The album is an accumulation of craftsmanship and experience, blurred forms traced in light and fog.

File Under: Electronic, Ambient
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arca

Arca: s/t (XL) LP
Arca’s self-titled record is the first to feature the Venezuela-born, London-based producer’s untreated singing voice. He sings in Spanish – the language of his childhood home, Caracus. It stands as a defiant, delicate statement of intent, and cements his position as one of this turbulent decade’s defining musicians. Previous work has incorporated snatches of song and Arca’s rapping, but on Arca, his voice is front-and-centre on eight of the album’s 13 tracks. Frequently, he has used his first-takes, untreated and without post-production: clicks of saliva and burrs of the throat carry melodies of staggering richness and delicacy. His masterful production knits together vocal tracks like “Sin Rumbo” and first single “Anoche” with instrumentals like “Whip” and “Urchin”, each as extreme as the other. Across the album, the tectonics of pure digital sound, his own piano playing and voice combine, weaving the album together like folds of skin, or wounds healing post-trauma. Arca has made some of most brazenly forward-thinking music of recent years, both on his previous solo albums Xen (2014) and Mutant (2015), and in collaboration with fellow futurists Björk (Vulnicura), Kanye West (Yeezus), and fashion collective Hood By Air.

File Under: Electronic, Abstract, Experimental
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Joey-Badass-All-Amerikkkan-Badass-album-cover-art1

Joey Bada$$: All Amerikkkan Bada$$ (Cinematic) LP
Joey Bada$$ is an American, independent hip-hop recording artist, who hails from Brooklyn, New York. With his rugged style, an invigorating outcome of his Brooklyn neighborhood and surroundings, Joey has been a staple in the hip-hop industry for maintaining an authentic, unique and versatile sound. Whereas other rappers may take less risks with formulaic projects, Joey never shies away from keeping his music raw and original. All-Amerikkkan Bada$$ is the politically minded sophomore full-length from Joey Bada$$ and follow-up to 2015’s B4.Da.$$. The project features such high profile guest artists as J. Cole, ScHoolboy Q, Styles P, Chronixx, Flatbush Zombies’ Meechy Darko, and Pro Era crewmates Kirk Knight and Nyck Caution. The album is ushered in by the powerful single “Land of the Free” and its stirring music video.

File Under: Hip Hop
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mars

Nick Cave & Warren Ellis: Mars OST (Milan) LP
National Geographic Channel and Milan Records partner with artists/composers Nick Cave and Warren Ellis to deliver a cosmic title song and score for the original soundtrack of MARS, the network’s six-part global event series that predicts an international crew of astronauts’ critical, maiden mission to Mars. Directed by Everardo Gout (Days of Grace), who formerly collaborated with Cave and Ellis; executive produced by Brian Grazer and Ron Howard; and starring an ensemble cast, MARS tells the story of mankind’s first successful mission to Mars, human colonization and the precarious purpose of becoming an interplanetary series. Cave and Ellis deliver a pitch-perfect score to complement the thrilling yet daunting mission to a desolate alien planet in which the human species struggle to survive, thrive and forge an existence in this new world. “When I first started on MARS, I knew I wanted to make a series about people, not about machinery,” says Gout. “I wanted to create Das Boot in space and understand the emotional journey of the astronauts on this Martian mission. Having worked with Nick and Warren before, I immediately thought they would be perfect for this project. They bring such a visceral human quality to their scores, a sound so delicate and yet so powerful What does Mars sounds like? This was a challenge both in substance and form. We needed to create the musical universe with Mars as a veritable protagonist in our story. Equally, the sound of MARS not only had to underscore a futuristic grounded drama but an intelligent factual, scientific documentary, as well.” To coincide with the home release of the television series, the MARS soundtrack is getting the vinyl treatment. The soundtrack is pressed on rust red colored 180g vinyl so that the music disc itself appears like the eponymous planet. The LP is housed in a euro sleeve along with a download card for a digital version of the album. A high quality dress jacket completes the package.

File Under: OST, Bad Seeds
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darkDark: Anonymous Days (Void) LP
For the first time on vinyl, the killer second offering by UK Psych monsters Dark! Anonymous Days is the second studio album from Dark recorded 23 years after the first, the famous and highly collectible (and stone cold psychedelic classic) Round the Edges LP. The band’s line-up remains the same— Steve Giles, Ron Johnson, Martin Weaver and Clive Thorneycroft. Anonymous Days contains songs written between 1974 and 1995 and is the album that Dark always wanted to make, combining the Dark progressive rock style with more modern recording techniques. “The first album was recorded in about 24 hours, this one took an awful lot longer: that’s modern studios for you. The tracks are pure Dark combining complicated twin harmony guitar work with thought provoking lyrics and wide ranging musical structures. We thoroughly enjoyed getting back together again to write and rehearse after all those years, we even played a live gig in our home town of Northampton. At the start of the project Ron’s bass guitar was taken from the dust in his loft where it had lain undisturbed for over twenty years. After the album was finished he put it back in exactly the same place; ready for the next one?” —Martin Weaver, Northampton, England. June 2001.Anonymous Days was recorded between 1994-1996 at Outrider Studios Northampton, all tracks were composed between 1974-1995. Many of the songs were written in the wayback, some of them more recent but all Dark! This will sell out fast. 500x copies on black vinyl, with insert.

File Under: Psych
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ooh baby

Willie Mitchell: Ooh Baby, You Turn Me On (Fat Possum) LP
A prominent bandleader, hit instrumental recording artist and prolific producer, Willie Mitchell is credited with creating the now legendary “Hi Sound,” its legacy of hit records, and discovering and directing the creative careers of Hi’s incredible artist roster which included Al Green, Ann Peebles, Otis Clay and Syl Johnson. Mitchell’s mix of jazz sophistication and down-home Southern blues – not to mention his ambition and work ethic – set him apart, and he and his streamlined, stripped-down big band were in demand by black and white audiences alike. 1967’s Ooh Baby, You Turn Me On (retitled Soul Serenade in 1968) is another consummate slab from Mitchell featuring soul-infused instrumentals and excellent covers of standards like “Slippin’ and Slidin'” and “Sunny.” The album is appearing on vinyl for the first time since 1968, remastered with updated artwork.

File Under: Funk, Soul
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driving beat

Willie Mitchell: Driving Beat (Fat Possum) LP
A prominent bandleader, hit instrumental recording artist and prolific producer, Willie Mitchell is credited with creating the now legendary “Hi Sound,” its legacy of hit records, and discovering and directing the creative careers of Hi’s incredible artist roster which included Al Green, Ann Peebles, Otis Clay and Syl Johnson. Mitchell’s mix of jazz sophistication and down-home Southern blues – not to mention his ambition and work ethic – set him apart, and he and his streamlined, stripped-down big band were in demand by black and white audiences alike. 1966’s Willie Mitchell’s Driving Beat is one of his finest solo efforts, a funky and soulful affair that finds the Hi master working outside of the usual pop framework with killer results. Home to dancefloor dynamite like “Everything’s Is Gonna Be Alright” and “That Driving Beat,” the album is appearing on vinyl for the first time since its original release, remastered with updated artwork.

File Under: Funk, Soul
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dance time

Willie Mitchell: It’s Dance Time (Fat Possum) LP
A prominent bandleader, hit instrumental recording artist and prolific producer, Willie Mitchell is credited with creating the now legendary “Hi Sound,” its legacy of hit records, and discovering and directing the creative careers of Hi’s incredible artist roster which included Al Green, Ann Peebles, Otis Clay and Syl Johnson. Mitchell’s mix of jazz sophistication and down-home Southern blues – not to mention his ambition and work ethic – set him apart, and he and his streamlined, stripped-down big band were in demand by black and white audiences alike. 1965’s It’s Dance Time is a compelling collection of instrumental dance numbers highlighted by “Buster Browne” and “When My Dreamboat Comes Home” and rounded out by stylish covers of “Twine Time,” “Fever,” and “Since I Met You Baby.” It’s Dance Time is appearing on vinyl for the first time since its original release, remastered with updated artwork.

File Under: Funk, Soul
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robbins nest

Willie Mitchell: Robbin’s Nest (Fat Possum) LP
A prominent bandleader, hit instrumental recording artist and prolific producer, Willie Mitchell is credited with creating the now legendary “Hi Sound,” its legacy of hit records, and discovering and directing the creative careers of Hi’s incredible artist roster which included Al Green, Ann Peebles, Otis Clay and Syl Johnson. Mitchell’s mix of jazz sophistication and down-home Southern blues – not to mention his ambition and work ethic – set him apart, and he and his streamlined, stripped-down big band were in demand by black and white audiences alike. Mitchell kicked off the ’70s with Robbin’s Nest, another accomplished set of soul-infused funk highlighted by rock solid cuts like “Tails Out” and “Wade in the Water.” The album is appearing on vinyl for the first time since its original 1970 release, remastered with updated artwork.

File Under: Funk, Soul
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wdy

Various: Nicolas Winding Refn: The Wicked Die Young (Milan) LP
In 2016, Milan Records had the pleasure of releasing the soundtrack to Nicolas Winding Refn’s The Neon Demon, composed by Cliff Martinez. The synth-heavy electronic score went on to be one of the most critically-lauded soundtrack releases of the year, making numerous “Best of 2016” critic lists along the way. Refn now returns with his latest creation: The Wicked Die Young. The Wicked Die Young is the latest release in Milan’s “Nicolas Winding Refn Presents” series –  a sublabel of releases curated by director Nicolas Winding Refn (Drive, The Neon Demon). Conceptualized as a companion album to The Neon Demon and curated by Refn, The Wicked Die Young compiles the music that he was listening to while writing and filming The Neon Demon. This album is a unique opportunity to enter the musical mind of one of the most visionary contemporary directors. This eclectic selection confirms his love of music from the disco of Giorgio Moroder and Tommy Seebach to the punk and rock of Suicide and 999! The album also features exclusive tracks by Cliff Martinez, Electric Youth and Julian Winding. Available on vinyl, The Wicked Die Young comes pressed on a pair of colored 180 gram vinyl discs housed in a beautiful gatefold jacket featuring liner notes by Nicolas Winding Refn. “The fourteen tracks on this compilation represent the various ideas I had while preparing The Neon Demon and each song represents a specific emotion. Some of the tracks are from the past and some the present including new material by Cliff Martinez, Julian Winding, and Electric Youth. Since I wanted my film to be both a horror film and a melodrama with camp, glitter, and vulgarity, as well as a comedy and of course a little science fiction, all these various tracks made me able to step into a parallel world to tell the story.” – Nicolas Winding Refn

File Under: Comps, Drive

resistance

Various: Resistance Radio (Columbia) LP
Danger Mouse (a.k.a. Brian Burton) was recently approached by the folks at Amazon to compile a companion piece to the network’s alternate dystopia hit show The Man in the High Castle. Officially dubbed Resistance Radio: The Man in the High Castle, the star-studded affair was helmed by Burton and co-producer Sam Cohen, who were already working together in the studio when the offer was broached. It features a curated collection of brand new covers versions of classic 1960s songs, including contributions from Sharon Van Etten, Beck, Benjamin Booker, the Shins, Angel Olsen, Michael Kiwanuka, Grandaddy, Kevin Morby, Kelis, Norah Jones and Karen O.

File Under: Indie Rock, Covers
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…..Restocks…..

Angel Witch: s/t (Real Gone) LP
Bauhaus: Crackle (Beggars) LP
Black Angels: Passover (Light in the Attic) LP
Michael Chapman: Wrecked Again (Light in the Attic) LP
Betty Davis: They Say I’m Different (Light in the Attic) LP
Bob Dylan: Freewheelin’ (Music on Vinyl) LP
Serge Gainbourg: Historie de Melody Nelson (Light in the Attic) LP
Greg Graffin: Millport (Anti) LP
Lee Hazlewood: Cowboy in Sweden (Light in the Attic) LP
Kaytranada: 99.9% (XL) LP
Egisto Macchi: Bitmori (Roundtable) LP
Neutral Milk Hotel: On Avery Island (Merge) LP
OST: Stranger Things (Lakeshore) LP
Outkast: Stankonia (Arista) LP
Pixies: Bossanova (4AD) LP
Power Trip: Nightmare Logic (Southern Lord) LP
Radiohead: A Moon Shaped Pool (XL) LP
Radiohead: Amnesiac (XL) LP
Radiohead: Ok Computer (XL) LP
Rodriguez: Coming From Reality (Light in the Attic) LP
John K. Samson: Winter Wheat (Anti) LP
Shellac: Terraform (Touch & Go) LP
Shellac: 1000 Hurts (Touch & Go) LP
Shellac: Excellent Italian Greyhound (Touch & Go) LP
Spoon: Hot Thoughs (Matador) LP
XX: Coexist (Young Turks) LP

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…..news letter #787 – royal snail…..

Just a few short weeks and RSD will be upon us! Our ordering is done, and next week things should start shipping next week.  As usual, we’ll have all kinds of fun swag and give aways, including the always popular REGA Turntable giveaway! In the meantime, I’ve got a lot to receive right now… Enjoy….

…..pick of the week…..

weiss

Klaus Weiss: Time Signals (Trunk) LP
Trunk Records present a reissue of Klaus Weiss’s Time Signals, originally released on Selected Sound in 1978. This hectic mix of dark drums with plugged-in, way-out, funked-up studio gear has been high on library geeks’ want-lists for years. Made by Niagara drummer/library overlord Klaus Weiss, and including the monster that is “Survivor”, originals are super rare, going for up to $300 if you can ever get near one. Standard black vinyl comes in a varnished bronze sleeve – a replica of the original LP. Jonny Trunk on Time Signals: “It was way back in the mid-1990s when fellow record collector and library music head Gareth Godard (AKA Cherrystones) first played me Selected Sound library LP 67, Time Signals. At the time — and I think it’s still the case — Gareth was into Klaus Weiss. Weiss was the drummer for Munich supergroup Niagara, he could be found on library LPs we were digging up on the Conroy and Golden Ring labels, and his name would appear across early 1960s jazz LPs from Germany. His drumming sound was mechanical, peculiar, unpredictable and distinctive. But nothing he’d done that I’d heard sounded quite like Time Signals. It was more manic and experimental, and the sounds and slightly offensive rhythms burrowed into my brain almost instantly. It probably took about another three years to recover and find myself a copy, and even then I’d found the sounds completely at odds to anything else I knew about. A few years later Gareth also pointed out to me that this LP was all over Rockin’ With Seka, a jet set hardcore movie from 1980 starring Swedish sensation Seka and Big John Holmes. Obviously the sound department on the film got busy with Selected Sound as another cue from the LP Nymphe (1979) is also on the soundtrack. But that is exactly what library music is for; Selected Sound produced these amazing library LPs, all beautifully recorded, sent them out in their shiny bronze sleeves around the world with rough guides to what they might be good for and waited for the royalties to roll in. Time Signals is probably the most desirable LP in the 9000 series catalogue. It sounds like nothing else and there are many high points, certainly something for everyone. And as musical tastes change and develop, Time Signals just seems to move along and fit. What seemed like otherworldly music to me two decades ago now seems like the norm. So here is Time Signals in all its odd glory, offering you a futuristic musical trip like no other.”

File Under: Library, Funk, Electronic
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…..new arrivals…..

abramsJoshua Abrams & Natural Information Society: Simultonality (Eremite) LP
Simultonality is the follow-up to Joshua Abrams’s critically acclaimed 2015 album Magnetoception. Credited to Joshua Abrams and Natural Information Society (NIS), it is the first recording in the project’s nine year, four album history made by a regularly gigging manifestation, rather than a special assembly of friends. Recorded in 2014 and 2015 in single takes by the full ensemble during and after tours of the US and Canada, Simultonality once more affirms the project’s unique approach to joining traditional musics, American minimalism, and jazz with the Gnawa ceremonial instrument the guimbri. Stasis, continuity, and repetition, central qualities of Abrams language, defined Magnetoception, listed by many as one of the best records of 2015. These same qualities form the heart of Abrams’s music on Simultonality. But where Abrams once said Magnetoception is about “winter and death”, Simultonality, in Abrams’s words, is an album of “pure motion”. Without sounding frenetic it is the most explosive NIS music on record, and without sounding over-determined, it is Abrams’s most structured and through-composed music yet. Much of it is also fast, a mass of densely patterned elements swiftly orbiting constantly reconfiguring centers that are variously harmonic and rhythmic, clearly stated or implied. The music is at no time any more disorderly than a colony of bees pollinating a vast garden. Its many moving parts function in mutualistic relationship toward fulfilling Abrams’s long stated intention for the project: to help listener’s achieve a meditative center and to consciously use music as a gateway to living. Abrams credits William Parker as an inspiration for this intention. The musicians on Simultonality date back to the nascency of NIS. Along with Hamid Drake, Mikel Avery and Frank Rosaly are Abrams first-call drummers for the project. On Simultonality, Avery is in the left channel, Rosaly the right. Astute heads may recognize the rhythm in “Sideways Fall” as Jaki Leibezeit’s drum break in Can’s “Vitamin C”. At Abrams behest, the two drummers divided the beat into separate parts. According to Hamid Drake, the rhythm was popularized, if not originated, by John “Jabo” Starks and Clyde Stubblefield of the J.B.’s. Nearly ten years into its existence, Abrams and the NIS wear their influences with creativity and ease. Long standing NIS members, Ben Boye and Emmett Kelly, were previously together with Abrams, or not, in Bonnie Prince Billy’s band, and Abrams and Boye have at different times played in Kelly’s band The Cairo Gang. Harmonium player Lisa Alvarado contributes the large format pattern paintings used by NIS at concerts and for its album covers. Personnel: Joshua Abrams – guimbri, bass, small harp, bells; Lisa Alvarado – harmonium, Leslie, percussion; Michael Avery – drums and percussion; Ben Boye – chromatic electric autoharp, piano, Wurlitzer; Ari Brown – tenor saxophone (on “2128½”); Emmett Kelly – electric guitar; Frank Rosaly – drums and percussion, resonator bells. Pressed on premium quality audiophile vinyl by RTI, presented in replica audiophile dust sleeves and heavyweight Stoughton LaserDisc jackets screenprinted by Alan Sherry/Siwa. Edition of 825 copies.

File Under: Jazz
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lusurra

Alberich/Lussuria: Borgia (Hospital) LP
Following on from that hugely sought-after Green Graves issue by Rainforest Spiritual Enslavement (2016), Hospital Productions re-examine a longstanding tradition of industrial ambient music on this exceptional collaboration between two of the label’s most consistently innovative, highly absorbing producers. Originally released in a private press run of handmade tapes in 2016, the collaboration was made in person with both Alberich and Lussuria making use of digital synths in homage to that distinctly European scene of the mid ’90s that combined hardcore industrial textures with ambient pulses. It’s a sound you’ll be familiar with if you’ve immersed yourself in the most unnervingly quiet sections of the last few Prurient albums, building a kind of futuristic soundscape situated somewhere between David Lynch, Kevin Drumm, and a more dystopian variant of Brad Fiedel’s distinctive soundtrack to The Terminator (1984). Alberich’s instinct for harsh propulsive rhythms is tempered here by Lussuria’s weird topography, the digital rendering adding a kind of artificial foundation quite removed from the throbbing earthiness you’d find on a hardware session. Instead, the more linear trajectory of so many dark ambient excursions is replaced with a constantly shifting landscape, veering from an oddly displaced vocal narrative into pounded, crumbling rhythms at some points, while those sinking sub bass sands keep things resolutely atmospheric for the duration. There are no concessions to that blackened aesthetic here, if you were into Green Graves or want to immerse yourself in one of the most brutally atmospheric albums you’ll hear this year, check this out. Edition of 500.

File Under: Ambient, Industrial

afrodiscoteca_def

Alessandro Alessandroni: Afro Discoteca (Four Flies) LP
Four Flies Records is back in full force, this time with an EP that looks at the more sophisticated and modern dancefloor. The Italian label embarked on another journey of rediscovery, a specialty they seem to master. The destination of this trip was a dusty vault in Africa, where a famous Italian musician moved years ago… The Italian film and TV industry provided in the 60s and 70s countless opportunity for talented musicians to compose and produce a rich variety of music: soundtracks, library music, experimental music – an infinite amount of recordings that still represents a paradise for the most curious and passionate diggers. So here we have the proof that there’s still lot to discover. Alessandro Alessandroni is one of those pioneers, a maestro that built the legend of Italian soundtracks and library music along with Ennio Morricone, Piero Umiliani and many others. His vault testifies how prolific had been those times, with hundreds of tapes and obscure recordings from that period. Among the many, a dusty tape bearing the hand-written label “Afro Discoteca” captured the attention of Four Flies. The music contained in the tape had never been released until now. When he listened to the tracks, Italian legendary DJ LEO MAS (one of the undisputed inventors of the Balearic sound) told us: “It is surprising to listen to something that sounds so modern… This EP is the perfect union of Afro influences and Italian taste. There’s something Afro lounge here but also incredibly cinematic – it makes me think of John Carpenter’s atmospheres. B1 (Afrodiscoteca) reminds me of clubs I’ve been in Malindi in the late 70s and the closing track is absolutely spellbinding. This is wonderful.” PAOLO SCOTTI, head of Déjà vu Records and an authoritative Italian jazz expert said: “Alessandroni’s contribution to music is huge, he’s a great musician and a great experimenter. Afrodiscoteca sounds like it’s been produced yesterday by a DJ of our times, an absolutely surprising EP and proof of Alessandroni’s spontaneous genius!”

File Under: Italian, Library, Funk
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birkin

Jane Birkin/Serge Gainsbourg: Le Symphonique (Parlophone) LP
In October 2016, Jane Birkin along with the Polish Radio Orchestra under the baton of Michała Klauza in Warsaw recorded the album Birkin Gainsbourg: Le Symphonique comprised of evocative symphonic interpretations of the most beautiful songs by former collaborator and romantic partner Serge Gainsbourg. 25 years after the death of Gainsbourg, the British actress/singer, with the integral support of Philippe Lerichomme (artistic director, longtime Serge associate) and pianist Nobuyukiego Nakajima, has created a special project in honor of the man who for many years was the closest person in her life both artistically and privately. “It is a privilege that one of the greatest French writers wrote for me from the age of 20 to 45. In a way it never stopped. It’s a strange situation. What can I do for him now, even though it’s too late! At least I can wear him, take him with me. Say his words!”

File Under: French Pop
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brother ah

Brother Ah: Divine Music (Manufactured) 5LP
Five LP box set version. “Following the reissues of Brother Ah’s three studio albums in 2016, Manufactured Recordings is proud to present Divine Music, a collection of three unreleased albums from this jazz visionary: The Sea (1978), Mediation (1981), and Searching (1985). Moving from rich spiritual jazz to more meditative ambience, Divine Music further explores Brother Ah’s unique sound and musical vision. Released as a 5xLP box set, Divine Music includes an extensive interview with Brother Ah by Pitchfork and Resident Advisor contributor Andy Beta. Recommended for fans of Laraaji, Alice Coltrane, Terry Riley, Brian Eno, Popul Vuh, and the recent new age renaissance. The renowned French horn player known as Brother Ah (aka Robert Northern) is one of the most prolific and respected musicians in the history of jazz music, with a recorded output spanning more than 40 years. Born in 1934 and raised in the south Bronx, Brother Ah was playing jazz trumpet as early as fifteen years of age. Following a classical French horn education at Austria’s Vienna State Academy, he emerged in the late ’50s and established himself as a skilled and consistent session musician, playing with the Metropolitan Opera Orchestra, the Radio City Music Hall Orchestra, and numerous Broadway theater orchestras. Brother Ah recorded well into the ’60s with some of the most illustrious names in the genre, including Donald Byrd, Dizzy Gillespie, John Coltrane, Thelonious Monk, Miles Davis, Gil Evans and, perhaps most influentially, Sun Ra. In 1969, Ah formed his own group, The Musical Sound Awareness Ensemble, and released several works under his own name from 1974 onward. In the late ’60s, his interest in non-western music developed, and his ’70s and ’80s recordings, incorporated elements of Eastern and ‘Third World’ music, fusing them with jazz structures.”

File Under: Jazz, Spiritual Jazz
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brugnolini

Brugnolini/Carnini: Beat Drammatico Underground Pop Elettronico (Schema) LP
A fantastic obscure record, whose tracks simply anticipate Techno and generally Electronic music of the early 70s, including Kraftwerk’s milestone “Autobahn”, Heldon and Lard Free. A mind-melting opera. While Kraftwerk released “Ralph & Florian”, and about one year before the releasing of the milestone “Autobahn”, maestros Sandro Brugnolini and Giorgio Carnini were already experimenting the deep sounds of analogue synthesizer ARP 2600. The set provides some blending Funk tunes driven by Experimental Electronic music, all with a heavy dramatic feel: the result is an unbelievable, unique and explosive library music LP. “Beat Drammatico Underground Pop Elettronico” is the title that Brugnolini and Carnini adopted for this collection of several TV synchronization the- mes. What we had is stunning Drama Cop scores and dark Electronic moods, all surrounded by loads of fuzzy vibes and all that weird, Industrial, Futuristic Synth FX and so on…This reissue gives back a long forgotten and obscure session originally released on Fonit label in 1973. Lorenzo Fabrizi / Sonor Music Editions

File Under: Library, Electronic
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zebra

Cohelmec Ensemble: Hippotigris Zebra Zebra (Souffle Continu) LP
Souffle Continu Records present the first vinyl reissue of Cohelmec Ensemble’s Hippotigris Zebra Zebra, originally released in 1971. The Cohelmec Ensemble celebrate, above all, the pleasure of collective music-making. A group without a designated leader, they base their approach on reciprocal listening, but also on a dialogue between written and improvised material, in which all members have an equal responsibility whatever their instrument. This is even demonstrated in their name: COH as in Jean Cohen (saxophones), EL as in Dominique Elbaz (piano) and MEC as in the brothers François and Jean-Louis Méchali (respectively, amongst others, bass and drums), joined for this album by Evan Chandlee, known for his participation in Love Rejoice (1969) by Kenneth Terroade, and accepted, of course, as a full group member. Fitting together like hand in glove, the five musicians build something together, rather than trying to destroy an established order, as was the thing to do at the start of the 1970s, leaving the expression of an openly political agenda to others. In France, there was a tendency to explore an imaginary folklore which allowed certain elements of free jazz to be circumvented without being ignored. Which is why it is reminiscent of, in the melody of “Hippotigris Zebrazebra” when played with collective intensity, the best of American cosmic jazz, while also occasionally hearing McCoy Tyner or even Cecil Taylor under the fingers of Dominique Elbaz, or the vibraphone of Walt Dickerson evoked by Jean-Louis Méchali. Globally, however, their identity is original (even seminal), a fact which was to be confirmed by their next two recordings. For the record, it should be noted that the first album by the Free Jazz Workshop (from Lyon), another French group with a similar approach, would only be published two years later. Licensed from Cohelmec Ensemble. Deluxe reissue with high definition remastered audio; 12-page booklet on 200 gsm art paper. Includes liner notes and rare pictures; Gatefold LP with obi strip; Edition of 700.

File Under: Experimental, Jazz, Improv
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next

Cohelmec Ensemble: Next (Souffle Continu) LP
Souffle Continu Records present the first vinyl reissue of Cohelmec Ensemble’s Next. The Cohelmec Ensemble celebrate, above all, the pleasure of collective music-making. A group without a designated leader, they base their approach on reciprocal listening and equal responsibilities. This is reflected in their name, created from the first syllables of the founding member’s names, which would remain unchanged in spite of the subsequent personnel changes: COH as in Jean Cohen (saxophones), EL as in Dominique Elbaz (piano) and MEC as in the brothers François and Jean-Louis Méchali (respectively, amongst others, bass and drums), Evan Chandlee joined them after they had already been playing together for a while, at the time they recorded their first album, 1971’s Hippotigris Zebra Zebra. The follow-up (appropriately named Next) saw the original pianist leave, to be replaced by guitarist Joseph Dejean, who had already played with the Full Moon Ensemble, known for having accompanied Archie Shepp at the Antibes Jazz Festival in 1970. In spite of the personnel changes, the understanding and cohesion remain total within Cohelmec. They also maintain their trademark ambitious mix of written and improvised material. From this point of view, Next is even more audacious than its predecessor Hippotigris Zebra Zebra. Relatively brief tracks follow hot on the heels of one another, bolstered by a poly-instrumentality which stands out even more than in the past, giving the album the feel of a contrasting suite. There is a lot going on, leading to evocative atmospheres in which rigor and fantasy go happily hand in hand. Which is enough to say that this album should please fans of a style of free (chamber?) jazz which includes intelligent composed structures, a form in which French musicians have always demonstrated a personal approach, as in the example of Oeil Vision by Jef Gilson in 1964. Profoundly original and, it has to be said, seminal. Licensed from Cohelmec Ensemble. Deluxe reissue with high definition remastered audio; 12-page booklet on 200 gsm art paper. Includes liner notes and rare pictures; Gatefold LP with obi strip; Edition of 700.

File Under: Experimental, Jazz, Improv
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octobre

Cohelmec Ensemble: 5 Octobre 1974 (Souffle Continu) LP
Souffle Continu Records present the first vinyl reissue of Cohelmec Ensemble’s 5 Octobre 1974, originally released in 1974. Out of the musical effervescence in post May 1968 France were born the labels BYG and Futura Records. The concept of collective creation appeared as essential, of which Cohelmec Ensemble was a typical example: in such procedures, individual identities can of course still express themselves but framed within a non-hierarchical common thought process with the emphasis on experimentation. Music making becomes a shared pleasure with an established vocabulary, and is often accompanied by militant left wing activism; which feeds into an ethical form of creation. For their third, and what would turn out to be final album, the Cohelmec Ensemble chose to save for posterity their live performance work, on which their reputation was based. A concert recording was made, notable for the inclusion of trumpeter Jean-François Canape, and the group lost none of its subtlety in moving from studio to stage. On the contrary, the situation galvanized them on to higher energy levels, without leaving behind the typically complex structures, to which were added potent, flowing improvisations, longer than usual, confirming the high standard of free jazz being played in France in the 1970s. This was demonstrated not only by the Cohelmec Ensemble but also, in similar or quite different registers (who cares), by formations such Perception, Dharma Quintet, Free Jazz Workshop, Machi Oul, or Armonicord. Licensed from Cohelmec Ensemble. Deluxe reissue with high definition remastered audio; 12-page booklet on 200 gsm art paper. Includes liner notes and rare pictures; Gatefold double LP with obi strip; Edition of 500.

File Under: Experimental, Jazz, Improv

august

Counting Crows: August and Everything After (Geffen) LP
By the time the Counting Crows signed to Geffen in 1993, they had already built up a significant fanbase which payed dividends upon the release of their runaway hit debut August And Everything After later that same year. Produced by the great T-Bone Burnett, the album climbed all the way to No. 4 on the Billboard 200 charts thanks to the trio of ubiquitous singles “Mr. Jones,” “Rain King” and “Round Here,” selling over seven million copies in the U.S. alone in the process. It checks in at a respectable No. 67 on Rolling Stone’s ‘100 Best Albums of the Nineties’ who writes: “An artfully crafted, intimate song cycle, August and Everything After seemed to explode on impact. Vividly produced by T Bone Burnett, its post-punk bleakness married to old-school rock influences, August became that rare album over which both alterna-kids and classic rockers could bond.”

File Under: Alt-Rock

recovering

Counting Crows: Recovering The Satellites (Geffen) LP
By the time the Counting Crows signed to Geffen in 1993, they had already built up a significant fanbase which payed dividends upon the release of their runaway hit debut August And Everything After. Three hit singles and seven million copies later, the band returned in 1996 with the stunning Gil Norton-produced follow-up Recovering the Satellites. Featuring a darker, heavier sound and more introspective lyrics, compelling and emotive material like “A Long December,” “Angels of the Silences” and “Daylight Fading” found the band truly coming into their own amidst the mid-’90s alt-rock craze and its No. 1 Billboard showing proved that not only was their debut no fluke but they were just getting started.

File Under: Alt-Rock

manu dibango

Manu Dibango: Ceddo (Africa Seven) LP
For Africa Seven’s 2nd release they’ve resurrected the soundtrack to the African movie Ceddo. Composed by one of our favorite African artists, Manu Dibango, comes 6 funky tracks. Now it’s getting a full vinyl re-issue! The film takes place during the 17th century during the period of slave-trading and of the introduction of Christianity and Islam in West Africa. Ceddo is a film of reflection, bringing together bits and pieces of facts and authentic events that took place in a period spanning the centuries up to the present day.

File Under: Afrobeat, Funk
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enhet

Enhet For Fri Musik: Inom Dig, Inom Mig (Aguirre) LP
Folk unit originated in the Swedish underground Enhet för Fri Musik – featuring members of Sewer Election,  Ättestupa,  Neutral,  Makthaverskan, and Blod – continually re-invent what music is about through free improvisation and lengthy folk meanderings. Embedded in the ever exciting Swedish underground scene, Enhet För Fri Musik continue the quest for innovation numerous legendary Swedish bands started during the ’70s – such as, Pärson Sound, Trad Gras Och Stenar, and Arbete Och Fritid. Taking the ideas of communal music craft and experimentation, on Inom Dig, Inom Mig, the group comes to a unique combination of Jandek-like atonal guitar, organ, tape effects, field recordings, and saxophone, with Sofie Herner’s amazing loner voice running over it. Adding another inspiring document to the world of open-minded music. Inom Dig, Inom Mig was originally release on cassette in 2015 on Forever United. Silkscreened sleeves by Marijke Loozen; Music by Dan Johansson, Gustaf Dicksson, Hugo Randulv, Sofie Herner; Mastered by Kris Delacourt; Artwork by Dan Johansson; Edition of 150.

File Under: Folk, Experimental, Psych

father john

Father John Misty: Pure Comedy (Sub Pop) LP/DLX LP
Pure Comedy, Father John Misty’s third album, is a complex, often-sardonic, and, equally often, touching meditation on the confounding folly of modern humanity. Father John Misty is the brainchild of singer-songwriter Josh Tillman. Tillman has released two widely acclaimed albums – Fear Fun (2012) and I Love You, Honeybear (2015) – and the recent “Real Love Baby” single as Father John Misty, and recently contributed to songs by Beyoncé, Lady Gaga, and Kid Cudi. You could say a lot about Pure Comedy – including that it is a bold, important album in the tradition of American songwriting greats like Harry Nilsson, Randy Newman, and Leonard Cohen – but it’s best to let its creator describe it himself. Tillman explains: “Pure Comedy is the story of a species born with a half-formed brain. The species’ only hope for survival, finding itself on a cruel, unpredictable rock surrounded by other species who seem far more adept at this whole thing (and to whom they are delicious), is the reliance on other, slightly older, half-formed brains. This reliance takes on a few different names as their story unfolds, like “love,” “culture,” “family,” etc. Over time, and as their brains prove to be remarkably good at inventing meaning where there is none, the species becomes the purveyor of increasingly bizarre and sophisticated ironies. These ironies are designed to help cope with the species’ loathsome vulnerability and to try and reconcile how disproportionate their imagination is to the monotony of their existence. Something like that.” Pure Comedy was recorded in 2016 at the legendary United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, CA. It was produced by Father John Misty and Jonathan Wilson, with engineering by Misty’s longtime sound-person Trevor Spencer and orchestral arrangements by renowned composer/double-bassist Gavin Bryars (known for extensive solo work, and work with Brian Eno, Tom Waits, Derek Bailey).

File Under: Indie Rock
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ferrari

Luc Ferrari: Heterozygote/Petite Symphonie… (ReGRM) LP
In the field of biology Heterozygous (Hétérozygote) means: a plant whose heredity is mixed. It implies that Hétérozygote, composed between December 1963 and March 1964, is an attempt to engineer a language located both on the musical and on the dramatic plane. You could call this music “Anecdotal Music” for if the organization of events is purely musical, their choice suggests situations justified at two levels: the music and the anecdote. Luc Ferrari explains the piece Petite Symphonie Intuitive Pour Un Paysage De Printemps (1973-1974) in 2002: “This electroacoustic music is part of a series that could be called ‘imaginary soundscape’. Unlike ‘Presque Rien Ou Le Lever Du Jour Au Bord De La Mer (Almost Nothing Or Daybreak By The Seaside)’, where the landscape narrates itself, here a traveller discovers a landscape which he tries to convey as a musical landscape. Brunhild and I were in the Gorges du Tarn area. We chose to take a small path that was going up a rocky mountain for about ten kilometres. After a last turn, a totally unexpected landscape opened before my eyes. It was sunset. Before us, a vast plateau spread open with soft curves up to the horizon, up to the sun. The colours ranged from dry grass yellow to purple, in the distance, with the darkness of a few small groves punctuating the space. The almost bare nature was presenting itself to the eye, free from any obstacle. We could see everything. Later, when I recollected this place and the sensations I had experienced there, I tried to compose a music that could revive this memory. The ‘Causse Méjean’ is a high plateau, about 1000 m high, in the Massif Central mountain range. It is dotted by scattered farms. A few people bring their flocks of sheep home. I thought about evoking this solitary and hazy human presence by including snippets of conversations I had had with some of the shepherds. Human language is woven into the musical texture; the sound of the voice says more than its actually meaning. Once, a shepherd told me ‘… I am never bored. I listen to the landscape. Sometimes I play my flute and then I listen to the echo responding…’ Thinking of him, I used the flute and its echo in my music.”

File Under: Early Electronic, Musique Concrete
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folds

Ben Folds: Songs for the Silverman (Analog Spark) LP
In tomorrow… Throughout his career, Ben Folds has created an enormous body of genre-bending musical art that includes pop albums as the front man for Ben Folds Five, multiple solo rock albums, as well as unique collaborative records with artists from Sara Bareilles and Regina Spektor, to Weird Al and William Shatner. Out of print on vinyl for over 10 years, 2005’s Songs For Silverman is the second solo studio effort from the acclaimed singer-songwriter. The ballad-based 11-track set is home to the warmhearted singles “Landed and “Jesusland,” the Elliott Smith dedication “Late” and “Time” which features a cameo from Weird Al. This is Songs For Silverman’s first vinyl reissue. Audio has been sourced from the original mix reels. Mastered by Kevin Gray at Cohearent Audio and pressed and plated at RTI. 180-gram vinyl pressing housed in a Stoughton old style “tip-on” jacket.

File Under: Rock

mediterraneoGruppo Afro Mediterraneo: 1972 Blues Jazz Session (Black Sweat) LP
Unreleased recordings of future members of Aktuala and I.P. Son Group. The history goes back in the alternative Milan of the early ’70s, to the flavor of the first jam-blues of that era where musicians from different parts of the world (India, Africa or South-America), and of disparate backgrounds and cultures, gathered together to experiment just with an authentic sense. These four tracks seem to retrace the path of that spirit with which great pioneers, such as John Mayall and Alexis Corner, the essence of the Afro-American music masters ferried from overseas. On 1972 Blues Jazz Session, the devotion to the blues roots remains strong but an aerial and wandering component, colored as if by a magic of exotic and spiritual accents, leaks into the compositions. Hypnotic patterns of guitars flowing almost like slowed raga-grooves, free-jazz horns blowing winds of the ancient seas of the south, while voices and percussions span distant Latin or African horizons. Gruppo Afro Mediterraneo throws its eye on a cultural dimension more extensive and composite and therefore constitutes a fundamental historical document for a crucial period of Italian underground.

File Under: Jazz
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jamal

Ahmed Jamal Trio: The Awakening (Be With) LP
Ahmad Jamal is a jazz giant and The Awakening is his iconic masterpiece. The landmark deep trio session – recorded in NYC and released on Impulse! in 1970 – is an essential album and perennially sought-after on vinyl, so Be With Records are delighted to make it available again. As a “Zen master of jazz piano” and one of its greatest innovators, Jamal evolved his elegant sound with this adventurous record. The Awakening showcased his fast, richly melodic chops in remarkable variation. A consummate orchestrator of his own complex arrangements, Jamal was emboldened here by his potent sidemen. Backed by the exquisite timing of bassist Jamil Nasser and the precision of Frank Gant’s drumming, he was liberated by the reliability of the trio setup. Free to juggle rhythmic dexterity with harmonic intricacy, Jamal brilliantly performed groove-oriented compositions written by himself, alongside wonderful renditions of tracks by Herbie Hancock, Oliver Nelson and Antonio Carlos Jobim. It is impossible to discuss The Awakening without acknowledging its indelible mark on golden age rap. A defining album of hip-hop culture, producers of the highest calibre have famously sampled elements of this timeless record to lace all-timers with a foundation for their most legendary tracks. Indeed, both the experimental “DJ Premier In Deep Concentration” and Shadez Of Brooklyn’s seminal “Change” utilised Jamal’s sparse title-track to stunning effect. A melancholy motif from “I Love Music” was employed by Pete Rock for Nas’s crucial “The World Is Yours” whilst, over a more abstract refrain from the same track, Jeru memorably delivered his “Me Or The Papes” ultimatum. Over in Chicago, No I.D. elevated Common’s peerless “Resurrection” by lifting a precise riff from Jamal’s plaintive rendition of “Dolphin Dance” whilst the head-nod quality of All Natural’s hypnotic “Renaissance” owes it all to the looped keys of Jamal’s take on “You’re My Everything”. With bold beauty and unhurried grace, Ahmad Jamal plays piano differently from everyone else. He was a huge inspiration to Miles Davis and influential to how Wynton Kelly performed across Kind of Blue. In his autobiography, Miles describes being blown away by Jamal’s dynamic “concept of space, his lightness of touch [and] his understatement”. It’s why The Awakening will always be so revered. In line with the quality of all Be With reissues, the record is presented in a luxurious gatefold sleeve and comes adorned with the original eye-catching artwork throughout, along with the original sleeve notes. Simon Francis’ sensitive mastering ensures the sonics are majestic throughout and, for the first time, it has been pressed at a reassuringly weighty 180g.

File Under: Jazz
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jamc

Jesus & Mary Chain: Damage & Joy (Ek Ok) LP
The legendary Jesus and May Chain – fronted by the quarrelsome Reid brothers Jim and William – release their long awaited brand new studio album Damage and Joy – their first studio effort since Munki, issued back in the summer of 1998. Produced by Martin Glover aka Youth and featuring contributions from former Lush bassist Phil King and the band’s touring drummer Brian Young, the highly anticipated 14-track set includes stunning lead single “Amputation” and a re-energized new version of “All Things Must Pass” which was previously showcased in the TV show Heroes. Creation Records boss and band manager Alan McGee exclaimed, “They’ve made another album! It’s a big deal! It’s kinda enormous.”

File Under: Rock
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kangding

Kangding Ray: Hyper Opal Mantis (Stroboscoptic) LP
Triple LP version. Includes download card. The tension between the natural and artificial, the body and mind, are central themes in electronic music in general, and techno in particular, as the means of creation, focused around technology and interactions with machines, contrast with the emotional response to sound, the mystical ritual of collective dancing, and the ethos of liberation and tolerance embedded in the culture it produced. We’re navigating a world of engineered pleasures, big data monitoring of movements and consumption habits, and falsely objective representations of reality, further blurred by a reduced attention span and several opaque layers of cultural interpretation and political manipulation. Manichean simplifications are used to create hate and fear in order to achieve domination and impose limits on freedom, and the irrational belief in endless growth, increasingly disconnected from nature, led to massive environmental destructions and waves of unprecedented extinctions of species. Our primal sensuous perception, vastly more abstract, emotional and sensual, make us feel the world as an ambiguous realm we are part of, but not in control of; a complex network of interacting forces and enigmatic patterns, a matrix of overlapping desires. Rebuilding our bonds with nature, reconnecting with our senses, and spreading love in the process become an essential act of resistance. Hyper Opal Mantis is a triptych on three states of desire, and the first long player of Kangding Ray for Stroboscopic Artefacts. Hyper is the primal, sensual lust, Opal is the emotional catharsis, a blissful desire for love. Mantis, like the insect it refers to, is the destructive, fatal attraction. French-born, Berlin-based composer and producer David Letellier, aka Kangding Ray, uses the combination of slowly swelling melodies and emotionally charged machine sounds to gives way to a sensitive, rhythmic symphony of staggering beauty – a juxtaposition of organic and synthetic, of acoustic instrumentation and digitized beats. His darkly textured techno grooves – a palette of throbbing bass lines, necromantic synths, processed guitar loops, rattling walls of distortion and unorthodox field recordings – accounts for a brooding, futuristic entity that connects him with both experimental and club culture.

File Under: Electronic
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konstruct1

Konstrukt: Molto Bene (Holidays) LP
Edition of 250. In the summer of 2015, A L’ARME! Festival invited Konstrukt to perform with William Parker and Holiday Records teamed up with Matt Bordin of Outside Inside Studio to invite the quartet to play two shows in Italy on their way to Berlin. Plans overlapped leaving two days off spent playing with no interruption at Matt’s studio in Montebelluna, capturing four incredible tracks. Now, Konstrukt are well known for their many collaborations with key players and real giants of worldwide jazz scene, but – once again – having the chance to listen to the music they produce when they play “by their own” is something special. Their tribute to the past is paid with every single tune they play, but these recordings are something that can only be described as “new music”.

File Under: Jazz, Free Jazz
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konstrukt2

Konstrukt & Alexander Hawkins: Live at Cafe OTO (Holidays) LP
Istanbul-based free music ensemble Konstrukt perform alongside special guest Alexander Hawkins, building the perfect groove in a sweaty Cafe OTO on August 10th, 2015. Two sets from the same night, each a 40 minute long improvisation. The first set is a psychedelic warm-up where the Turkish quartet welcomes Hawkins in a whirlwind of hypnotic funky tunes going electric in the Miles way. The second set starts with Hawkins piano keys bouncing along a silent background soon to be filled with a groovy odd drum tempo leading to a wall of sound where all parts build a perfectly unpredictable dialogue. Edition of 200.

File Under: Jazz, Free Jazz
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lischen

Lichen Gumbo: Boilin’ (Aguirre) LP
Lichen Gumbo is a lo-fi underground rock band from Finland. Boilin’ was recorded during a week of seclusion in a small cabin deep in the woods with no running water and at home during an exceptional heat wave hitting Finland in 2014, hence the Boilin’ title for this album of hazy tunes. The selected songs range from Throbbing Gristle hits to a more noisy garage style. Mixing heavily distorted drums and guitars, vocals varying in style going from garage, no wave to totally deranged, and synth bubbles which sound like they’re recorded straight from the water surface of hot springs (or perhaps they just borrowed a Moog from Acid Mothers Temple). Lichen Gumbo are Olli Aarni and Ville Oinonen. Olli has been recording under his own name since 2011 and mostly works with electronic sounds. He has released music as Ous Mal and Nuojuva. Ville joins him for the lo-fi ride that is Lichen Gumbo. Hand-assembled sleeves; Artwork by Olli Aarni, Ville Oinonen and Mia Tarkela; Mastering by Kris Delacourt; Edition of 150.

File Under: Lo-Fi, Electronic, Rock
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nardini

Nino Nardini: Musique pour le Futur (WRWTFWW) LP
We Release Whatever The Fuck We Want Records present a reissue of Nino Nardini’s e Musique Pour Le Futur, originally released in 1970. An experimental, musique concrete, sci-fi masterpiece, available for the first time since 1970. Originally recorded for Crea Sound Ltd., a sub-label of Louis Delacour’s Neuilly imprint, Musique Pour Le Futur finds the French composer, arranger, producer, possible time-traveler, and all around music library legend Nino Nardini experimenting with synthesizers, percussions, prepared piano, echo, and special effects. Fans of electronic oddities, eerie cinematic audio-landscapes, Piero Umiliani, or Bernard Parmegiani, will rejoice at this full-length musical adventure that could very well be the soundtrack for a film in which characters from a ’70s Italian horror movie visit a distant (forbidden) planet from a ’50s sci-movie. It’s bizarre, hypnotizing, slightly spooky, always out-of-this-world, and goddamn brilliant. Nino Nardini, also known as Georges Teperino, had a very fruitful career in library music, much like longtime collaborator Roger Roger. He composed a very large amount of works for French and British libraries which continues to be featured in numerous programs (radio, TV, films) all around the world. His passion for electronic music experimentations began in the late ’60s and kept going until the ’80s. Housed in a phosphorescent glow-in-the-dark, heavy cardboard sleeve.

File Under: Early Electronic, Experimental
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castlevania 3

OST: Castlevania 3: Dracula’s Curse (Mondo) LP
Mondo is proud to celebrate the 30th anniversary of the Castlevania franchise with the premiere vinyl release of the original soundtrack to the 1989 Famicom / Nintendo Entertainment System Three-quel / Prequel: Dracula’s Curse. Dracula’s Curse is a dark horse for most beloved of the original NES/Famicom trilogy, as it was a happy marriage of the linear elements of the first Castlevania and the more exploratory elements of Simon’s Quest – a union that led to the introduction of multiple playable characters, multiple paths and multiple endings – that remain franchise staples even today. The story follows Trevor Belmont, Simon’s ancestor and his battles with the prince of darkness, alongside three other warriors: Grant Danasty the Pirate, Sypha Belnades the Mystic, and Alucard, Dracula’s Son, who makes series debut here, and will play a more pivotal role in the games to come. The soundtrack to Dracula’s Curse is important as well. Not only for fan favorite track ‘Beginning,’ a track you’d be nary to find excluded from any future Castlevania game, but for the dynamic audio introduced on the Japanese version of the game. The VRC6 Audio chip contained in the Japanese version allowed for a wider array of sound channels, producing a brighter, fuller soundtrack than on the cartridge released in the US. The Nintendo Entertainment System could not process this level of audio, so the version released in the US needed to have the audio scaled back. Despite this audio handicap the US version is still terrific, and the superiority of the which version best is still a matter of debate to this day. No need to choose though, since Mondo’s vinyl re-issue contains both, spread across two 12″ LPs, housed in a gatefold jacket featuring amazing new artwork by Sachin Teng.

File Under: OST, Video Games
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contra

OST: Contra 3: Aliens Wars (Mondo) LP
Mondo is proud to celebrate the 30th anniversary of the Contra franchise with the premiere Vinyl release of the original soundtrack to the 1992 Super Nintendo sequel: The Alien Wars. Set 3 years after the original, Red Falcon and his legion have returned to Earth, this time with the intent of launching a full-scale war against it’s inhabitants. It’s up to Bill and Lance, our heroes to scale walls, ride motorcycles, and even cling to soaring missiles in an attempt to defeat the onslaught. The music of Contra 3: The Alien Wars is epic to say the least – the looping sequences of each level are longer, taking full advantage of the new audio capabilities available to the composers on the Super Nintendo. In some instances, like with ‘Battle Runner’ which operates on-the-rails for large stretches, it affords for the composers to have some sequences to go nearly two minutes before a single loop. The sweeping scope of these tracks leads to a chaos absent from the previous chapters of the run-and-gun series, while still obeying the structures and pacing of Video Game music… Just with more complex time signatures, and percussion patterns.

File Under: OST, Video Games
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galaxy force

OST: Galaxy Force II/Thunder Blade (Data Discs) LP
For Data Discs’ tenth release in partnership with SEGA of Japan, they are excited to offer two arcade classics – Galaxy Force II (1988) and Thunder Blade (1987) – together for the first time ever on vinyl. Composed by Koichi Namiki, Katsuhiro Hayashi and Tohru Nakabayashi, both soundtracks adopted an ambitious funk and fusion style, simulating an impressive range of real world instrumentation (think synthesizers, drums, slap bass and cowbells), which for its time and hardware limitations, is nothing short of astonishing. And yes, there’s even a coded slap bass solo. These two brief, but remarkable soundtracks each accommodate a single side of an LP, but work together seamlessly. Galaxy Force II includes a bonus arranged version of its leading track, Beyond the Galaxy, produced by Hiroshi “Hiro” Kawaguchi (composer of OutRun, Space Harrier) and features a full studio band, complete with brass section and a keyboard solo by Hiro himself. In addition, the Thunder Blade side includes three unused tracks.

File Under: OST, Video Games
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monstersquad

OST: Monster Squad (Mondo) LP
Available on vinyl for the first time, Mondo is proud to present Bruce Broughton’s score to Fred Dekker directed, Shane Black scripted cult classic The Monster Squad. The Monster Squad tells the story of six suburban kids who go toe-to-toe with some of the baddest monsters of all time: The Mummy, The Wolfman, The Gillman, and Dracula join forces to unleash evil on the world, and only the titular “Monster Squad” (with a little help from Frankenstein’s monster) can stop them. Produced by Mike Matessino and Dan Goldwasser.

File Under: OST, Mondo
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gimme danger

OST: Gimme Danger (Rhino) LP
When it comes to The Stooges’ place in rock history, there’s more or less a consensus among rock critics – or as close to a consensus as you’re ever going to get with rock critics, anyway – that they’re among the greatest rock bands of all time. As such, if a director was going to put together a documentary – or “rockumentary,” if you will – about the life and times of The Stooges, one would hope that it would prove to be as memorable and historic as the band itself. It’s safe to say Jim Jarmusch’s Gimme Danger delivers the goods and more and you can rest assured that the soundtrack succeeds in equal measure. With material selected by Jarmusch and Iggy Pop himself, the soundtrack focuses on tracks from The Stooges’ first three studio albums and includes such proto-punk classics as “I Wanna Be Your Dog,” “Loose,” “Gimme Danger” and “Down On The Street” to name a few. It’s a great compilation, and if you’ve never owned a Stooges album, it’s also the perfect gateway drug into their catalog.

File Under: OST, Rock

panzer

OST: Panzer Dragoon (Data Discs) LP
We are proud to present the first ever vinyl edition of Yoshitaka Azuma’s score to SEGA’s classic rail-shooter, Panzer Dragoon. First released in 1995 to coincide with the North American launch of the Saturn console, Panzer Dragoon has since become a cult favourite, not only for its stark art direction, inspired by renowned French artist Jean “Mobieus” Giraud, but also for its sweeping soundtrack. Composed by the late Yoshitaka Azuma, whose previous solo albums for Nippon Columbia had drawn on everything from ambient, prog, krautrock and electronic minimalism, the music of Panzer Dragoon moves between swelling orchestral pieces, blasts of rhythmic synthesis and ambient passages that wouldn’t seem out of place in the Tangerine Dream discography. When viewed as a standalone concept album, Panzer Dragoon succeeds in somehow conveying, by the sum of its seemingly dissonant parts, that most basic of human fantasies; the sensation of being in flight. In the 90s.

File Under: OST, Video Games
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shinobi

OST: Revenge of Shinobi (Data Discs) LP
Collaborating once again with legendary composer Yuzo Koshiro, Data Discs is thrilled to present one of the most revered and timeless soundtracks of the 16bit era: The Revenge of Shinobi. Composed in 1989, the music for the Mega Drive game (known as The Super Shinobi in Japan) blended Western dance music with Japanese overtones, to create something truly unlike anything else before. The soundtrack was Koshiro’s first commissioned work for SEGA and served as a forerunner to his seminal Streets of Rage trilogy, where the concepts and styles he founded with Shinobi would be expanded upon to astonishing effect.

File Under: OST, Video Games
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other people

Other People Place: Lifestyles of the Laptop Café (Warp) LP
Tucked away in the great depths of the Warp catalog is this elegant, liquid heartache of a record. An album credited to the late James Stinson, one half of cult-Detroit techno unit (alongside Gerald Donald) Drexciya, Lifestyles Of The Laptop Café stands as one of the remarkable records of the genre. Stinson died a year after its 2001 release, lending this already beautiful work endless resonance. Where the dystopian aqua-tronics of previous Drexciya were often jet-black, cold, brittle and abrasive this is a yearning soul music, played out down rain soaked streets, the buzzing lights of industry flickering in the darkness, the warm blue of a new day ready to break. This is a record where techno reached its raw, most emotive peak. Sustained pads paint minor-key melodies while electroid-vocals are buried deep in the hydrothermal mass of squelching bass-clusters and funky-filtered bleeps. At its skittering percussion core, a stripped back 808 tapestry, sequenced into myriad jazz-inflected shapes, a pulsing kick drum the snapping heartbeat, ticking hi-hats bursting from every angle. All this tingles with the ghosts of records past, of Kraftwerkian humanoids, of first-wave Detroit, of refracted Hancock and Ayres, but as Stinson intones on the fifth track, ‘let me be what I wanna be’, Lifestyles is a creation all of its own special making, a sound that would inspire the latter day deep-house machinations of Omar S, Jus-Ed, Moodymann and influence – however indirectly – a wealth of current UK/US bass operators including Actress and Kyle Hall. More importantly it remains a beguiling epitaph to Stinson’s sadly distinguished life.

File Under: Electronic, House
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strumming

Charlemagne Palestine: Strumming Music (Aguirre) LP
The classic minimal music album, available again on vinyl for the first time since the ’70s. Primed with a glass of cognac, Charlemagne Palestine sits at the keyboard of a Bösendorfer Imperial grand piano. One foot firmly holds down the sustain pedal while both hands perform an insistent strum-like alternation on the keys. Soon Palestine and his Bösendorfer are enveloped in sound and bathed in a shimmering haze of multi-colored overtones. For 45 minutes, this rich pulsating music swells and intensifies, filling the air. When Strumming Music first appeared on the adventurous French label Shandar during the mid-1970s, it seemed a straightforward matter to place Charlemagne Palestine in the so-called minimalist company of La Monte Young, Terry Riley, Steve Reich, and Philip Glass, whose work also featured in the Shandar catalog. Palestine too used a deliberately restricted range of materials and a repetitive technique, but as he has often pointed out in more recent times, the opulent fullness of his music would more accurately be described as maximalist. Strumming Music, recorded in Palestine’s own loft in Manhattan, has no written score. In an age of recorded sound he still feels no need for traditional notation. The surging energy of this particular recording stands comparison with the improvising of jazz visionaries who impressed and inspired him while living in New York as a young man. But, as Palestine himself has made clear, primarily he brings to music-making the sensibility of an artist rather than a musician. Although the technique of the piece has roots in Palestine’s daily practice, when a teenager, of playing the carillon at a church, hammering sonorous chimes from a rack of tuned bells, it also draws on his later work as a body artist, staging vigorously muscular, physically demanding and often reckless performances. In addition, Strumming Music can be heard as a sculptural tour de force, while its textures connect with the color moods, plastic rhythms, and tactile space of Mark Rothko’s abstract expressionist canvases. Strumming Music remains the essential index of Palestine’s singular creative vision. Fundamentally this fascinating piece is a collaboration between an artist and an instrument. Palestine had first encountered the Bösendorfer Imperial back in 1969. “The Bösendorfer at its best is a very noisy, thick molasses piano,” he has remarked. Charlemagne Palestine embraced its clinging sonorousness, its clangorous resonance and out of that embrace came the voluptuous sonic fabric of Strumming Music.

File Under: Minimal, Avant Garde
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pallbearer

Pallbearer: Heartless (Profound Lore) LP
Heartless is an inspired collection that presents Arkansas progressive doom metal quartet Pallbearer’s most monumental material to date, offering a complex sonic architecture that weaves together the spacious exploratory elements of classic prog, the raw anthemics of 90’s alt-rock, and stretches of black-lit proto-metal. Lyrics about mortality, life, and love are set to sharp melodies and pristine three-part harmonies. As the group explains: “Instead of staring into to the void – both above and within – Heartless concentrates its power on a grim reality. Our lives, our homes and our world are all plumbing the depths of utter darkness, as we seek to find any shred of hope we can.” From the gloriously complex, sky-lit opener “I Saw the End” to the heartbreaking 13-minute closer “A Plea for Understanding,” the entire group puts forth the full realization of their vision: More than a doom band, Pallbearer is a rock group with a singular songwriting talent and emotional capacity. Heartless finds the group putting forth their strongest individual efforts to date; vocalist/guitarist Brett Campbell and bassist/vocalist Joseph Rowland, along with guitarist/vocalist Devin Holt and drummer Mark Lierly, turn in peak marathon performances. Both Campbell and Rowland also handle synthesizers alongside their normal duties, and there are plenty of ambient passages and gently strummed acoustic guitars amid the crunchy electric tones, adding a moody, ethereal sparseness that compliment the towering metal that lies at the essence of Heartless. Tracked in analog at Fellowship Sound Studios in Little Rock and mixed by acclaimed producer Joe Barresi (Tool, Queens Of The Stone Age, Melvins, Soundgarden), and featuring artwork by Michael Lierly.

File Under: Metal
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pentagram

Pentagram Home Video: Satanic Path (Death Waltz) LP
Pentagram Home Video return with their sophomore record for Death Waltz Originals. Continuing the (satanic) path carved out on their debut LP Who’s Out There, broody analog electronics weave in between a thumping kick drum and snares that can snap a back at 50 paces. What Pentagram does with the 80’s infused synth template is give it space to breathe. His music is as much about what’s happening in between the bass stabs as the actual melodies themselves which gives his music an other worldly feel, the only person you could even mildly compare him too is Pye Corner Audio. In a world full of retro synth merchants PHV stands out because there is no hint of cheesy 80’s revisionism here, the music is dark, foreboding and very eerie indeed.

File Under: Electronic, OSTesque
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pio

Giusto Pio: Motore Immobile (Soave) LP
Soave present the first vinyl reissue of Giusto Pio’s Motore Immobile, originally released in 1979. One of the most striking documents of Italy’s minimalist movement, Giusto Pio’s Motore Immobile is a masterwork with few equivalents. Produced by Franco Battiato in 1979, at the outset of a long and fruitful period of collaboration between the two composers, and issued by the legendary Cramps Records, its triumphs were met by silence, before falling from view. Emerging on vinyl for the first time since its original pressing, Motore Immobile now sits within a reappraisal of a large neglected body of efforts made by the Italian avant-garde during the second half of the 1970s and early ’80s. It is singular, but not alone. It resonates within a collective world of shimmering sound, one familiar to fans of Battiato, Lino Capra Vaccina, Luciano Cilio, Roberto Cacciapaglia, Francesco Messina, and Raul Lovisoni. An exercise in elegant restraint – note and resonance held to the most implicit need. Everything between root and embellishment has been stripped away. A sublime organ drone, against interventions of deceptively simple structural complexity – executed by piano, violin, and voice. A sonic sculpture reaching heights which few have touched. A thing of beauty and an album as perfect as they come. The reemergence of Motore Immobile heralds what is unquestionably one of the most important reissues of 2017.

File Under: Minimal, Ambient
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sollo

Jake Sollo: s/t (Africa Seven) LP
Jake Sollo was one of the most prolific innovative musicians from Nigeria in the 70s and 80s. His talents as a rhythm guitar player saw him through much of his career where he played with several Nigerian bands of varying styles. After a stint in the beat group the Hykkers (which he formed whilst studying at the University of Nigeria in Nsukka) then went on to wider recognition as a member of the Funkees. Sollo then went on to play with famed Afro-rock group Osibisa. His stint working alongside group leader Teddy Osei. The Funkees had become very popular, not just in Nigeria where a rough demo of the track “Akula Owu Onyeara” was on constant rotation at the East-Central State Broadcasting Service, but the track was went on to be picked up by the BBC DJ John Peel. After successes in bands, Sollo went solo and found a steady stream of work in London as a session musician and a producer. He returned to Nigeria in 1981 where he produced “bouncy, high gloss boogie” which was incredibly in demand. He had a distinctive playing and producing style and was incredibly popular. He utilized synthesizers which were uncommon in Nigeria at the time. The 1979 “Jake Sollo” self titled album was produced for Pye / Disques Esperance in London. Touches of pop, plenty of African groove, moments of psychedelica… all bound together with Jakes distinctive guitar playing and sleek production. These are sounds that are reminiscent of African music lovers contemporary of Sollo such as David Byrne and Talking Heads, and Paul Simon in Graceland, but with a glittering grooviness that is all Jake Sollo. Sadly Jakes career was cut short when he tragically died in a car accident in 1985. Depriving the world of no doubt what would have been decades of more innovative and creative music.

File Under: Africa, Psych, Boogie
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timber

Timber Timbre: Sincerely, Future Pollution (Arts & Crafts) LP
In Tomorrow… Timber Timbre’s music has always traced a shadowed path, using cues of the past to fuse the sound of a distant, haunted now. On its fourth record – Sincerely, Future Pollution – Timber Timbre coats the stark, sensual sound of 2014’s Hot Dreams in an oil-black rainbow of municipal grime. It is the cinema of a dizzying dystopia, rattled by the science fiction of this bluntly nonfictional time. First single – “Sewer Blues” – is an ironclad groove marked by plodding, heavy rhythm, cavernous delay, and a backdrop of starry synthesizers. The scene is set with the long cold tones of album starter “Velvet Glove & Spit” and Taylor Kirk’s warm but mournful vocals. For the recording, the trio – armed with “secret weapon” Olivier Fairfield on drums – traveled to La Frette chateau outside Paris, where they looked to the studio’s array of archetypal synthesizers for the flesh of the songs. Be it the freedom of recording abroad, or the revelation of these unexplored instruments, Timber Timbre found a release from artistic constriction and created its most daring work yet. Perhaps for the first time, Timber Timbre indulged its alleged “decade drift” – from the self-titled record’s 50s doo-wop, to Creep On Creepin On’s oblique 60s folk, and Hot Dreams’ 70s caprice – allowing the tools to personify the songs. A blend of the album’s mid-apocalyptic setting and its idyllic recording, Sincerely, Future Pollution is a romance of neoteric machines and dark, futuristic hues: with promise as beautiful as it is unsettling. The result is a newfangled sound with the plastic, cinematic tint of 80s avarice. “Grifting” struts, literally grifts, a deep, synthetic funk, with brash determination never before heard in Timber Timbre’s earthy catalogue. “Moment” glints with dazzling synthesizers – hiding heartbreak with the mastery of Nick Cave’s most elegant dirges – before devolving into a fray of shredded guitar. The title track growls with low-end urgency then combusts in a cloud of chiming sequencers. “Western Questions” lurks like the exotic, deserted remnants of Hot Dreams’ “Grand Canyon,” while “Bleu Night” is electrified with vocoder verses and the poltergeist of seven billion handheld devices. If each Timber Timbre record is framed in genre play, on Sincerely, Future Pollution, the components are the most askew: the glam of Roxy Music; the plaintive pop of Talk Talk; the disquiet of Suicide; the invincibility of Talking Heads; the haunting This Mortal Coil. All (and more) unlikely references are present, tethering Timber Timbre’s experimentation to points of familiarity. The range is an acute angle from New Age to Popular French Disco Revival like Daft Punk and Air, filtered through Timber Timbre’s painterly imagination. Freshly exhumed, Sincerely, Future Pollution is a portent from the bygone year 2016:

File Under: Indie Rock
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tonstarts

Tonstartssbandht: Sorcerer (Mexican Summer) LP
Sorcerer is the first full-length studio album from Andy and Edwin White, the Florida / New York duo known as Tonstartssbandht (tahn-starts-bandit). On Sorcerer, the brothers chart a heavenly course above the storm and stress, one explored over years of touring and a poetic language forged between performers and siblings. Sorcerer offers three long form depictions of Tonstartssbandht’s boundless spirit; ambitious noise rock narratives buoyed in a swampy sonic scene of delay, distortion, and virtuosic interplay. The album displays larger lyrical concepts within the framework of a guitar and drums duo; Andy’s guitar and vocal loops creating a cascading sheet of interpretative reverb and future melodies, Ed’s high-stakes drumming divided every which way but loose, a deep canvas of cohabitating sounds. Recorded live in the living room of Le Wallet, the affectionate name of Andy and Ed’s former Bushwick, Brooklyn apartment (additional vocals were added after a move back to their hometown – and present dwellings – of Orlando, Florida), elements of the environment Sorcerer was captured – a water heater’s hiss, a passing cop car siren, the rumble of the train – bleed in and out while the music fills the room to reflect its very shape. Lyrically shaped by relapse, recovery, and lost relationships, the brothers’ harmonized voices and trademark glossolalia shade the songs of Sorcerer with a beautiful, unsettled subtext. A desirous unmaking of design happens across the three album parts, eventually recovering and cohering as an earnest, honest experience. Andy and Ed never halt their working pace, and never cease to stroll the path they’ve invented despite the challenges at hand. Intentionally striving for and then subverting self-sabotage, weathering the storm they’ve summoned, Sorcerer is the romantic abstract of this invented space and the individual’s relationship with that space. It is raw and flawed, but brilliant and real because it is intentionally so. This is Tonstartssbandht at the height of their song – and story – craft, channeling pure motion and emotion through a soulful filter at the speed of sorcery. Witness the incantation and let the spell take hold.

File Under: Indie Rock
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zeit1

Zeit: Un Giorno In Una Piazza Del Mediterraneo (Black Sweat) LP
Black Sweat Records present a reissue of Zeit’s Un Giorno In Una Piazza Del Mediterraneo, originally released in 1979. In the late ’70s, the Italian music scene’s renewed interest in sound research involved a stimulating fusion of popular elements, jazz improvisation, and suggestions of the middle-oriental classical heritage. Starting from the experience of Aktuala, the idea of a common “Mediterranean air” that could compare and harmonize rhythms and timbres of various regions, enlivened a large number of musicians. In this context, it also placed the short history of Zeit and one of their main member Andrea Tamassia, who played and recorded with Aktuala. Un Giorno In Una Piazza Del Mediterraneo, their first album, seems to be a continuation of Aktuala’s music. It presents a compendium of styles and shapes, a collection of letters and visual notes from various places (Greece, Italy, Turkey, Hungary, Maghreb, Balcan Area, etc.), rearranged in the form of a hypothetical diary, in order to create an unknown narrative scenario. In the music of Zeit, there are no formalistic or philological purposes, but it triumphs with an attitude of imaginative incorporation that is always changing. The rich poly-instrumentalism brings the rhythms of dance and ancient melodies, but also results in a palette of more abstract and ecstatic sounds, with rare experimental lyricism that approaches the Florentine ensemble to the significant European experiences of The Incredible String Band or Third Ear Band.

File Under: Folk, Rock
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zeit2

Zeit: Il Cerchio Degli Antichi Colori (Black Sweat) LP
Black Sweat Records present a reissue of Zeit’s second album Il Cerchio Degli Antichi Colori, originally released in 1981. With Il Cerchio Degli Antichi Colori, Zeit re-propose their own vision of a new cultural multi-geographical mosaic without boundaries. The sound confirms the inspired and eclectic vein of previous work, suggesting a greater conviction and maturity of intent. The arrangements tend to dilate more alchemical and hypnotic sequences, while the range of inspirations (Balkan music, Greek, Turkish, Persian, African, etc.) and the poly-instrumentalism is more precious and varied. Decisively more experimental compositions such as “Gli Antichi Colori”, “Nuovo Orizzonte”, or “Kalimba”, are indicative of an unparalleled executive expertise that flows into meditative and introspective delights by resonances now more obscure or solar. The compresence of popular European and Middle-East atmospheres act as a strong reminder to the world of dance, suggesting once again the charm of the meeting between East and West, in view of brotherhood and solidarity among peoples. So, the “Circle” relieves itself almost like a sound tale of distant and ancient Byzantine, Arab, and Christian novels, according to a nomadic spirit that finds in music the preferred journey to joy and love. This reissue includes a 7″ with two unreleased live tracks, further enriching the repertoire of one of the most original group that Italy has ever known.

File Under: Folk, Rock
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sodiac

Zodiac: Cosmic Sounds (Pure Pleasure) LP
The 1967 concept album, The Zodiac – Cosmic Sounds, features both music and spoken narration on the theme of signs of the zodiac. Based on an initial idea by Elektra chief Jac Holzman, it was a collaborative effort with music written by Mort Garson, words by Jacques Wilson, and narration by Cyrus Faryar. The early use of the Moog synthesizer was by Paul Beaver. There was no artist called either The Zodiac or Cosmic Sounds, a fact which confused some LP buyers. The back sleeve informed listeners that the record “Must Be Played In The Dark.” It was heavily played by John Peel on his Perfumed Garden shows, where he used it as a basis for a competition (he had been sent a copy by Clive Selwood, the then head of Elektra’s London office and later to become Peel’s manager). The LP was extremely popular with Perfumed Garden listeners and was mentioned in the lyrics of Geoffrey Prowse’s fan tribute to the program, “The Perfumed Garden Blues” or “John Peel’s Lament.” An absolutely essential conceptual psych masterpiece culled from the original analogue masters and pressed on 180g vinyl!

File Under: Early Electronic
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esterno giorno

Various: Esterno Giorno (Four Flies) LP
Chapter two of a compilation project centered around and inside the secret archives of RCA’s glorious soundtrack catalogue – full of unreleased tracks from great Italian soundtrack Maestros such as Gianfranco Reverberi, Armando Trovajoli, Piero Piccioni, Paolo Ormi, Nico Fidenco, and so on. Light and joyful music made for plein air sequences of 60’s and 70’s Italian cinema. Presented here is an explosive mixture of jazz, blues, funk, psychedelia, and spicy exotica, composed for a wide range of movies, from thrillers to sexy comedies, and from TV sci-fi to superhero films.

File Under: Library, Funk, Jazz, Psych

notte

Various: Esterno Notte (Four Flies) LP
A trip into unchartered Italian RCA film music vaults, including lots of unreleased gems from great Italian soundtrack Maestros such as Alessandro Alessandroni, Giuliano Sorgini, Piero Umiliani, Alberto Baldan Bembo, Giovanni Tommaso, and so on. As an uninterrupted flow of lost soundtracks from the most subversive and psychedelic age of Italian cinema, Esterno Notte evokes, above all, the night time cityscape settings of Italian movies of the 70’s (thriller, horror, erotic, comedy, noir, and action). It captures that spirit and its musical core with a captivating concentration of funk, jazz-funk, deep breaks, prog and psych – all capable of seducing even today’s dancefloors.

File Under: Library, Funk, Jazz, Psych

…..Restocks…..

David Axelrod: Messiah (RCA) LP
Badbadnotgood: III (Arts & Crafts) LP
Badbadnotgood: IV (Arts & Crafts) LP
Bad Religion: Suffer (Epitaph) LP
Bad Religion: No Control (Epitaph) LP
Bad Religion: Generator (Epitaph) LP
Beach house: Devotion (Carpark) LP
Art Blakey: Moanin’ (Blue Note) LP
Boards of Canada: Campfire Headphase (Warp) LP
Bohren & Der Club of Gore: Sunset (Pias) LP
James Brown: Funky People 2 (Get on Down) LP
Cavern of Antimatter: Blood Drums (Duphonic) LP
Children of Alice: s/t (Warp) LP
Gene Clark: No Other (Music on Vinyl) LP
Coil: Astral Disaster (Prescription) LP
Sam Cooke: One Night Stand (AS) LP
Betty Davis: Columbia Years (Light in the Attic) LP
Doom: Born Like This (Lex) LP
Flying Lotus: Los Angeles (Warp) LP
Fusioon: Danza Del Molinero (Sommer) LP
Fusioon: Farsa Del Buen (Sommer) LP
Gorillaz: s/t (EMI) LP
Kid Koala: Music to Draw To (Arts & Crafts) LP
King Crimson: Red (Disciple) LP
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) LP
King Gizzard & The Lizard Wizard: Paper Mache Dream Balloon (ATO) LP
Kraftwerk: Radio-Activity (EMI) LP
Kendrick Lamar: To Pimp A Butterfly (Aftermath) LP
Liars: They Were Wrong So We Drown (Mute) LP
Le Femme: Psycho Tropical Berlin (Bornbad) LP
Madlib: Shades of Blue (Blue Note) LP
Marine Girls: Beach Party (Cherry Red) LP
MC5: Kick Out The Jams (Rhino) LP
MF Doom: Operation Doomsday (Metal Face) LP
Moon B: Lifeworld (Growing Bin) LP
Mos Def: Black on Both Sides (EMI) LP
NOFX: Punk in Drublic (Epitaph) LP
Paternoster: s/t (Now Again) LP
Peace: Black Power (Now Again) LP
Iggy Pop & The Stooges: Raw Power (Legacy) LP
Radiohead: Kid A (XL) LP
Sinoia Caves: Beyond the Black Rainbow OST (Secretly Canadian) LP
SJOB Movement: Friendship (Cultures of Soul) LP
Smiths: Louder than Bombs (Rhino) LP
Songs: Ohia: Ghost Tropic (Secretly Canadian) LP
Spoon: Hot Thoughts (Matador) LP
Midori Takada: Through the Looking Glass (WRWTFWW) LP
Talking Heads: Speaking in Tongues (Rhino) LP
Tame Impala: Currents (Modular) LP
Tame Impala: Innerspeaker (Modular) LP
Toots & The Maytals: In The Dark (Get on Down) LP
Giuliano Sorgini: Zoo Folle (Four Flies) LP
Various: The Ballad of JFK (Iron Mountain) LP

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…..news letter #786 – harmonic…..

As usual, the next few weeks are apt to be a little slow on the releases as we move closer to Record Store Day, although, that said, there are some pretty big things out in the next couple of weeks. Anyway, we’ve got a lot on the go for RSD so you’ll want to be sure to stop in. You may have seen, the Record Store Day list is out! Check it out here. Be sure to take a look and let us know if you see anything on there you would like to see on the shelves RSD morning. And be sure to pencil RSD in your calendar for April 22nd. Enjoy….

Did you know you can receive this weekly update in your email inbox? Click here to subscribe.

….pick of the week…..

galas

Diamanda Galas: All the Way (Interavenal Sound) LP
Diamanda Galas’s All the Way is a collection of radical re-workings of traditional and jazz standards such as “All the Way,” “You Don’t Know What Love Is” and “The Thrill Is Gone” (made famous by Chet Baker). It also includes a solo piano interpretation of Thelonious Monk’s “Round Midnight, and live voice and piano interpretations of the American traditional “O Death” and the country song, “Pardon Me I’ve Got Someone to Kill.” The album includes both electric live performances (recorded in Paris, Copenhagen, and East Sussex) and studio recordings made in San Diego, CA.

File Under: Jazz, Blues, Experimental
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…..new arrivals…..

sui

Causa Sui: Live in Copenhagen (El Paraiso) 3LP Box
Live In Copenhagen captures Causa Sui at two very special nights: at the release parties of Euporie Tide and Return To Sky. Since the band seldomly performs live, this may very well be the best chance to experience what the band are capable of at their best. One show was recorded at avant-garde institution extraordinaire, Jazzhouse, while the other captures Causa Sui at legendary underground venue Dragens Hule. Both shows were recorded multitrack with an A-grade selection of mics. During these three discs Causa Sui aren’t merely running through classic cuts from the catalog. Each track is explored, reinterpreted and given new life – often straying far away from its original roots with a fervent energy. One minute the band is bluesy and heavy, the next they’re repetitive and blissed-out or venturing into a cacophony of Ayler-like sax bursts, free-form electronics, and feedback. Swedish saxophone player Johan Riedenlow joins both shows and Papir-guitar player Nicklas Sørensen occasionally adds his magic to the Dragens Hule set – including a towering 13-minute version of “Eternal Flow”, that seems to channel the energy of mid-1970s Popol Vuh, as well as a breezy cover version of Agitation Free’s “First Communication”. “Ju-Ju Blues”, from the Jazzhouse set, is Causa Sui at their most fuzzed-out and Hendrixian, reaching new improvisational heights, whereas “Dawn Passage” feels like an obvious fusion of Tame Impala and Allman Brothers. On the Dragens Hule sets, the band goes all the way out. “Portixeddu / Tropic Of Capricorn” turns Bitches Brew-era Miles Davis into a crazed sludge-fest, and fan-favorites “El Paraiso” and “Red Valley” appear here in their ultimate versions. To cap things off, the band delivers a 17-minute exclusive tribute to John Coltrane’s “A Love Supreme” featuring both Johan Riedenlow and Nicklas Sørensen.

File Under: Psych
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dylan

Bob Dylan: Triplicate (Legacy) DLX 3LP
Bob Dylan’s newest musical endeavor is the three-disc studio album, Triplicate, featuring 30 brand-new recordings of classic American tunes and marking the first triple-length set of the artist’s illustrious career. With each disc individually titled and presented in a thematically-arranged 10-song sequence, Triplicate showcases Dylan’s unique and much-lauded talents as a vocalist, arranger and bandleader on 30 compositions by some of music’s most lauded and influential songwriters. The Jack Frost-produced album is the 38th studio set from Bob Dylan and marks the first new music from the artist since Fallen Angels, which was released in early 2016. Triplicate is available in several configurations including this Deluxe 180g 3LP-set packaged in a numbered case-made book with 3 bound in swing pockets and four panel folder. For Triplicate, Dylan assembled his touring band in Hollywood’s Capitol studios to record hand-chosen songs from an array of American songwriters including Charles Strouse and Lee Adams (“Once Upon A Time”), Harold Arlen and Ted Koehler (“Stormy Weather”), Harold Hupfield (“As Time Goes By”) and Cy Coleman and Carolyn Leigh (“The Best Is Yet To Come”). The titles of the individual LPs are ‘Til The Sun Goes Down, Devil Dolls and Comin’ Home Late. Dylan notes, “I am finding these great songs to be a tremendous source of inspiration that has led me to one of my most satisfying periods in the studio. I’ve hit upon new ways to uncover and interpret these songs that are right in line with the best recordings of my own songs, and my band and I really seemed to hit our stride on every level with Triplicate.” The artist’s two previous album of classic American songs, 2016’s Fallen Angels and 2015’s Shadows in the Night, were both critically acclaimed worldwide hits and garnered Grammy Award nominations in the category of Best Traditional Pop Vocal Album. Fallen Angels achieved Top Ten debuts in more than a dozen countries while Shadows in the Night debuted in the Top 10 in seventeen countries.

File Under: Folk
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feral ohmsFeral Ohms: s/t (Silver Current) LP
Feral Ohms is a power trio from Oakland, California, led by Comets On Fire / Howlin Rain / Heron Oblivion guitar and voice fireball Ethan Miller along with animal drummer Chris Johnson (Drunk Horse / Andy Human) and the loudest bassist in fifteen counties, Josh Haynes (Nudity). The band turns the spatial pyrotechnics and expansive spirit of classic psychedelia inside out, dragging it through the punk rock era kicking and screaming and boils it down into a series of explosions that start at needle drop and end when the record does. They blast pure action and outlaw rock ‘n’ roll joy through relentless, violent musical force, blowing the doors off psychedelic rock and letting loose the raw, wild, high speed feedback wail of something massive careening off the rails and into your ears. This is Feral Ohms’ debut studio album. Recorded by Eric “King Riff” Bauer (Ty Segall, White Fence, Heron Oblivion), Phil Manley (Earthless, Wooden Shjips) and mixed with scorched Earth policy by Chris Woodhouse (Thee Oh Sees, Fuzz). For fans of The Pink Fairies, ‘80s and ‘90s Nanjo led PSF records, Motorhead, Void, ‘70s & ‘80s Australian punk and “red album” Grand Funk.

 File Under: Psych, Comets on Fire
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fucked upFucked Up: Year of the Snake (Tankcrimes) LP
Year Of The Snake is the eighth installment of the Zodiac Series from long-running Canadian hardcore punk collective Fucked Up. Fusing all the prime tenets of rock, punk, metal, and psychedelia into a comprehensive and imposing opus of unyielding enormity, Fucked Up is sonically and conceptually devouring in ways few bands can emulate. Following the releases of 2006’s Year Of The Dog, 2008’s Year Of The Pig, 2009’s Year Of The Rat, 2010’s Year Of The Ox, 2012’s Year Of The Tiger, 2014’s Year Of The Dragon, and 2015’s Year Of The Hare, Fucked Up‘s latest entry into the Zodiac Series documents the journey of self-care and opening awareness through the use of psychedelics and medicinal plants. The 24-minute epic title track follows the narrative of a trip with strange instrumentation and electronics held together sonically with the bands own loose interpretation of hardcore punk.

File Under: Punk
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fussell

Jake Xerxer Fussell: What in the Natural World (Paradise of Bachelors) LP
Entrancing guitarist and singer Jake Xerxes Fussell follows his celebrated self-titled debut (produced by William Tyler) with a moving new album of Natural Questions in the form of transmogrified folk/blues koans. This time these radiant ancient tunes tone several shades darker while amplifying their absurdist humor, illuminating our national, and psychic, predicaments. Featuring art by iconic painter Roger Brown and contributions from three notable Nathans—Nathan Bowles (Steve Gunn), Nathan Salsburg (Alan Lomax Archive), and Nathan Golub (Mountain Goats)—as well as Joan Shelley and Casey Toll (Mt. Moriah).

File Under: Folk, Blues
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geotic

Geotic: Abysma (Ghostly) LP
Ask Will Wiesenfeld to contrast his project Baths with the music made under his Geotic alias, and you’ll get a simple response: Baths is active listening, Geotic is passive listening. But behind this straightforward duality exists two projects that are equally poignant yet starkly distinct, reflective of the emotional complexities of its creator. Don’t mistake passive listening for anything remotely resembling apathy. Over the course of nine self-released albums plus a handful of singles & EPs (all released on Bandcamp), Wiesenfeld has certainly proved the contrary. With Abysma, his first release for Ghostly, Wisenfeld solidifies this notion as Geotic makes his label debut in tandem with the projects first ever physical offering. Abysma might be dance music created for at-home listening, but it’s replete with a quiet beauty and private communion that can rival anything made to command the totality of your attention span. In a world riven by noise and distraction, Abysma is as subtle as Sunday morning ritual, a tender epiphany in a bombastic fireworks show.

File Under: Electronic
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gnod

Gnod: Just Say No… (Rocket) LP
“It seems like we are heading towards even more unsettling times in the near future than we are in at present,” reckons Chris Haslam of Gnod. “2016 is just the beginning of what I see as the establishment’s systematic destruction of liberalism and equality as a reaction to the general public’s loss of faith in their system.” Charged by this outlook, Gnod’s new album, Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine, represents a hitherto uncharted level of antagonism and adversarial force for the band – an artistic statement as righteous, fervent and direct as its title. “On the surface it could almost seem like there’s no political art movement out there to oppose what’s happening, but there is – we know there is,” adds the band’s Paddy Shine. “Maybe that movement is struggling to find its voice as a cohesive whole right now but that will change.” Fueled by their militant drive and unyielding ardor, Just Say No refracts Gnod’s harsh and repetitive riff-driven rancor through a psychotropic haze of dubbed-out abstraction, with Paddy’s incendiary vocal delivery to the fore. Gnod – fiercely independent, never comfortable in one place artistically for any duration of time, always with their coordinates set on uncharted territory and the next challenge ahead, and delivering a monument of ire and iconoclasm.

File Under: Psych
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gnoomes

Gnoomes: Tschak! (Rocket) LP
Gnoomes, the threesome hailing from Perm, Russia, present Tschak!. It may only be eighteen months since the release of Ngan!, the band’s first release for Rocket Recordings, yet the band have already moved on to a sonic landscape still more adventurous and ethereal on Tschak!, not to mention an emotionally resonant approach that’s bewitching to witness. Taking in torrents of guitar, noise, and electronic extrapolations, both bliss-fully kosmische and aggressively abrasive, it exists outside of all or any convenient genres, a vivid and singular work by three dreamers-at-heart forced to manifest their vision into a psychic defense to the circumstances surrounding them. Working in splendid isolation, thanks to a studio space provided by their work for a local radio station, the band had time and space for the alchemical process of creating Tschak! entirely on their own terms. Central to this were a collection of Russian synths that they gathered, whose eccentric arpeggios and analog textures form crucial ingredients on songs like “Severokamsk” and the title track, which allows them arrive at a sound that forms a star-crossed and timeless marriage between the experimentation of krautrock and the lineage of Warp Records.

File Under: Electronic, Krautrock
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goldfrapp

Goldfrapp: Silver Eye (Mute) LP
Silver Eye, Goldfrapp’s seventh album, is dance music which evokes a pagan ritual rather than a club soundtrack. Cold, metallic electronics with a hot current of blood running through them. A 21st century moon dance. It weaves together the two strands of Goldfrapp’s music like never before. If 2013’s Tales of Us, a set of noirish folk fables, roamed the same pastoral landscape as Felt Mountain and Seventh Tree, then Silver Eye (a reference to the moon) belongs to the pulsing, electronic lineage of Black Cherry and Supernature only deeper and darker. The common thread between these two modes, apart from the consistently exquisite arrangements and Alison Goldfrapp’s extraordinary voice, is a set of enduring preoccupations, which inform both the lyrics and the visual aesthetic. “Mysticism, ecstasy, ritual, contemplation, metamorphosis, the elemental,” says Alison, who took all of the photographs and creatively directed all artwork visuals. “I’ve realised that there are things I feel passionate about on a deep level and they’re in this record.” On Silver Eye, for the first time, Alison and Will Gregory sought new collaborators as the songs were taking shape. They spent 10 days in Dallas with John Congleton, Grammy-winning producer of St. Vincent, John Grant and Wild Beasts. In London, they teamed up with electronic composer Bobby Krlic aka The Haxan Cloak. Alison describes Goldfrapp’s music-making as “a constant quest. I don’t think you ever feel like you’ve achieved everything, it’s impossible. You’re always searching, trying to attain some kind of utopia in what you do.” With Silver Eye, that search has taken them to yet another new place, one that’s full of mystery, menace and transcendent beauty. Goldfrapp’s quest continues.

 File Under: Pop, Electronic
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hills

Hills: Alive at Roadburn (Rocket) LP
Alive At Roadburn is Gothenburg based Hills’ third album with Rocket Recordings. Hot off the Swedish psychedelia revival of the past few years and after their hailed 2015 album Frid, Hills connect the dots to their country’s rich and intoxicating past with a handful of new sepia-toned tunes. Like their predecessors unholy trinity of Pärson Sound, International Harvester, and Träd Gräs Och Stenar, Hills penchant to stretch out beyond, performing what feels like openly casual exhortations into intricate Eastern tones and primal hypnotic rhythms. These four tracks sit deeply buried in oblivion, bones, skin, sweat, grooved with fearless intensity with no diminution of the interplay, spontaneity, and feeling onstage, the band are entombed in mantric repetition while the vapor trail of The Byrds’ (Untitled) epic; “Eight Miles High” descends into an Elysian Field, where the dead enjoy happy tranquility, until they come to life and rise up again.

File Under: Psych

holter

Julia Holter: In the Same Room (Domino) LP
Domino is proud to launch Documents, an irregular new series of live studio recordings designed to capture the ever-evolving arrangements of the label’s artists and bands in high fidelity. Taking its inspiration from classic BBC sessions, each Documents release will be recorded in no more than a day or two at a world class studio in London. Or at least that’s the plan. In The Same Room, a beautiful new release from Julia Holter, inaugurates the Domino Documents series. Named after a song from Holter’s 2012 album Ekstasis, this career-spanning collection is the fruit of two days recording by Julia and her tremendous band (Corey Fogel – drums/vocals; Dina Maccabee – viola/vocals and Devin Hoff – stand-up bass) at RAK Studios in the days after their main stage performance at Green Man Festival in Wales. Comprised of new arrangements of songs from three of her previous studio releases (Tragedy, Loud City Song and 2015’s breakthrough Have You In My Wilderness), Holter’s Domino Documents is an essential release for anyone who has witnessed her brilliant, beguiling band on tour around the world in the last five years as well as the perfect introduction to a truly important and innovative young artist.

File Under: Indie Pop, Electronic
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tapes

Magnetic Domain Tapes
A wonderful batch of tapes from the excellent Saskatchewan based Magnetic Domain. Three new releases, 4 sides of deep modular explorations from Chad Munson and a collection of experimental pieces for various instruments by musician and visual artist Jon Vaughn. As well as restocks of all of the still in print previous releases including Pulsewidth, Will Kaufhold, and Mehta Youngs.

File Under: Electronic, Experimental, Drone
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mastodon

Mastodon: Emperor of Sand (Reprise) LP
Emperor Of Sand finds the mighty Mastodon returning to a deeply imaginative and complex conceptual storyline that ponders the nature of time. Threading together the myth of a man sentenced to death in a majestically malevolent desert, the band conjures the grains of a musical and lyrical odyssey slipping quickly through a cosmic hourglass. “Emperor of Sand is like the grim reaper,” says drummer/vocalist Brann Dailor. “Sand represents time. If you or anyone you know has ever received a terminal diagnosis, the first thought is about time. Invariably, you ask, ‘How much time is left?'” “We’re reflecting on mortality,” adds bassist/vocalist Troy Sanders. “To that end, the album ties into our entire discography. It’s 17 years in the making, but it’s also a direct reaction to the last two years. We tend to draw inspiration from very real things in our lives.” Emperor Of Sand was recorded at The Quarry Recording Studio in Kennesaw, just outside Mastodon’s hometown of Atlanta, GA with producer Brendan O’Brien (Pearl Jam, Neil Young, AC/DC, Rage Against The Machine), who first worked with the band on their seminal 2009 album Crack The Skye. The majestic album artwork was created by Alan Brown aka Medusawolf.

File Under: Metal
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moonlandingz

Moonlandingz: Interplanetary Class Classics (Chimera) LP
Hailing from Sheffield, England, The Moonlandingz brings together bloodthirsty NME cover boys Lias Saoudi and Saul Adamczewski (of Fat White Family) with oddball synth twiddlers Adrian Flanagan and Dean Honer (of The Eccentronic Research Council). Produced by Sean Lennon, the whole is even loonier than the sum of its parts. Interplanetary Class Classics is a feast of swirling juddering synths, wailing guitars, motorik stomp and extraordinary songwriting. The Moonlandingz have proven themselves to be one of the best live bands in the UK and now they’ve produced an equally as compelling album’s worth of weird, catchy, glorious and filthy pop. Includes guest vocals by Yoko Ono, Rebecca Taylor (Slow Club), Randy “Cowboy” Jones (The Village People) and Phil Oakey (The Human League).

File Under: Psych, Electronic
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nabay

Janka Nabay & The Bubu Gang: Build Music (Luakabop) LP
Janka Nabay, the famed modernizer of indigenous Sierra Leonean Bubu music issues Build Music, his second album for Luaka Bop. The production harks back to his ‘90s Freetown cassette recordings, built on a foundation of multi-tracked drum machines, Casios, and samplers. Nabay began the process of recording with three original Bubu Gang members: Syrian-American singer-bassist Boshra AlSaadi (TEEN, Saadi), keyboardist-musicologist Michael Gallope (IE, Skeletons, Starring), and producer-engineer Daniel Schlett (Strange Weather Studios, White Bike). Soon they enlisted the help of Steve Marion (Delicate Steve) and Matthew Mehlan (Skeletons, Congotronics vs. Rockers). Mehlan ultimately played the role of producer, working closely with Nabay, AlSaadi, and Gallope to help sculpt three years’ worth of material. The result is a bubbling Bubu cocktail with Nabay as mixologist. Certain tracks retain the live band flavor of the previous record (“Build Music,” “Popeneh,” “Santa Monica” “Stop Jealous”), while others are culled from Voice Memos recorded on tour from an iPhone (“Game Over,” “Kadiatu,” “Tek Lak la Gben ba Kun”). Some are updated, reimagined versions of old songs Nabay had recorded in the 1990s (“Sabanoh”, “Angbolieh”), while others are vocals sung over original Sierra Leonean “riddims” (“Sabanoh”, “Bubu Dub”) that were created by collaborators back at home (Lanzo on D Beat, the late Tunni Boy, and the late Nfagie Kabeh of the Kabeh Brothers). Sung in Sierra Leone’s lingua franca, Krio, his native tribal Temne, as well as English and bits of Arabic, Nabay’s songs sound infectious, inventive, and entertaining on the surface. But a listen with the translations of Nabay’s lyrics in hand reveals complex layers of meaning and discontent. “Game Over” expresses a strange mixture of hope and despair. “Santa Monica” is a joyous affirmation that relates a traumatic story of being harassed by the Santa Monica police just prior to his performance at The Getty Museum. Others are drunken calls to celebrate (“Popeneh”), self-reflexive songs about the power of songwriting itself (“Build Music”), love songs (“Stop Jealous”), and pleas for social cohesion (“Combination”).

File Under: African, Highlife
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pharmakon

Pharmakon: Contact (Sacred Bones) LP
The release date of Contact marks the ten-year anniversary of Margaret Chardiet’s project, Pharmakon. While working on her newest release, she began to evaluate the project as a whole. Though the content of each record has been very different and specific, the pervading question, which has underlined them all, is what is means to be human. Her last album, Bestial Burden, focused on the disconnect between mind and body, looking at the human as an isolated consciousness stuck inside of a rotting vessel. For Contact, she wanted to look at the other side of the spectrum – the moments when our mind can come outside of and transcend our bodies.  Because an album is itself an object, she struggled with how to convey the transcendence of the physical, through a physical medium. She started to study trance states and equate her live performances to them. In trance states, music and the body are used to transcend the physical form and make contact with some outside force. In the live setting, she used sound and her body to create an exchange of energy and make contact with outside forces – humanity, empathy, the audience. This energy/empathy exchange has always been at the heart of a Pharmakon performance, but she felt that on records, it wasn’t translating. They were one-sided and flat – declarations rather than conversations. She decided to structure the compositions of each side of Contact after the four stages of trance: preparation, onset, climax, and resolution. By using these stages as a biorhythm for the album, she animates it, and instills the intention of communion into the music.

File Under: Experimental, Noise
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sadier

Laetitia Sadier Source Ensemble: Finding Me Finding You (Drag City) LP
From its percolating opening beat, Find Me Finding You locates new systems within the sound-universe of Laetitia Sadier. This in itself isn’t a surprise — Laetitia has relentlessly followed her music through different dynamics and into a variety of dimensions over the course of four solo albums since 2010 (not to forget the long era of Stereolab) — but the nature of the construction here stands distinctly apart from her recent albums. Laetitia was inspired by a mind’s-eye envisaging of geometric forms and their possible permutations. As she sought to replicate the shapes in music, this guided the process of assembly for the album. Part of the freshness of Find Me Finding You comes from working and playing within the Source Ensemble and exploring new sound combinations via a set of youthful and evolving musical relationships. The designation of Source Collective implies a new togetherness phase; alongside long-time collaborators Emmanuel Mario and Xavi Munoz, keyboard and flutes parts played by David Thayer (Little Tornados) were essential contributions, as well as further keys, synths and electronics from Phil M FU and several intense guitar sequences from Mason le Long. Chris A Cummings (aka Marker Starling, Laetitia’s favorite composer) graciously wrote “Deep Background” for her. The duet with Hot Chip’s Alexis Taylor on “Love Captive” (not to mention Rob Mazurek’s distinctive coronet playing!) gives voice to an ideological cornerstone of Find Me Finding You — that, should we be responsible enough to endeavor into a world of basic incomes and open relationships, we would make astonishing strides as a society. These sorts of things can only be done in agreement with others. Expressing great compassion and expectation with startling immediacy, as well as an abiding belief in an underlying unity that permeates and intimately binds all things and beings, Find Me Finding You combines a rigorous process for music-making with a deeply invested mindset, making captivating music that promises many stimulating spins to come!

File Under: Indie Rock, Stereolab
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saltland

Saltland: A Common Truth (Constellation) LP
A Common Truth is the second album by Saltland, the solo project of veteran Montréal cellist and composer Rebecca Foon. Following the acclaimed 2013 debut I Thought It Was Us But It Was All Of Us, Foon performed Saltland live in various successful configurations, but as the concept and compositions for a new album began to materialize, she wished to further expand on an approach with her cello as primary source for all sounds on the record. Combining unadulterated, processed and sampled cellos, A Common Truth largely reflects this commitment and results in an album of gorgeous integrity, restraint, and meditative intensity. The one notable exception: longtime friend and prior collaborator Warren Ellis (Nick Cave, Dirty Three) is the album’s special guest player, contributing violin, pump organ and loops to the album’s four instrumental tracks. Working with engineer Jace Lasek (The Besnard Lakes), Foon has produced a song cycle that alternates between wordless instrumentals and lyric-driven pieces, balancing austere, organic intimacy and lush, multi-layered expansiveness. The analog warmth of Lasek’s naturalistic rock production anchors Saltland’s juxtaposition of dry and processed strings, with the placement of Foon’s voice very much within the mix but never veiled or concealed; a voice described as “an instrument of somnolent, gossamer allure which floats gracefully amid the eddying, amniotic music” (Mojo, 2013). Electronic music strategies, via signal processing and re-sampling, are deployed minimally and judiciously – and all the more powerfully as such. A Common Truth also importantly channels other strands from Rebecca’s life: the record is about climate change and marks an attempt to musically translate a complex mix of emotional, social and political resonances in this regard. The album’s atmosphere and pace is guided by the coexistence of optimism and despair, resolve and resignation, the intimacy of the local/personal and the hope of the global/collective. Foon has devoted much of her life in recent years to working for decarbonization, land conservation and renewable energy – as a member of Sustainability Solutions Group cooperative, as founder of the conservation charity Junglekeepers, and as co-founder of Pathway to Paris, an international concert series bringing together musicians, writers and activists to help raise consciousness toward implementation of a robust international climate agreement. Rebecca Foon’s new Saltland album A Common Truth is a compelling coalescence and fullest musical expression of the inspiring trajectories charted by this committed and renowned artist, activist and organizer. Thanks for listening.

File Under: Indie Rock
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wire

Wire: Silver/Lead (Pink Flag) LP
Silver/Lead is the fifteenth studio album from musical pioneers Wire. It arrives on the 40th anniversary of their debut performance. Yet it’s about as far from nostalgia as you could get. This is the sound of a uniquely addictive 21st century psychedelic post-punk. Colin Newman and Matt Simms’s guitar work is alternately jagged and luminous, while bassist Graham Lewis’s ear-catching lyrics are vivid yet oblique. Meanwhile, drummer Robert Grey provides a virtual masterclass in percussive minimalism. But it’s how the various instruments mesh together that really counts. And Newman’s production creates a sonic space in which even the smallest gesture is accorded some recognition. Highlights include the optimistic dazzle of “Diamonds In Cups,” with its almost T. Rex-style buzz and chug, and the moody swing of “This Time.” Elsewhere on the musical spectrum, there’s the menacing widescreen grandeur of “Playing Harp for the Fishes” and breakneck-paced guitar pop of “Short Elevated Period.” Wire are one of the world’s most ground-breaking bands, their influence acknowledged by bands as diverse as Blur, Sonic Youth, R.E.M. and Savages. But they have never been interested in exploiting past glories. For Wire, there is only ever one possible direction: forwards. So it’s perhaps not surprising that over recent years, they’ve played strings of sold-out shows, achieved career-best record sales, and been cited as a strong influence by yet another generation of bands. Wire’s last three albums garnered nothing but rave reviews from 2013’s strangely beautiful Change Becomes Us to the crackling motorik of 2015’s Wire and 2016’s punchy mini-album Nocturnal Koreans. Consequently, although it may be being released on the band’s 40th anniversary, Silver/Lead is an album which has nothing to do with the past and everything to do with the future.

File Under: Rock, Post Punk
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…..Restocks…..

Arcade Fire: Funeral (Merge) LP
Boris: Pink (Sargent House) LP
Charles Bradley: Victim of Love (Daptone) LP
Johnny Cash: At Folsom Prison (Legacy) LP
Creation: Action Painting (Numero) LP
Daughters: Hell Songs (Hydrahead) LP
Godspeed You Black Emperor: Lift Your Skinny Fists (Constellation) LP
Greg Graffin: Millport (Anti) LP
Jimi Hendrix: Are You Experienced (Reprise) LP
Jimi Hendrix: Axis: Bold As Love (Reprise) LP
Daniel Johnston: Hi How Are You (Eternal Yip) LP
Madlib: Bad Neighbor (Bang Ya Head) LP
Modest Mouse: The Lonesome Crowded West (Glacial Pace) LP
Moondog: Snaketime Series (Moondog) LP
Nine Inch Nails: Ghosts i-iv (Halo) LP
NOFX: White Trash (Epitaph)
NOFX: The Decline (Fat Wrecks) LP
Parquet Courts: Human Performance (Rough Trade) LP
Pink Floyd: Animals (Pink Floyd) LP
Rag’n’Bone Man: Human (Sony) LP
Rancid: Life Won’t Wait (Epitaph) LP
Rancid: And Out Come The Wolves (Epitaph) LP
Six Organs of Admittance: Burning the Threshold (Drag City) LP
Smog: A River Ain’t Too Much To Love (Drag City) LP
Smog: Knock Knock (Drag City) LP
Spoon: Hot Thoughts (Matador) LP
Stars of the Lid: And Their Refinement of the Decline (Kranky) LP
Tool: Opiate (Zoo) LP

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…..news letter #784 – case…..

Well, just when we thing it’s spring, it starts to snow again! As long as it gets this out of it’s system before April 22nd cuz you know what that is right? Everyone’s favorite day to line up outside to buy all the records! If you haven’t seen, the rumored RSD list is starting to float around, but next week the official list drops. Be sure to take a look and let us know if you see anything on there you would like to see on the shelves RSD morning. Enjoy….

…..pick of the week…..

brio-full-shot-illuminated

Rega Brio Integrated Amplifier
The new Brio is here! The Brio has a completely new case to house its improved circuits and parts. It now sits in a fully aluminium two-part case which boosts the Brio’s heat sinking capabilities and improves on Rega’s already solid build quality and reliability. The new Brio has a cleverly integrated headphone socket specially designed to avoid interference with the audio circuit when not in use and as you would expect, a very high specification moving magnet phono stage is built in as standard. Throughout the design process the Brio has been meticulously improved in every aspect, from the quality of materials to the manufacturing process, to make this new Brio a step ahead in Rega’s engineering and design for amplifiers.

File Under: Gear, Rega, Amps

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…..new arrivals…..

anohni

Anohni: Paradise (Secretly Canadian) 10″
The revelry of 2016’s Hopelessness helped reinvent Anohni (fka Antony and The Johnsons) in the mold of staunch political agitator. Self-aware and self-flagellating, Anohni speaks of deep concern for our very livelihood, as a species and as a civil society. Critically acclaimed, Hopelessness came to represent a new and necessary musical language. Anohni’s Paradise EP is the extension, into 2017, of a language of protest and distress. The songs – already featured in her arresting live performances – were made during the same sessions as Hopelessness, but rather than trimmings or bonus material, they are, instead, unique touch points for old problems and newly minted geo-political crises writ macabre. Hudson Mohawke and Oneohtrix Point Never co-produced the EP. Available on 10″ vinyl with art featuring portraits of the performers at Anohni’s worldwide shows.

File Under: Electronic, Indie Rock
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brotz1

Brotzmann/Van Hove/Bennink + Mangelsdorff: Elements (Cien Fuegos) LP
In tomorrow… Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary “Berlin Trilogy” originally released by FMP in 1971 (FMP 0030). 180-gram vinyl. One-time pressing of 500. First standalone reissue. “What reveals itself in the über energetics on display here is the ability of one quartet to take so much for granted and yet express so much in the process. Van Hove, for instance, shuns all conventions in his approach to the piano: he quotes Liszt and Schubert as well as Ellington and Peterson then wipes all of them out with his elbows as if erasing a chalkboard. His ‘Florence Nightingale’ is a perfect example. Texturally, he creates diversions from the fury while never disengaging from it. Brötzmann and Mangelsdorff are out and out challenging each other to see who can destroy their instruments first, and Han Bennick is the most proactive percussionist in jazz history. His use of anything and everything while simultaneously playing a trap kit that creates time is astonishing. Elsewhere, on Brötzmann’s ‘Elements,’ African percussion and slow, long opened tonal drones by Mangelsdorff create a backdrop for the other two to explore without rushing in. Brötzmann enters almost tenderly, looking for a room to exit out of, but engaging himself in the microtonalities created by the rhythm section. Van Hove’s long augmented chords create a mode for not opening but splintering that exit and Brötzmann ushers the band through in a hurry heading for the outer reaches of the possible. . . . one of the best documents of the period on any continent.” –Thom Jurek, AllMusic, 1991

File Under: Free Jazz

brotz2

Brotzmann/Van Hove/Bennink + Mangelsdorff: Couscouss de la Mauresque (Cien Fuegos) LP
In tomorrow… Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary “Berlin Trilogy” originally released by FMP in 1971 (FMP 0040). 180-gram vinyl. One-time pressing of 500. First standalone reissue. “Brötzmann’s regular trio was joined by the trombonist Albert Mangelsdorff, one of the most respected German jazz musicians, who has managed to keep abreast of musical developments for more than a decade. Those who remember him only for those fine early-sixties albums (like Tension, on German CBS) will be in for a shock, because he’s updated his playing all the way. On ‘Couscouss De La Mauresque’, for instance, his tonal distortions rival those of Paul Rutherford, as he backs Brötzmann’s wailing with a rip-snorting obligato. He has the advantage of being a virtuous technician, so that some of his wilder flights are truly breathtaking. . . . Mangelsdorff’s technique doesn’t hinder his fire, either, and he’s well able to stand up to the rest of this very hairy band. Van Hove and Bennink obviously know each other inside out by now, and you’ll hear few more exciting passages of music than their interlude during the trombonist’s solo on ‘Couscouss’. Bennink is getting further into textures every day, and on this album makes great play with his steel-drum and many unidentifiable implements, thus giving the music a great deal of variety. If you wanted to buy just one of these records, it would be very hard to choose because the level is so high throughout.” –Richard Williams, Melody Maker, February 5, 1972

 File Under: Free Jazz

brotz3

Brotzmann/Van Hove/ Bennink + Mangelsdorff: The End (Cien Feugos) LP
In tomorrow… Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary “Berlin Trilogy” originally released by FMP in 1971 (FMP 0050). 180-gram vinyl. One-time pressing of 500. First standalone reissue. “The great thing about this trilogy/set is how naturally everything flows. . . . each subdividing of the group, each solo excursion, feels smooth and logical, as though the player(s) in question had nodded to the others as if to say ‘Gimme a minute here, I’ve got an idea,’ and received assent in response. There’s all the ferocity any free jazz diehard could ask for, but it never goes on so long that it becomes schtick, and it’s always countered by passages that are genuinely beautiful in the most conventional, you-could-play-this-for-your-mom sense. Even without Mangelsdorff, Brötzmann, Van Hove and Bennink were a remarkably empathetic and attuned team, and when he joined them (and these records document their second and third times playing together, ever), everyone’s game was raised.” –Phil Freeman, Burning Ambulance, 2013

File Under: Free Jazz

cannibale

Cannibale: No Mercy For Love (Born Bad) LP
In tomorrow… Still unknown in rock territory, French band Cannibale gets its name from its “kind of exotic garage” music whose humid tropical groove is slowly eating up all the stereotypes about Born Bad Records releases. If there’s cannibalism to be found in No Mercy For Love, it’s in reference to the Caribbean rhythms here-and-there, and to the psychedelic sound from the backwoods that make this first album a peculiar occurrence in the land of strikes and wine drinkers. There’s never any silence with Cannibale and, as for the lambs, stick to the village in the middle of nowhere where the band members reside – a hamlet in Normandy with a total population of 300, including the cows. Rather than human flesh, these guys have been feeding on their own impatience. Lead guitarist Manuel and singer Nicolas met in junior high (which is the case for 99% of rock bands so far), but the members of Cannibale have a Frustration type profile – almost all of them are over forty. During the last twenty years, with unbending faith, these guys played in loads of bands that never made it to the top (Amib, De Rien, 7Questions, Kouyaté Neerman, Renza Bo, Blast) and even ended up playing as session musicians alongside Camile Bazbaz or Johnny Halliday. After winning the Inrocks Labs contest with Bow Low, their penultimate band, and releasing two albums with Because, the Norman guys finally decided to create Cannibale in 2016. In theory, considering the beginning of their career, or lack thereof, you couldn’t imagine you’d end up hearing the sounds from No Mercy For Love: a surprising mixture of cumbia, African rhythms and garage music. Or, if you will, a kind of missing link between Fela Kuti, The Doors, and The Seeds. A bunch of forty year-olds whose origins are as white as their soul is black. “Releasing the album in our forties, we think it’s a laugh. Of course we keep on believing, it’s all we do, it’s what’s keeping us alive.”

File Under: French, Garage, Psych
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ciulliniDaniele Ciullini: Domestic Exile Collected Works 82-86 (Ecstatic) LP
In tomorrow… Ecstatic resuscitate Daniele Ciullini’s “sonic polaroids” of odder ’80s pop, drone, and drum machine workouts in the detached dimensions of Domestic Exile: Collected Works 82-86. Compiling the Florentine artist’s standout ’83 cassette plus a whole other side of compilation obscurities on vinyl for the first time, it presents a series of brilliant, isolated self-portraits by a mail art and tape scene insider (also photographer, zine publisher) who operated on the periphery of electro-industrial and ambient zones. His music is little known outside of Italy, so all credit is due to Alessio Natalizia for bringing his wide-ranging and prescient work to a broader audience here. As Ciullini’s pal and bandmate in The Cop Killers (along with Masami Akita, no less), Vittore Baroni states on the liner notes that Domestic Exile was produced when Ciullini was in his late 20s and therefore possesses a more measured, mature approach than many of his contemporaries who were also scrabbling around similar sounds. Using the instantly identifiable Boss DR-55 and Roland TR 606 drum machines, plus a 303, Fender Stratocaster Electric, and Yamaha CD-5 fed direct to TEAC tape deck, these are beautifully concise, dynamic glimpses of a sharpened mind at work, proving equally adept at nipping shifty industrial drum patterns as well as brooding proto-shoegaze with “Soft Marble”, or European synth expressions like “Flowers in the Water”. A massive recommendation for fans of Chris Carter’s The Spaces Between (1980), early The Human League or John Bender. Compiled by Not Waving. Edition of 500.

File Under: Electronic, Experimental, Ambient
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cohn

Al Cohn: Cohn on the Saxophone (Modern Harmonic) LP
Al Cohn first sprung on the national scene as one of the saxophonists on the Woody Herman hit “Four Brothers,” a crazy arrangement of “Jeepers Creepers” featuring each “brother” on a wild-and-crazy swingin’ saxophone solo. Along with fellow “brother” Zoot Sims, Cohn became one of New York’s leading sax men, forming with Sims in a quintet that played in the hot beatnik jazz scene of the day, even backing up Jack Kerouac on a few poetry recordings. Cohn on the Saxophone finds our man Cohn taking the lead on a series of great jazz standards. Al’s sax voice on this session is smooth, lyrical; almost like he’s talking to you or telling a story. Dig his smooth, supple playing on “We Three,” or the gorgeously blue-toned notes he hits on “Singing The Blues” — Cohn is very much a man at home with his instrument, and the band lays back and lets him spin his tales. When Cohn on the Saxophone was originally issued in 1956, Downbeat magazine gave it the prestigious and rare five-star rating — and over 60 years down the pike it still sounds as vital and delicious as it did when it was released. This lost jazz classic is finally yours to enjoy again, pressed onto colored vinyl, and neatly slid into a beautifully restored package. Only on Modern Harmonic!

File Under: Jazz
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constant

Constantine: Hades (Bedouin) LP
In tomorrow… “The expression of two years’ field recording on the Greek islands of Kalymnos and Lesbos — deep inside a network of caves, and in the teeth of torrential winter storms — with added strings, grand piano, live drumming and orchestral percussion, in its confluence of ‘modern classical, metallic drone, dark ambient, and fuzz’. Guided by Steve Reich, Mika Vainio and Henri Bergson; haunted and spurred by the refugee crisis.”

File Under: Ambient, Electronic, Classical
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dixon

Reverend Sam Dixon: My Soul Says Yes (Asherah) LP
In tomorrow… “DIY gospel, privately emitted from Ozone Park, Brooklyn sometime in the late 1970’s! Luckily for us, Rev. Samuel Dixon’s Samdy label stayed in business long enough to get a few copies of this deep soul children’s choir treasure into the atmosphere. Buried for 40 years, finally aloft for a new generation of homemade music fans” –Rob Sevier, Numero Group

 File Under: Gospel, Blues
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dodec

Dodecahedron: Kwintessens (Season of Mist) LP
Dodecahedron returns after four years to take black metal by the horns and launch the genre to new heights with their sophomore album Kwintessens. The band conjures a unique sound that is as alien as it is terrifying; dragging the listener through a horrific journey of atonal and dissonant moments, jarring tempo changes, and dramatic shifts in composition. Kwintessens sees Dodecahedron embrace the shifting from the light to the dark as they masterfully guide their signature style of bizarre, uneasy aggression into passages of cold, threatening calm. Kwintessens marks a new evolution for a band far ahead of their peers, and spares no one in its path of sonic demolition.

File Under: Black Metal
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jacaszek

Jacaszek: Kwiaty (Ghostly) LP
Michal Jacaszek is an absolute master of melancholy: the Polish composer who’s spun dramatic shades of darkness and light into gold for more than a decade now, from the trickle-down electronics of Treny and artful gloom of Glimmer to the vapor-trailed verses of their looming spiritual cousin Kwiaty. The album – which was inspired by An English anthology of metaphysical poetry from the 17th century – is the most vocal-driven material Jacaszek’s ever written, melding his stormy melodies with a breakout performance by Hania Malarowska (of the Warsaw-based rock band Hanimal) and the robust supporting roles of Joasia Sobowiec-Jamioł and Natalia Grzebała, with lyrics adapted from poems from Virgil and Robert Herrick.

File Under: Ambient, Electronic
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nouvelle1

Nouvelle Vague: s/t (Kwaidan) LP
Bossa Nova = Neuvelle Vague = New Wave. This transliteration was the starting point for Marc Collin and Olivier Libaux’s unique project Nouvelle Vague which by appropriating the punk and post-punk cannon and running it through the Bossa Nova filter, reinvented the cover band genre, revealing new and brilliant talents along the way including Camille, Phoebe Killdeer, Nadeah, Melanie Pain and Liset Alea. Nouvelle Vague is the revered French group’s 2004 self-titled debut. The album consists entirely of easy listening and bossa nova versions of songs that were written and recorded during the post-punk/new wave era by the likes of Joy Division, Depeche Mode, The Clash, Public Image Ltd, XTC and The Cure among others. And in an interesting twist the songs were recorded with female vocalists who were unfamiliar with the tunes they would be covering. Repress comes on colored 180g vinyl and includes MP3 download of the full album.

File Under: Bossa Nova, French, New Wave
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nouvelle2

Nouvelle Vague: Bande a Part (Kwaidan) LP
Bossa Nova = Neuvelle Vague = New Wave. This transliteration was the starting point for Marc Collin and Olivier Libaux’s unique project Nouvelle Vague which by appropriating the punk and post-punk cannon and running it through the Bossa Nova filter, reinvented the cover band genre, revealing new and brilliant talents along the way including Camille, Phoebe Killdeer, Nadeah, Melanie Pain and Liset Alea. Bande à Part is the revered French group’s second album, originally released in 2006. Like their eponymous debut, it’s a compelling collection of bossa nova cover versions of ’80s new wave tracks from artists like Echo & the Bunnymen, Buzzcocks, Blondie, New Order, The Smiths, Siouxsie and the Banshees and U2 among others. Repress comes on colored 180g vinyl and includes MP3 download of the full album.

File Under: Bossa Nova, French, New Wave
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nouvelle3

Nouvelle Vague: 3 (Kwaidan) LP
Bossa Nova = Neuvelle Vague = New Wave. This transliteration was the starting point for Marc Collin and Olivier Libaux’s unique project Nouvelle Vague which by appropriating the punk and post-punk cannon and running it through the Bossa Nova filter, reinvented the cover band genre, revealing new and brilliant talents along the way including Camille, Phoebe Killdeer, Nadeah, Melanie Pain and Liset Alea. 3 is the revered French group’s third album, initially released in 2009. As with their previous releases, it consists entirely of cover versions, mostly of post-punk and new wave songs from the ’70s and ’80s. Four of the tracks are performed as duets, featuring the song’s original vocalist performing alongside one of Nouvelle Vague’s female singers. Repress comes on colored 180g vinyl and includes MP3 download of the full album.

File Under: Bossa Nova, French, New Wave
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omari

Abdou El Omari: Nuits D’Ete Avec Naima Samin (Radio Martiko) LP
In tomorrow… First issue of this previously unreleased oriental psych monster from the organ king of Casablanca, combining traditional rhythms with spaced out modern sounds. Nuits D’ete Avec Naima Samin is the second part of Abdou El Omari’s Nuits-trilogy. This album contains heavenly compositions for the Moroccon diva Naima Samih and some moody instrumentals in a similar vein to the previous album, Nuits D’ete. Includes download code.

File Under: Psych, Electronic, Morocco
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pinback

Pinback: Some Offcell Voices (Temporary Residence) LP
In the early days of Pinback, they were known mostly as two lauded musicians who spent their spare time away from their primary projects (Three Mile Pilot, Thingy, Heavy Vegetable) to hone their home recording skills while experimenting with ideas, tones, and instrumentation that didn’t quite fit into those primary projects. Pinback hadn’t yet become their day job; it hadn’t yet become a well-oiled 5-piece touring machine; and it had no idea where it was going to go. In retrospect, that earnest curiosity is what makes those early Pinback recordings so resonant and so unique, and what separated them from every indie rock band of this century.  Every bit as powerful and expressive as their first two albums, the 1999 EP, Some Voices, and the 2003 EP, Offcell, famously bucked the perception of EPs as outtakes and toss-offs. What were ostensibly minor stopgaps between albums became massive fan favorites and staples of Pinback’s live show. Having never been released on vinyl, it’s only fitting that Temporary Residence revisit these poignant recordings – and take the opportunity to painstakingly remaster and repackage them into the full-length album that never was, the aptly named Some Offcell Voices.

File Under: Indie Rock
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raney

Jimmy Raney: Visits Paris (Modern Harmonic) LP
By the time Jimmy Raney recorded the ultra-cool Visits Paris, he was already at the peak of his career. Having started in 1944 with the Jerry Wald band, he’d pass through a passel of great jazz combos before ending up with Stan Getz in his classic quintet. There, the guitarist became world-renowned, and just weeks before cutting this album, in 1954, he was voted the number one guitarist in the world by French magazine Le Hot Jazz. The album finds Raney on a (very) brief break from touring France, taking the opportunity to cut an album with some local musicians and putting himself very much in the foreground after having been a sideman on previous projects. He spins through a variety of songs, from his solo composition “Tres Chouette” (translation: “very cute”) to standards such as “Night and Day” and “Love For Sale” with his trademark smooth guitar style. The French band is very much up to the challenge, and the album’s bubbling energy on songs like “Too Marvelous For Words” is positively infectious. Long a sought-after jazz classic, Visits Paris is finally available again and pressed onto colored vinyl with lovingly-restored artwork. Only on Modern Harmonic!

File Under: Jazz
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realestateReal Estate: In Mind (Domino) LP
In Mind, the fourth full-length record from Real Estate, is a portrait of a mature band at the height of its power. Long respected for their deft lyrical hand and gorgeous melodies, In Mind builds upon the band’s reputation for crafting perfect songs and carries Real Estate even deeper into the pantheon of great songwriters. On the new record, the band fine-tunes the winsome songwriting and profound earnestness that made previous albums – 2009’s Real Estate, 2011’s Days, and 2014’s Atlas – so beloved, and pushes their songs in a variety of compelling new directions. Written primarily by guitarist and vocalist Martin Courtney at his home in Beacon – a quiet town in upstate New York – In Mind offers a shifting of the gears, positing a band engaged in the push/pull of burgeoning adulthood. Reflecting a change in lineup, changes in geography, and a general desire to move forward without looking back, the record casts the band in a new light – one that replaces the wistful ennui of teenage suburbia with an equally complicated adult version. The record not only showcases some of the band’s most sublime arrangements to date, it also presents a leap forward in terms of production, with the band utilizing the studio as a tool to broaden the sonic landscape of their music to stunning effect. Recorded in Los Angeles with producer Cole M.G.N. (known for his work with the likes of Beck, Snoop Dogg, Dam-Funk, Nx Worries, and Julia Holter), the eleven tracks on In Mind deliver the same kind of warmth and soft-focus narratives that one has come to expect from the band – pastoral guitars, elegantly deployed arrangements, a sort of mindful melancholy – but there is also a newly adventurous sonic edge to the proceedings. Album opener – the ebullient pop number “Darling” – announces itself with a wash of synth tones rather than guitars. Elsewhere, on tracks like “Serve the Song” and “Two Arrows,” guitarist Julian Lynch employs a variety of distorted guitar sounds that might have felt out of place on previous Real Estate records, with the latter track stretching out beyond the six-minute mark – the closest thing to a jam the band has ever recorded. The band’s predilection for crafting airtight pop songs remains in full-effect here, with songs like “Stained Glass” and “Same Sun” occupying the same kind of rarefied universe as fan favorites like “Talking Backwards” or “It’s Real.” Glittering pop moments aside, the record’s most stunning moments are arguably it’s most restrained – “After the Moon” unspools in waltz-like fashion, while album closer “Saturday” offers In Mind’s most pointed take on moving beyond the fascinations of youth.

File Under: Indie Rock
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russell

Arthur Russell: Instrumentals (Audika) LP
In tomorrow… “Remastered double LP with 12 page booklet including liner notes by Tim Lawrence, Ernie Brooks and Arthur Russell. All material previously released on the Audika CD compilation First Thought Best Thought (2006). Before disco, and before the transcendent echoes, Arthur wanted to be a composer. His journey began in 1972, leaving home in Oskaloosa, Iowa. Heading west to Northern California, Arthur studied Indian classical composition at the Ali Akbar Khan College of Music followed by western orchestral music at the San Francisco Conservatory of Music, before ending two years later in New York at the Manhattan School of Music. Traversing the popular and the serious, Arthur composed Instrumentals in 1974, inspired by the photography of his Buddhist teacher, Yuko Nonomura, as Arthur described, ‘I was awakened, or re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music.’ Initially intended to be performed in one 48 hour cycle, Instrumentals was in fact only performed in excerpts a handful of times as a work in progress. The legendary performances captured live in New York at The Kitchen (1975 and 1978) and Franklin St. Arts Center (1977) feature the cream of that eras downtown new music scene including Ernie Brooks, Rhys Chatham, Julius Eastman, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Bill Ruyle, Dave Van Tieghem, and Peter Zummo. Pitchfork lauded Instrumentals Vol. 1 as a masterpiece and one of Arthur’s ‘greatest achievements’. Americana touching on Copeland, Ives, and maybe even Brian Wilson. Instrumentals Vol. 2 is a moving, deeply pastoral work performed by the CETA Orchestra and conducted by Julius Eastman. Also included are two of Arthur’s most elusive compositions, ‘Reach One’, and ‘Sketch For Face Of Helen’. Recorded live in 1975 at Phill Niblock’s Experimental Intermedia Foundation, ‘Reach One’ is a minimal, hypnotic ambient soundscape written and performed for two Fender Rhodes pianos. ‘Sketch For Face Of Helen’ was inspired by Arthur’s work with friend and composer Arnold Dreyblatt, recorded with an electronic tone generator, keyboard and ambient recordings of a rumbling tugboat from the Hudson River. For this remastered vinyl edition, a key part of Arthur’s musical life has been restored. The sparkling, multidimensional results take the listener closer to Arthur’s coast-to-coast journey: his iconoclastic determination to combine pop and art music; and his desire to make music that would resonate in the present and, ultimately, across time.”

File Under: Ambient, Classical, Experimental
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spectres

Spectres: Condition (Sonic Cathedral) LP
In tomorrow… The follow-up to Spectres’ acclaimed 2015 debut Dying, Condition was recorded by Dominic Mitchison and mastered by Frank Arkwright at Abbey Road in London. It’s louder and more abrasive than their debut, but also a real progression. It sounds huge and adds a genuinely innovative and confrontational edge. “There were discussions about experimenting with electronics, but the idea soon petered out when we realized we still wanted to experiment with guitars,” reveals singer and guitarist Joe Hatt. As a result tracks such as “End Waltz” have a relentlessly pounding, almost techno structure, in contrast to the kinetosis-inducing dirge of “Dissolve”. Elsewhere, the almost restrained (by Spectres’ standards) white noise and wordplay of “A Fish Called Wanda” and the sprawling “Colour Me Out” are counterbalanced by brutal assaults such as “Neck” and “Welcoming The Flowers”. “On this album we became even less interested in actually playing guitar,” explains Hatt, “which meant that we got more into experimenting with the sounds we could get out of them when brutalizing them and letting the feedback do the talking.”

File Under: Noise Rock
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spoon

Spoon: Hot Thoughts (Matador) LP
Hot Thoughts is the bravest, most sonically inventive work of Spoon’s trend setting career. With all due respect to earlier efforts which have made the quintet both critically acclaimed and a commercial contender, preconceptions about this band are about to be obliterated. That’s not to say Hot Thoughts doesn’t have a requisite supply of infectious earworms but there’s a lyrical bent that’s as carnal as it is crafty, and a newfound sense of sonic exploration that results in the genre smasher Spoon have flirted with in the past but not fully consummated. Produced by Dave Friedmann and back with Matador (third time’s the charm) helps position Spoon to mount the highest highs of their already spectacular career. Matador is overjoyed to be back in the Spoon business and in time for Britt Daniel’s spot in the pantheon of rock’s genius songwriters was well established way back – with the crackling, incandescent, multi-dimensional backdrop conjured on Hot Thoughts, the lines between accessible and experimental become non-factors for once and all. It’s pop as high art, delivered with total confidence and focus.

File Under: Indie Rock
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drunk

Thundercat: Drunk (Brainfeeder) 4×10″
Stephen Bruner, aka Thundercat returns with his follow up to 2015’s The Beyond / Where the Giants Roam. The latest album titled Drunk is released via Brainfeeder and features production from Flying Lotus. Following his Grammy award winning contributions on Kendrick Lamar’s To Pimp A Butterfly, Bruner delivers arguably his most ambitious work to date. Vocal features include Michael McDonald and Kenny Loggins, Kendrick Lamar, Wiz Khalifa and Pharrell. In addition to Lamar, Thundercat has worked with a wide range of artists including Erykah Badu, Childish Gambino, Mac Miller, Ty Dolla $ign, Bilal, Suicidal Tendencies, Kamasi Washington, Terrace Martin and more making him one of the most in demand musicians of our time.

File Under: Hip Hop, Fun, Soul, RNB, Disco, Electronic
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turinn

Turinn: 18 1/2 Minute Gaps (Modern Love) LP
In tomorrow… Outta the shadows and into the strobe-light, Alex Lewis, aka Turinn, debuts on Modern Love with a debut double-pack of sawn-off bruk-beats and anxious, nerve-riding grooves brewed in the ravines of North Manchester. Turinn emerges from a new generation of producers in the city that include longtime spar Willow, and upcoming producer Croww. Crooked and rugged, but tempered by an acute emotive sensitivity, 18 1/2 Minute Gaps renders a bleedin’ cross-section of mongrel, hybrid style ‘n pattern in a breathless, deceptively freehand fashion that comes riddled with an electric blue energy all of its own. Committing ten tracks of fractious, mutant funk and sore feels, 18 1/2 Minute Gaps serves to cap Turinn’s formative phase of production like a lead lid on a nuclear rave implosion; trapping original ‘ardcore ‘nuum, Detroit booty and dank post-punk elements in a perpetual flux of in-the-pocket grooves which ravenously attempt to split at the seams, alternately pushing into Muslimgauze-like buffer zones of distortion or resoundingly wide ambient dimensions, and often both at once. This ambiguous dichotomy is epitomized between the rare surge of quick/slow torque in “Ovum”, which almost sounds like Chris Carter sparring with Burial Hex, and then in his nod to the Italian new wave with “Elba”, which seems to find the square root between Lorenzo Senni and some skudgy as heck Kassem Mosse grind, whereas the bittersweet soul of “1625” finds compatible links with his close peer, Workshop’s Willow as well as Japan’s Shinichi Atobe and scene enabler Move D, while “Parratactico” swaggers into quantum dancehall meters. The album title track runs at a next level Detroit momentum like DJ Stingray flipping Derrick May and Carl Craig’s “Kao-tic Harmonies”, before “ESO” cuts in like a super cranky El-B wearing itchy Primark underwear, and the bone-rattling hardcore jungle of “Spawn” soon enough gives way to the sweet lad couplet of “Petrichor” and “Ondine”, where his elusive, distressed melodic touch really shines thru. Mastered and cut by Matt Colton at Alchemy; Pressed at Pallas.

File Under: Electronic, Dub, Techno
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typhonian

Typhonian Highlife: The World of Shells (Kraak) LP
In tomorrow… Typhonian Highlife is the new moniker of Spencer Clark. Clark is the ultimate shape-shifter, a trickster continuously mutating from a sci-fi hero, into a mystic guru or into a speculative visionary. As Typhonian Highlife, he assimilates juxtapositions of the natural world and fantastic technology to reanimate the manneristic tradition. His compositions envision possible futures and speculative pasts. They imagine a new vision upon mankind, as a mythical underwater creature who creates meaning through a prosaic mysticism. The World Of Shells works as an dream expedition that has overflowed itself into real time. Through continual material-world visualization, a technologically natured music unfolds as a series of movements outlining the existence of a mythological African creature. Travelling through Hollywood, Hanging Rock, Australia, and The Ear of Dionysus in Sicily, the creature was placed, and has enacted a music and art form that explores a sci-fi aquatic and wind-blown desert fusion to uncover the life and wanderings of this non-material being. Mastered by Christophe Albertijn. Artwork by Spencer Clark.

File Under: Electronic, Experimental
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vu3

Velvet Underground: Legendary Guitar Amp Tapes 3 (Tummy Tapes) LP
In tomorrow… The third and final installment of the massive trilogy of The Legendary Guitar Amp Tapes. Recorded through a microphone jammed in the back of Lou Reed’s amp right around the release of The Velvet Underground’s third album (1969), The Legendary Guitar Amp Tapes are formidable in their unadulterated rock and roll fire and fury and a revelation for anyone who hasn’t paid close attention to Reed’s dynamic guitar playing which in this set is a monolithic roar, a pulverizing electronic kaiju (strange beast) grinding the whole universe into pebble and sand. Recorded at the Boston Tea Party on March 15, 1969. Paste-on covers. Edition of 500.

File Under: Psych, Rock

wilen

Barney Wilen: Moshi (Souffle Continu) LP
In tomorrow… Deluxe remastered reissue of Barney Wilen’s 1972 album Moshi, featuring additional artwork and a 20-page booklet of rare pictures, sheet music, and the original liner notes. Includes a bonus DVD (packaged with exclusive artwork) of Caroline de Bendern’s 1971 film à l’intention de Mlle Issoufou à Bilma, documenting this amazing African journey. Limited edition of 1000. “In 1970 Barney Wilen assembled a team of filmmakers, technicians, and musicians to travel to Africa for the purpose of recording the music of the native pygmy tribes. Upon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avant jazz sensibilities with African rhythms, ambient sound effects, and melodies rooted in American blues traditions. Cut with French and African players including guitarist Pierre Chaze, pianist Michel Graillier, and percussionist Didier Leon, this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, street-legal funk. Wilen pays little heed to conventional structure, assembling tracks like ‘Afrika Freak Out’ and ‘Zombizar’ from spare parts of indeterminate origins.” –Jason Ankeny, AllMusic

File Under: Electronic, Jazz, Field Recordings
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black cat trail

Various: Black Cat Trail (Mamlish) LP
In tomorrow… “Long before the era of digital reissues, the Mamlish blues compilation LPs served a critical role in in keeping the musical tradition alive. More than a genre primer, this meticulously curated and annotated set, featuring such key forces as Snooky Pryor, Elmore James and Robert Nighthawk, doesn’t just showcase long unavailable classics, it provides an emotionally charged, deeply satisfying listening experience.”

File Under: Blues

chicago

Various: Chicago Slickers 1948-1953 (Nighthawk) LP
In tomorrow… “This issue of Nighthawk Records presents twenty-four classic recordings from Chicago’s heyday as a blues center. The rapid local proliferation of small independent labels during the postwar years and the shoestring economics practiced by their owners, fostered a fierce competitiveness more than matched in the musical community. Unfortunately, the failure of such small labels as Parkway, Tempotone and Random often obscured in extreme rarity even the most inspired performances by such regional heavyweights as Little Walter, Floyd Jones, John Brim and Johnny Shines. The resurrection of these important recordings will be cause for celebration in blues circles. (full liner notes and photos located inside)”

File Under: Blues

chicago 2

Various: Chicago Slickers 2 1948-1955 (Nighthawk) LP
In tomorrow… “Chicago Slickers Vol. 2 presents another selection of the best and rarest Chicago blues recordings of the early postwar era. All of the selections included here were previously available on a limited edition double album on the Boogie Disease label, but in the many years since that important anthology was issued, several titles have been duplicated elsewhere, and thus the two discs have been re-edited down to one album of the most important and obscure sides.”

File Under: Blues

home again

Various: Home Again Blues (Mamlish) LP
In tomorrow… “The post-war era’s feverish outbreak of independent blues recording captured some of the mightiest practitioners in the genre’s history, and this trove of long unavailable rarities is every fan’s dream come true. With prime cuts from such masters as Sunnyland Slim, Frankie Lee Sims and the soul stirring Brother Willie Eason, this classic Mamlish retrospective is a painstakingly compiled trove of electrifying mid-century blues.”

File Under: Blues

fluxus

Various: Fluxus Anthology (Song Cycle) LP
In tomorrow… Song Cycle Records present a reissue of Fluxus Anthology: A Collection Of Music And Sound Events, originally released in 1989. Fluxus was a collaborative movement of artists that worked across the diverse artistic mediums of performance, music, dance, poetry, photography, architecture, painting, sculpture, and film during the 1960s. Emerging in New York City, and spreading to Europe and Japan, Fluxus was led by recognized artists such as George Maciunas, Yoko Ono, Joseph Beuys, Nam June Paik, La Monte Young, and John Cage. Fluxus Anthology is a collection of works created by these visionary artists, featuring works by: Walter Marchetti, Juan Hidalgo, La Monte Young, Ben Vautier, Wolf Vostell, Milan Knizák, Robert Filliou, Alison Knowles, Emmett Williams, John Cage, Joseph Beuys, Yoko Ono, Dick Higgins, Philip Corner, Eric Andersen, Robert Watts, and Ken Friedman. Released in collaboration with Maurizio Nannucci. Presented here on clear, 180 gram vinyl.

File Under: Fluxus, Experimental

hustle

Various: Hustle: Reggae Disco (Soul Jazz) LP
Soul Jazz Records’ reissue their long-out-of-print album Hustle! Reggae Disco in a new expanded 2017 edition which now features five bonus tracks. This ground-breaking album features non-stop killer reggae versions of original funk and soul classics in a disco style. Reggae disco updates of seminal classics by Anita Ward (“Ring My Bell”), Chaka Khan (“I’m Every Woman”), Michael Jackson (“Don’t Stop ‘til You Get Enough,”) Sugarhill Gang (“Rappers Delight”) here performed by Derrick Laro and Trinity for producer Joe Gibbs and more, all showing the hidden but inseparable link between the dance floors of New York, Kingston and London. New bonus tracks to this collection include Derrick Harriott’s funky take on Eddie Drennon’s “Do It Nice & Easy,” the classic disco reggae of Risco Connection’s take on McFadden and Whitehead’s “Ain’t No Stopping Us Now” and the London rare groove lovers rock take on Barbara Acklin’s soul classic “Am I The Same Girl.” Hustle! Reggae Disco has been one of Soul Jazz Records’ best-selling releases since its first issue 15 years ago (and subsequently featured heavily in the early Grand Theft Auto games). This new 3LP edition comes fully re-mastered and with all original titles plus the new tracks.

File Under: Reggae, Disco

lord

Various: Lord Have Mercy (Playback) LP
In tomorrow…  “A hard-hitting collection of 27 funky, fantastic Gospel gems from the Checker catalog! Includes Gospel legends The Soul Stirrers, Salem Travelers, The Violinaires and many more, featuring beats, grooves and vocal performances that rival any of R&B recordings of the era — the best of the label’s rich heritage of music the church!” Also features: The William Singers, The Gospel Classics, Charlie Brown, Stevie Hawkins, The Meditation Singers, The Masonic Wonders, The East St. Louis Gospelettes, Meditations, The Jordan Singers, Gospel Six, The Gospel Hi-Lites, Martha Bass, and The Harmonizing Four.

File Under: Gospel, Funk, Soul

new deal

Various: New Deal Blues (Mamlish) LP
In tomorrow… “When Mamlish first issued this superb collection of Depression-era blues in 1970’s, it was a bellwether in the reintroduction of a critically important form of traditional American music. Featuring such striking classics as Kansas Joe McCoy’s ‘Meat Cutter Blues,’ Memphis Minnie’s ‘Keep it to Yourself’ and Peanut the Kidnapper’s ‘Suicide Blues’ this lovingly assembled and annotated set is a compelling musical tour de force.”

File Under: Blues

spiritual7

Various: Spiritual Jazz 7: Islam (Jazzman) LP
In tomorrow… Esoteric, modal, and progressive jazz, inspired by Islam and recorded between 1957-1988. Songs ancient and divine – the seventh volume of Jazzman Records’ acclaimed Spiritual Jazz series examines the influence and impact of Islam on four decades of jazz innovation. Through Malcolm X and Muhammad Ali, the civil rights era in America saw African American liberation politics famously associated with Islamic belief. This was not the first time that radical developments in African American cultural life had been widely and famously associated with Islam – that distinction belongs not to political or sporting giants, but to the progressive jazz musicians of the bebop generation. Kenny Clarke, Art Blakey, Sahib Shihab, Gigi Gryce, Idrees Sulieman, Ahmad Jamal, Yusef Lateef; all these legendary jazz pioneers – and countless more – were early converts to the spiritually charged Ahmadiyya school of Islam. Their faith profoundly influenced the music that they made, and the presence of prominent and innovative Muslim musicians at the heart of jazz culture in America has been recognized ever since. The tracks on this collection follow the story of Islam and jazz from the 1950s to the 1980s. Recorded by Muslim jazz musicians, they often draw specifically on Middle Eastern or Islamic music, dream of an esoteric or spiritual Afro-East, or invoke the landscape and sound worlds of Islamic Africa. Spiritual Jazz 7 presents a selection of visionary music – inspired by faith, powered by jazz. Many tracks never before reissued. Features: Maurice McIntyre, Kahil El’Zabar’s Ritual Trio with Malachi Favors & Ari Brown, Pharoah Sanders, Emmanuel Abdul-Rahim, Creative Arts Ensemble, East New York Ensemble De Music, Idrees Sulieman, Jamila Sulieman, Yusef Lateef, Sabu Martinez & Sahib Shihab, Abdelrahman ‘Abdo’ Elkhatib, Solar Plexus, The Lightmen Plus One, Ahmed Abdul-Malik, and Dawan Muhammad. Double LP version comes in gatefold a sleeve with extensive liner notes and pictures.

File Under: Jazz

windy city

Various: Windy City Blues 1935-1953 (Nighthawk) LP
In tomorrow… “This first issue of Nighthawk Records documents primarily the transitional work of Southern born bluesmen who immigrated to Chicago before the Second World War, but whose careers endured into the postwar era. The lure of the major studios and the easy availability of club work on the growing South side made the Windy City the natural destination of talented blues musicians and the local blues scene was firmly established by the late 20s when the vanguard included Tampa Red, Big Bill, and Georgia Tom. The 30s brought Sonny Boy Williamson, Robert Nighthawk, Washboard Sam and Memphis Minnie while the 40s produced Robert Lockwood, Johnny Shines and Muddy Waters. (full liner notes and photos located inside)”

File Under: Blues

…..Restocks…..

Adele: 25 (XL) LP
Buena Vista Social Club: s/t (WCV) LP
Sarah Davachi: All My Circles Run (Students of Decay) LP
Bob Dylan: Blonde on Blonde (Columbia) LP
Bob Dylan: Bringing It All Back Home (Columbia) LP
Grails: Black Tar Prophecy 1, 2, & 3 (Temporary Residence) LP
Grails: Take Refuge in Clean Living (Temporary Residence) LP
Jonsi: Rice Boy Sleeps (XL) LP
Le Femme: Psycho Tropical Brazil (Born Bad) LP
Les Rallizes Denudes: Live 7 (Mono-Tone) LP
Stephen Malkmus: Mirror Traffic (Matador) LP
Moondog: Viking of Sixth Avenue (Honest Jons) LP
Orb: COW/Chill Out, World (Kompakt) LP
Radiohead: Ok Computer (XL) LP
Rag’n’Bone Man: Human (Sony) LP
Otis Redding: Dictionary of Soul (Sundazed) LP
Run D.M.C.: Raising Hell (Music on Vinyl) LP
Scientist: Rids the World of the Evil Curse of the Vampires (Dubmir) LP
Sleep: The Clarity (Southern Lord) LP
Colin Stetson: Sorrow (52Hz) LP
Various: Antologia de Musica Atipica Portuguesa (Discrepant) LP
Various: TransWorld Punk Rave 1 (Transworld) LP
Various: TransWorld Punk Rave 2 (Transworld) LP

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…..news letter #768 – 15 years!…..

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

While that’s exciting and all though, more exciting is that we are celebrating our 15th anniversary! 15 years of slinging wax. It’s hard to believe how far we’ve come, from our humble beginnings with a handful of half full bins to the overflowing bins and boxes of records everywhere we are surrounded with today. Thanks to our fine customers we’ve been able to grow in to what we like to think is a pretty darned fine shop with something for everyone. And so to thank you all for another year of support this weekend not only will we have RSD tomorrow, we’ll be having a big ol’ sale all weekend too! THANK YOU!

…..pick of the week…..

swag

Listen Gear!
In celebration of our 15th anniversary we’ve got another new design for you to wear around town to show your Listen Love. And since it’s theoretically supposed to be winter, we’ve even made up some hoodies and sweatshirts this go around. As well, we’ve got new cotton totes bags for you to get your records, or groceries, home from the store. Thanks to our buddy Myles for the killer new design. These shirts also make great gifts! Supplies are limited, so get one before we are sold out!

sale

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

Rega RP1s are $399 (reg. $499)
Rega RP1 w/ Upgrade kit are $599 (reg. $699)

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

rp1

Lastly, we’ll be giving away one Rega RP1 turntable to one lucky shopper this weekend. So be sure to stop in!

…..Record Store Day Releases…..

Afghan Whigs: Black Love (Elektra) 3LP
Autechre: Amber (Warp) LP
Autechre: Incunabula (Warp) LP
Autechre: Tri Repetae (Warp) LP
Beach Boys: Becoming The Beach Boys (Omnivore) LP
Big Star: Complete Third (Omnivore) LP
Budos Band: The Shape of Mayhem to Come (Daptone) 12″
Built to Spill: Ancient Melodies of the Future (1972) LP
Paul Butterfield Blues Band: Got A Mind to Give Up Living (Real Gone) LP
Chvrches: Under the Tide (Glassnote) 12″
Ornette Coleman: An Evening With (ORG) LP
Death By Stereo: Into the Valley of Death (Indecision) LP
Death Grips: Fashion Week/Interview 2016 (Harvest) LP
Dengue Fever/Goonam: Ganadaramaba (Sony) 7″
Dungen: Haxan (Mexican Summer) LP
Bob Dylan: Real Royal Albert Hall 1966 Concert (Sony) LP
Faith No More: Cone of Shame (Ipecac) 7″
Fruit Bats: The Glory of Fruit Bats (Easy Sound) LP
Steve Grossman: Some Shapes to Come (Tidal Waves) LP
Gwar: Black Friday (Sony) 7″
Lee Hazlewood: Cowboy in Sweden (Light in the Attic) LP
Isaac Hayes: Do Your Thing (Now Again) LP
Jimi Hendrix: Morning Symphony Ideas (Sony) 10″
Jungle Brothers: Done By the Forces of Nature (Get on Down) LP
Kinks: God’s Children (Sanctuary) 7″
Kinks: Til Death Do Us Part (Sanctuary) 7″
Kinks: s/t (Sanctuary) 7″
Timothy Leary/Ralph Metzner: The Psychedelic Experience (Real Gone) LP
Love is a Drag: For Adult Listeners (Sundazed) LP
Minor Victories: Orchestral Variations (Sony) LP
Rudy Ray Moore: This Ain’t no White Christmas (Dolemite) LP
Harry Nilsson: Popeye OST (Varese Sarabande) LP
Thee Oh Sees: An Odd Entrance (Castle Face) LP
OST: Barbarella (Varese Sarabande) LP
OST: Chinatown (Cinewax) LP
OST: Luke Cage (Mondo) LP
OST: My Little Pony (Sony) LP
OST: The Wonder Years (ORG) LP
Angel Olsen/Steve Gunn: Live At Pickathon (Easy Sound) LP
Amanda Palmer & Jherek Bischoff: Strung Out In Heaven (Cooking Vinyl) LP
Jaco Pastorius: Jaco (Omnivore) LP
Raconteurs: Steady, As She Goes (Thirdman) 7″
Ramones: Live At The Roxy 8/12/76 (Rhino) LP
Nathaniel Rateliff: A Little Something More (Stax) LP
Otis Redding: Live at the Whisky A Go Go (Stax) LP
Refused: Servants of Death (Epitaph) LP
Rogue Wave: Cover Me (Easy Sound) LP
Run DMC: Christmas in Hollis (Sony) LP
Bruce Springsteen: Chapter & Verse (Sony) LP
Sugarhill Gang: Meet Your Maker (Rhino) 7″
Sun Ra & His Arkestra: At Inter-Media Arts April 1991 (Sundazed) LP
Synthesizer Coloring Book
This Kind of Punishment: Radio Silence (Superior Viaduct) 7″
Tokyo Police Club: A Lesson in Crime (Paperbag) LP
Mark Van Hoen: The Last Flowers From the Darkness (Medical) LP
Venom: Black Metal (Warner) LP
Video Liszt: Ektakrom Killer (Medical) LP
Vitamin String Quartet: Plays Radiohead (VSQ) 7″
Muddy Waters: London Muddy Waters Sessions (Brookvale) LP
Yardbirds: Birdland (Favored Nations) LP
Various: Calabar-Itu Road: Groovy Sounds from South Eastern Nigeria (Comb & Razor) LP
Various: James Brown’s Funky People 3 (Get on Down) LP
Various: Jazz Dispensary: Holiday Treats (Fantasy) LP
Various: Lagniappe Session (Light in the Attic) LP
Various: Shanghai’d Soul (Numero) LP
Various: Scepter Records (Sundazed) LP

In tomorrow???….

Steve Gunn: Ancient Jules (Matador) 12″
Iggy & The Stooges: Telluric Chaos (MVD) LP
Lil Yachty: Lil Boat (Capitol) LP
Frank Sinatra: White Christmas (Universal) 7″
Ween: Godweensatan Live (ATO) LP
Frank Zappa: How Could I Be Such A Fool (Universal) 7″

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…..news letter #767 – purple/pink…..

Oi, loads of stuff in this week, and still more to show up. At least we’ll be well stocked for next weekend! Be sure to set some time aside to come down as next Friday is Black Friday RSD AND we’ll be celebrating our 15th anniversary!

…..pick of the week…..

cortini

Alessandro Cortini: Spie (Make Noise) 12″
“Alessandro Cortini returned to his Make Noise Shared System Modular synthesizer last summer, to create two variations of a patch that could be described as ‘… a gorgeous sunrise over a decimated landscape…” This Make Noise Records release was digitally mastered by Shawn Hatfield at Audible Oddities. Analog Mastered and Cut by DC at PLUSH. Pressed to 12″ Clear (140gm) vinyl and inserted into a black inner dust sleeve and Matte Jacket with artwork by Sean Curtis Patrick (who has worked with Cortini in the past). The music was composed entirely on the Make Noise Shared System Modular synthesizer.”

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

amos

Tori Amos: Boys for Pele (Atlantic) LP
One of the most successful and influential artists of her generation, Tori Amos is as much a force to be reckoned today as when she made her debut as producer in 1996 on her third studio album, Boys for Pele, over two decades ago. An ambitious and uncompromising collection of songs about mythology (Pele was a Hawaiian volcano goddess), suppression and self-discovery, the record became one of her most successful, debuting at #2 on the album charts in both the U.S. and the U.K. An international hit, Boys for Pele also burst into the Top 10 in Australia, Austria, Belgium, Holland, Germany and Sweden. To celebrate the pivotal album’s 20-year anniversary, Rhino Records is releasing a newly remastered version of the original 18-track effort as a 180g 2LP-set. Moving away from the corporate environment to record in a church in Delganey, County Wicklow, and an old Georgian house in County Cork, Ireland, Boys for Pele altered the course of Tori Amos’ career. As she explains in the album’s liner notes, “This is the record where I fought for my life.” Greeted with rapturous fan support, this proved this to be a rewarding decision. Home to the fan favorites “Caught a Lite Sneeze” and “Hey Jupiter.”

File Under: Pop
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antonnini

William Antonini e la Sua Orchestra: s/t (Sonor Music Editions) LP
Sonor Music Editions present a reissue of William Antonini E La Sua Orchestra, originally released in 1971. A very rare “cult” library and orchestra album by pianist William Antonini and his orchestra, recorded with the deep sounds of Dirmaphon studios in Rome. Expect some strong blues rock influences with loads of killer psychedelic sounds all over the place – amazing jazz-funk and blues funk vibes, heavy progressive riffs with big band swinging jazz and jazz-rock tunes. Huge basslines with stoned flute and deep tenor sax along with amazing early ’70s freak-beat clubbing tunes are to be found on this lost, collectible gem. Reissued with the original back liner notes written by Italian jazz father, Carlo Loffredo.

File Under: Library, Italian
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contrepoison

Olivia Block: Dissolution (Glistening Examples) LP
Glistening Examples present Olivia Block’s Dissolution. Olivia Block on the record: “Dissolution is a reflection upon human ‘webs of significance’, and an investigation into the ways that electronic communications and recording technologies, both past and present, facilitate, complicate and transmute the formation of these webs. Sounds of shortwave radio, municipal broadcast recordings, fragments of found microcassette tapes, tones and instruments dramatize the fragility and failures of communication and language in shaping memory and experience. This album is dedicated to Adam Sonderberg, without whom I could not have completed this project.” Personnel: Lesley Swanson – flute; Shaun Flynn – clarinet. Musicians were recorded at Experimental Sound Studio, Chicago IL in January 2015. The session was engineered by Alex Inglesian. Mastered by Jason Lescalleet at Glistening Labs, USA. Dissolution comes housed in a single-pocket jacket with glossy UV coating and black poly-lined inner sleeves with a 12×12″ vellum insert. Includes download card.

File Under: Experimental
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bowery

Bowery Electric: Beat (Kranky) LP
“The second album from New York City’s Bowery Electric was released in late 1996, less than 15 months after their self-titled debut, but it found them having traveled light years musically in the interim, the group having seemingly decided to see how far they could take the guitar/bass/drums/vocal setup into the atmosphere. Every aspect of their approach had been refined and focused: squalling, distorted guitars had been transformed into hazy, sensual sheets; the live drums transmuted to sampled rhythms more in debt to the blossoming down-tempo sound of the day; bass lines reduced to their most basic diagrams; vocals submerged to become one with the narcotized fog of the instruments; even the lyrics were reduced to a few minimal lines used sparingly so as not to overshadow the dynamic. Beat is a lush and dense mantra of shadowy percussion, barely-there vocals and immersive drones that envelops the listener in an opiated blanket of sound. The second in a trio of albums released by the core duo of Lawrence Chandler and Martha Schwendener, Beat is without doubt their definitive artistic statement. Coming 20 years to the day of its original release, this is the first time this album has been available on vinyl in almost two decades, and the first ever U.S. vinyl release.”

File Under: Electronic, Experimental
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bjm

Brian Jonestown Massacre: Third World Pyramid (A) LP
Third World Pyramid is the 15th full length release from The Brian Jonestown Massacre recorded in early 2016. It is the first album that was fully recorded & produced at Anton Newcombe’s new Cobra Studio in Berlin. Third World Pyramid encapsulates the old and new sounds of the band, with the nine tracks starting from the melancholic “Good Mourning” going through to “Assignment Song” – which is a cover of Nina Simone from her 1971 album Gifted & Black – and the latter tracks show the ever-changing dynamic of the band, acknowledging their past but also looking to their future. Featuring Ricky Maymi, Dan Allaire, Joel Gion, Collin Hegna and Ryan Van Kriedt. Also, Emil Nikolaisen from the Norwegian band Serena-Maneesh joins the band on this album, plus vocal performance Tess Parks and Katy Lane. Anton Newcombe has been a very busy man these past two years, kicking off with the critically acclaimed Brian Jonestown Massacre album Revelation in 2014. After a successful UK and European tour, the BJM followed this up with the +- EP. 2015 saw the release of Musique de film imaginé; an imaginary film soundtrack album featuring the track “Bonbon” which has, ironically, been used in Dheepan, the Palme D’or winner at Cannes film festival 2015. In June, Anton and Tess Parks embarked on a well-received tour of the UK and Europe to support the release of I Declare Nothing. Anton finished 2015 with a BJM mini-album release entitled Mini Album Thingy Wingy.

File Under: Rock
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cage

John Cage, David Tudor & Christian Wolff: San Francisco Museum of Art, 1/16/1965 (Modern Silence) LP
Modern Silence present a live recording, originally broadcast by KPFA Radio from the sculpture court of the San Francisco Museum of Art on January 16, 1965. Coinciding with the 39th birthday of fellow pianist and longtime associate David Tudor, this historic concert with John Cage opens with a duet for cymbal with contact microphones agitated by a wide gamut of objects, and concludes with Variations IV in which loudspeakers outside the performance space interacted with speakers next to the audience. Includes a performance of Christian Wolff’s For 1, 2 or 3 People. First vinyl release of this historic performance of minimalist music.

File Under: Avant Garde, Classical

contrepoison

Contrepoison: Discography 2010-2012 (Hospital) LP
Hospital Productions collect some of the strongest cold-wave pop dirges of a generation with Contrepoison’s Discography 2010-2012 survey, wrapping up both his self-released tapes and releases for Dominick Fernow’s cherished imprint. Since the late ’90s, Québécois musician and noise artist Pierre Marc-Tremblay has been recognized as a vital force in nether musical realms with a palette ranging from hermetic black metal (Akitsa) to the bitterest rhythmic noise (Âmes Sanglantes), and, more recently, the nerve-bitingly melodic pop of Contrepoison, whose I Keep On Searching 12″ (2012) – included here – is a firm fixture. Arriving at the vanguard of a new slew of cold-wave revisionists and fetishists in 2010, his music stood, and still stands, head and shoulders above the rest thanks to an incessant drive and directness that can’t be ignored by anyone into the original stuff, or who has arrived via the sound’s prevailing, contemporary winds. Vacillating belting vocal pop arrangements with howling, stygian instrumentals of synth, guitar and enslaved drum machines, Discography 2010-2012 drags a perfectly malformed body of work, cycling chronologically from the pounding mix of industrial kicks and neo-folk cadence of …Until Next Morning’s amazing title cut (2010), to the blank-eyed dirge of “To Never, Forever”, before taking in the stomping “Deserted Story” from his 2011 split with Vatican Shadow, and committing the fucking addictive hits of “I Keep On Searching”, best summed up in that raging, glam title tune and sandwiched with aces from the compilation Around The Dragon’s Broken Neck Hangs The Medal Of Saint Lazarus (2010). It only gets more wonderfully bombed out and crestfallen from therein, from the plangent siren call of “Nectar Of Destiny” to the exclusive instrumental, “The Moon Has Mad The Eclipse”, and a grip of killers off The Thunders Which Collide tape (2011), including the raging banger “The Thunders Which Collide” and another cut exclusive to this set in the instrumental, “As The Blazing Sun Enters Scorpio”. Basically, it’s riddled with memorable hooks and rages like a wounded beast trapped down a well. RIYL: Cold Cave, Prurient. Edition of 500.

File Under: Industrial, Dark Wave
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divachi

Sarah Davachi: Vergers (Important) LP
Vergers is Sarah Davachi’s third full-length release following Barons Court (2015) and Dominions (2016). It marks her second appearance with Important Records following 2014’s August Harp cassette on the Cassauna imprint (SAUNA 017CS). In Vergers, she meditates on a single electronic instrument, the EMS Synthi 100 synthesizer, while also weaving sparse acoustic elements – her own voice and violin – into a series of three long-form, muted gestures. Elements of distance and alienation are certainly at play in the textural quality of these compositions, a feeling that is further defined by track titles that reference the spirit world and an album title that calls to mind the solitary tasks of the church orderly. The record opens with the aptly titled, “Gentle So Gentle”, a side-long movement that recalls the glacial character of Davachi’s previous efforts. “Ghosts And All” and “In Staying” suggest a more disjointed path, with the latter culminating in a subtly dissonant dirge that leaves little absolve between the organic, the artificial, and the impermanent.

File Under: Ambient, Drone, Electronic
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eleh

Eleh: Radiant Intervals I (Important) LP
Important Records present the first part of a re-release of Eleh’s influential Radiant Intervals, originally released in 2010. Radiant Intervals is a meticulously nuanced and restrained exploration of the rhythmic and harmonic relationships inherent in pure analog frequencies, using a blend of intuitive and mathematically based tunings. Dense patterns of sound slowly unravel and are woven together again in new ways while harmonics hover and shift overhead. Radiant Intervals is a purely analog recording, made with a Serge Modular system, Mini Moog, Sequential Circuits Prophet 5 and a Pro- One. Comes in heavy-duty, metallic silver-shimmer, screen-printed jackets. 180 gram vinyl.

 File Under: Drone, Ambient
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esben

Esben & The Witch: Older Terrors (Season of Mist) LP
The English via Berlin post-rock trio Esben and the Witch return anew with Older Terrors, their latest album and first with Season of Mist. Led by the captivating voice of Rachel Davies, the trio cut a wide swath of sound ranging from the dark and subtle to the triumphal, glorious roar of loud guitars. As the stunning “Sylvan” illustrates, they also find home in the shadows between the light and dark. Older Terrors is nothing short of a stunning and poignant album. Esben and the Witch explains, “Our forthcoming album ‘Older Terrors’ was written and recorded over the course of a year in Berlin, our adopted home. We have spent eight years getting here, sweating on stages, holed up in studios and exploring all that which inspires awe and terror. The album features four tracks. In this digital age of music we wanted to create a collection that worked together but could also be separated, each track standing alone, carving its own path and telling its own tale. This record is dedicated to the sublime. To Edward Young’s Night Thoughts, John Martin’s apocalyptic visions, Caspar David Friedrich’s forays into the forest and to the sparks of light that glimmer in times of utter darkness.”

File Under: Indie Rock
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forno

Carla Dal Forno: You Know What It’s Like (Blackest Ever Black) LP
Carla dal Forno presents her debut solo album You Know What It’s Like, following time in cult Melbourne group Mole House and an earlier association with Blackest Ever Black as a member of F ingers and Tarcar. Her voice is an extraordinary instrument: both disarmingly conversational and glacially detached. It has something of the bedsit urbanity of Anna Domino, Marine Girls, Antena, or Helen Johnstone – stoned and deadpan – but it can also summon a gothic intensity that Nico or Kendra Smith would approve of. This voice is the perfect embodiment of dal Forno’s emotionally ambiguous songs: their lyrics rooted in the everyday, observing and exposing a series of uncomfortable truths. “Fast Moving Cars” and “What You Gonna Do Now?” weigh up claustrophobia against loneliness, inertia against acceleration, doubling-down versus taking-off; the title track acknowledges the provisional nature of love and “real” intimacy, then decides to brave it anyway. By the time the startlingly sparse “The Same Reply” arrives, the sense of dejection is absolute. The vocal-led pieces are interspersed with richly evocative instrumentals. Smothered in tape-hiss and reverb, the seasick synthesizer miniatures “Italian Cinema” and “Dragon Breath” channel the twilit DIY whimsy of Flaming Tunes and Call Back The Giants. The drum machine and bassline of “DB Rip” are pure Chicago house, but then its dark choral drones nod to Dalis Car’s dreams of blood-spattered Cornwall stone. “Dry The Rain” drinks from a stream of moon-musick that runs through Coil, In Gowan Ring, Third Ear Band, even the Raincoats’s Odyshape (1981).

File Under: Electronic, Ambient, Synthwave
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gas

Gas: Box (Kompakt) 10LP Box
Wolfgang Voigt is a man of many means and monikers, having engendered a unique take on electronic expressionism across multiple media – from riotous early ’90s acid to cyber-folkloristic techno or the abstract drama of his current Rückverzauberung project, Voigt is a pioneering vision to be found on vinyl, canvas or flickering screens. Ranking among the most dense, hypnotic, atmospheric recordings in his oeuvre, the Gas releases have since become internationally recognized classics with a cult following, hailed as “a wondrous high point in the history of electronic music” by Pitchfork and considered “some of the most influential albums of the ’90s” by The Guardian. From foggy dub techno to anthemic electronica and loop-based ambient techno, the list of acts, tracks and even genres influenced by the full-lengths and EPs crafted under the Gas umbrella between 1995 and 2000 seems endless, giving these long sold-out original releases even more of a near-mythical quality. Following the much-acclaimed (and out-of-print) retrospective Nah Und Fern from 2008, Kompakt has decided that it’s high time for a reissue that features the core Gas albums, originally released by the legendary Mille Plateaux imprint in the ’90s, the records that introduced the project’s trademark sound between Schönberg and Kraftwerk, Wagner and the bass drum, “an endless march through the underwoods of an imaginary, misty forest and into the disco.” Inside this comprehensive anthology, listeners will experience Zauberberg (1997), Königsforst (1998), Pop (2000) and the sought-after Oktember 12 inch (1999), all together available as luxurious ten LP and four CD edition. Box is the most comprehensive version of these releases ever. The vinyl features edits that were previously unavailable on wax – with each album being presented as three LP pressings (instead of the original two LP pressings), for extended playtime and superior sound quality, finally released the way this music was intended to be heard. This highly collectible box set comes with an art-print book featuring newly processed and previously unreleased photography from the Königsforst woods around Cologne, in the style of the legendary, trail-blazing Gas artwork. Box is to be considered as the definitive take on a unique sound cosmos and an extraordinary period of music. An essential outing for every serious fan of electronic music.

File Under: Electronic, Ambient, Techno, Minimal
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disquietGerman Army & Old Komm: Disquiet (Discrepant) LP
Disquiet is the imaginary soundtrack to the lost 1976 Russian-American dystopian classic. Russian occultists Old Komm collaborate with the south Californian dons of austere electronics, German Army, bringing to life the made-up soundtrack to a film that never was. Disquiet tells the story of a child born to a desolate, post-apocalyptic world, war-torn and fractured by greed. Organ tones and broken exoteric bumps coexist with dark ambient themes and cavernous beats. Remnants of wry memories, smothered dreams, dim visions of a world that never was.

File Under: Electronic, Industrial, Experimental, OST
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hastings

Hastings of Malawi: Vibrant Stapler Obscures Characteristic Growth (Sub Rosa) LP
First reissue of Hastings Of Malawi’s classic masterpiece Vibrant Stapler Obscures Characteristic Growth, originally released on the Papal Products label in 1981. Hastings Of Malawi were Heman Pathak, David Hodes and John Grieve. They recorded Vibrant Stapler Obscures Characteristic Growth in one night in 1981 with no plan and no idea of what they were doing. They played drums, clarinet, synthesizer and piano but also made use of things that they found lying around the studio – old records, cook books, telephone directories and a telephone. The recordings were played down the phone to randomly dialed numbers with the reactions added to the recording. All three had been involved in the recording of the first Nurse With Wound album Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella (1979) and had contributed metal scrapings, piano, effects, clarinet and guitar during the session. The star of the record is Pat Simmons who was the voice of the UK speaking clock between 1963 and 1984. In his book Lipstick Traces (1989) writer Greil Marcus seeks to draw a line from Dada through the Situationist International to punk rock. If this line exists, then Vibrant Stapler Obscures Characteristic Growth sits on the end of it. The only review that the album received was from Steve Stapleton who suggested that “nobody should miss this vinyl disaster” – good or bad are not concepts that can be applied to this recording. The record stands firmly in opposition to the now all pervading concepts of commercialization, celebrity culture and the commodification of creative activity. Originally 1000 copies were pressed on orange/red vinyl. 120 copies were sold through Rough Trade and Virgin Records. 800 copies were bought and later destroyed by the United Dairies label, adding to the elusiveness of this record. This reissue is on red vinyl, just like the original pressing. File under: dada, underground, post-industrial, concrete music, DIY, punk.

File Under: DIY, Punk, Industrial, Dada, NWW List
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strands

Steve Hauschildt: Strands (Kranky) LP
“From Steve Hauschildt: ‘Strands is a song cycle that is about cosmogony and creation/destruction myths. The title alludes to the structural constitution of ropes as I wanted to approach the compositions so that they consisted of strands and fibers which form a unified whole. This was so the songs could have the appearance of being either taut or slack without being fundamentally locked to a grid. So the sounds/tones have a certain malleability to them and sound like they’re bending through time. It’s also grittier and more distorted than my previous albums. I wanted to try and capture that moment in nature and society where life slowly reemerges through desolation, so it has a layer of optimism looming underneath. The music represents this by seemingly decaying at times but then reforms and morphs in a fluid way back to its original state. I was also inspired by the movement of rivers, particularly their transformative aspect and how they’re in a state of flux and change, in particular the Cuyahoga River in Cleveland where I live, which notoriously caught on fire thirteen times because of industrial pollution in the 1960s and before. I was very interested in the dichotomy of oil and water and the resulting, unnatural symptoms of human industry. It’s a very personal record for me as it is a reflection of my hometown where I grew up and where it was mostly recorded. ‘ From Kranky: ‘Graceful compositions flow throughout Steve Hauschildt’s fourth release for Kranky following his Where All Is Fled full length from late summer 2015. The songs fluctuate from the serene calm of album opener ‘Horizon of Appearances,’ to the pulsing hypnosis of ‘Ketracel,’ and on to the searing grandeur of album closer ‘Die in Fascination,’ throughout, Steve remains restrained and in complete control of his sound.’ “

File Under: Electronic, Ambient
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holyserpHoly Serpent: Temple (Riding Easy) LP
In the short time since their self-titled RidingEasy debut in mid-2015, Melbourne, Australia’s Holy Serpent have gained a lot of attention for their rather punk version of heavy psych and metal. Fittingly, there’s a strong vibe of early Soundgarden, Saint Vitus and Kyuss to Temples in that it’s undeniably heavy, but also clever in its experimentation with subtle tempo shifts, multiple vocal effects and other production techniques. But it’s still more Sabotage than Sabbath Bloody Sabbath.

File Under: Metal, Psych, Stoner
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taylor

Hound Dog Taylor’s Hand: s/t (Abduction) LP
Abduction Records present the first vinyl LP release of Hound Dog Taylor’s Hand. The trio consists of Jeffery Taylor (Climax Golden Twins/AFCGT/Spider Trio) on electric guitar, Mark Ostrowski (Monktail/Wally Shoup Quartet) on drums and John Seman (Monktail/Ask The Ages) on contrabass. The music is a heavy dose of jazz, blues, and improvisation. Sharp and destructive yet cerebral and clever, these tracks finally expose one of Seattle’s best-kept secret treasures to the world as the only way you could have heard them, before would have been at one of their extremely rare live shows in the Puget Sound area or from their locally produced cassette from a few years back. The second track on side one titled “Beatrice”, features Climax Golden Twins and Beatrice Harrison. Edition of 500.

File Under: Blues, Jazz, Climax Golden Twins
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ixtahuele

Ixtahuele: Call of the Islands (Subliminal Sounds) LP
Lush and exciting, rich and vibrant, Ìxtahuele are back with their exotic sounds on their second full length album. Guiding your mind’s eye over oceans and mountains, through jungle and desert, teasing and enticing with layered soundscapes and catchy melodies, you’ll find yourself whistling along on a winding mountain road, stalking through the rainforest, or humming lazily on a tropical beach when listening to Call Of The Islands. Building on their previous releases, both musically and thematically, the group flirts with jazz, mambo, and space age pop, all the while retaining their classic acoustic exotica sound and high level of musicianship. Call Of The Islands provides music to lounge by the pool to, to armchair travel on a cold rainy night – it’s the perfect soundtrack for a quiet drink with a lover or a friend. Sophisticated and savage, it’s exotica for the modern age.

File Under: Exotica
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junkfood

Junkfood & Enrico Gabrielli: Italian Masters (Cinedelic) LP
Enrico Gabrielli and the members of Junkfood have crossed several times in the past in a variety of contexts and collaborations, but never have the two entities been found under the same roof. The occasion is revealed thanks to the Festival HalloBigallo in 2014, dedicated to Piero Umiliani, inviting both to perform with the prayer to include some readings in personnel key from the repertoire of the Maestro. After that pleasant experience, Junkfood and Gabrielli agreed to meet at the Vacuum Studio of Bruno Germano in Bologna. Italian Masters is dedicated to the figures of some of the greatest Italian composers of film scores. The result exceeds expectations: the beautiful music of Umiliani, Morricone and Trovajoli are distorted and filtered by the sensitivity of the five, while maintaining their unmistakable identity. What is most striking is the incredible consistency throughout despite the different authorship of the compositions and wide range of situations and solutions the musicians themselves bring into the music. The quintet succeed in the difficult task of standing comparison to models and simultaneously developing their own poetic and independent sound, making Italian Masters a real gem not only for the fanatics of film music, but for newbies calling to those ones shores lured by the sirens of Gabrielli and Junkfood. Personnel: Enrico Gabrielli – saxophone, bass clarinet, flute; Paolo Raineri – trumpet, flugelhorn, effects; Michelangelo Vanni – electric guitar, effects; Simone Calderoni – electric bass, effects; Simone Cavina – drums, effects. “C’eravamo Tanto Amati Da” features Edda Dell’Orso. Limited numbered edition of 300 on multicolored vinyl.

File Under: OST, Library
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atmosfere

David H. Kimball: Atmosfere N. 1-2 (Cinedelic) LP
Cinedelic Records present a reissue of David H. Kimball’s (Peymont) Atmosfere N. 1-2, originally released in 1971. Limited numbered edition of 600. Includes download code. An amazing and mind-blowing unrecognized gem made by Kimball, an American transplanted to Florence. Two tracks are composed by Serena Marega. Atmosfere N. 1-2 is abstract, mysterious, evocative, experimental, futuristic and avant-psychedelic. It is truly a fascinating electro-acoustic, industrial, dreamy journey that stands out in the panorama of Italian music as one of the most original and an unusual examples of psychedelia.

File Under: Library, Psych
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messico

Egisto Macchi: Messico (Cinedelic) LP
Cinedelic Records present a reissue of Egisto Macchi’s Messico, recorded in 1975. Limited numbered edition. Includes insert and download code. The artistic achievement of Egisto Macchi was avant-garde, not only for his immense talent and brilliance of his creativity, but for the quality he managed to infuse every musical language with – ranging from instrumental and symphonic music, musical theater, library sound, more varied and articulated. Towering over all of his works is his passion, commitment, respect and great inner need to break down the sectarian walls of thinking in categories. He had sensed that beauty could be located anywhere and that the biggest task entrusted to an artist was to leave the surface, always. Messico was originally released on the Ayna label.

File Under: Library, Italian
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macchi

Egisto Macchi: Violenza (Cinedelic) LP
Cinedelic Records present a reissue of Egisto Macchi’s Violenza, recorded in 1976. Limited numbered edition. Includes insert and download code. The artistic achievement of Egisto Macchi was avant-garde, not only for his immense talent and brilliance of his creativity, but for the quality he managed to infuse every musical language with – ranging from instrumental and symphonic music, musical theater, library sound, more varied and articulated. Towering over all of his works is his passion, commitment, respect and great inner need to break down the sectarian walls of thinking in categories. He had sensed that beauty could be located anywhere and that the biggest task entrusted to an artist was to leave the surface, always. Violenza was originally released on the Ayna label. Features percussionist Vittorio Ferrari.

File Under: Italian, Library
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metallica

Metallica: Hardwire… To Self-Destruct (Blackened) LP
Metallica will release their eleventh studio album, Hardwired…To Self-Destruct, in November 2016, via Blackened Recordings. The double album features 12 new tracks and nearly 80 minutes of music and serves as the Grammy Award winning Rock and Roll Hall of Fame inductee’s first studio album since 2008’s multi-platinum Death Magnetic. Hardwired…To Self-Destruct was produced by Greg Fidelman, who also engineered and mixed Death Magnetic. “Has it really been eight years? Doesn’t feel like it! Nudge, nudge, wink, wink,” said Metallica’s Lars Ulrich. “We’re obviously beyond psyched to share new tunes with all our friends out there. We’ve been rockin’ along in the studio with Greg on and off for the last 18 months firing up the creative engines again. Putting new music out there, getting in your faces once again and all that comes with it is what we love to do more than anything else, so strap yourselves in…Incoming!” Ugh.

File Under: “Metal”
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climax

Minghi/Montanari/Conrado: Climax (Song Cycle) LP
First reissue of one of the holy grails from the vault of the amazing Italian library music label Octopus. Originally released in 1973, Climax is a killer studio session by Amedeo Minghi, Piero Montanari, and Roberto Conrado. An incredible collection of psych jazz funk tunes with crazy Moog sounds, violent drums, and deep bass. An ultra-rare, hard-to-find item finally available again, on 180-gram virgin vinyl.

File Under: Italian, Library
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lovebone

Mother Love Bone: On Earth As It Is (Monkey Wrench) 3LP Box
In Tomorrow… Founded by future Pearl Jam and former Green River members Stone Gossard (guitar) and Jeff Ament (bass) and flamboyant singer Andrew Wood, the Seattle-based punk/glam band Mother Love Bone was only active for a few promising years before the premature death of Wood following their debut 1989 EP Shine and just before the release of the group’s debut full-length Apple. Monkeywrench Records is pleased to release Mother Love Bone: On Earth As It Is, a limited edition 3LP reissue set that gathers new remastered editions of their lone studio works: Shine and Apple. The release comes complete with a 24 page booklet, rare photos, fold out poster, stencil and more. The vinyl edition is packaged in a slipcase replicating a Mother Love Bone wall mural painted by Jeff Ament.

File Under: Grunge
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peacock-bley

Annette Peacock & Paul Bley: Dual Unity (Bamboo) LP
Bamboo present a reissue of the debut album by Annette Peacock & Paul Bley, Dual Unity, originally released in 1972. Annette Peacock’s legacy may only just be courting recognition proper with the recent retrospective release of her solo debut I’m The One (1972). Hailed as a pioneer and artistic genius by many, her debut album and predecessor to I’m The One captures Peacock in her element alongside husband; Canadian jazz genius Paul Bley. Dual Unity is a landscape of aural vision captured on tape in 1970 during their first European tour. For 33 minutes and 21 seconds, the listener is absorbed by other spirits. Using Robert Moog’s earliest synthesizers, Bley and Peacock apply the strategic use of silence to indicate its reflective nature with captivating results. Originally released in 1971, it is a statement of immensity through synthetic minimalism and a milestone in the avant-garde, free jazz movement. Personnel (in addition to Peacock and Bley performing on all tracks): Han Bennink – drums on “M.J.” and “Gargantuan Encounter”; Mario Pavone – bass and Laurence Cook – drums on “Richter Scale” and “Dual Unity”. Professionally re-mastered original sound recording with expansive liners, interviews and rare archival photos.

File Under: Electronic, Free Jazz
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phillips

Washington Phillips: And His Manzarene Dreams (Dust-to-Digital) CD/Book
Dust-to-Digital’s inaugural release, 2003’s Goodbye, Babylon (DTD 001CD), included two recordings by a mysterious gospel musician from Texas named Washington Phillips, who died in 1954. After fielding inquiries about the hauntingly beautiful songs from listeners around the world, in 2013, Dust-to-Digital checked in with Michael Corcoran, the leading researcher on Phillips, to see if any new information had been uncovered. Indeed, Michael had some leads, but he would need a working budget to track them down. Three years later, in 2016, after combing through various archives and talking with the last surviving people from the Simsboro-area who remembered Phillips, the name of Phillips’s homemade instrument (the Manzarene) has been revealed, in addition to the time, place, and manner of his death and many anecdotes about his life. Dust-to-Digital now share this story with Washington Phillips and His Manzarene Dreams, a 76-page hardcover book by Michael Corcoran accompanied by a CD of recordings made by Phillips between 1927 and 1929. To ensure a superior listening experience, the label tracked down the most pristine original copies of Phillips’s 78-RPM records, created high-resolution transfers, and had the audio expertly remastered for the best-sounding Phillips reissue to date. Hear the sublime, hypnotic, ethereal music of Washington Phillips in clarity like never before. Washington Phillips and His Manzarene Dreams includes song lyrics, label reproductions, and photos, along with liner notes by Michael Corcoran.

File Under: Blues, Gospel
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prehn

Tom Prehn Quartet: Axiom (Rune Grammofon) LP
It will always be difficult to pinpoint where free jazz started, but it´s reasonable to say it was shaped and cultivated in New York in the late 1950s and early 1960s. Albert Ayler and Cecil Taylor were important players, as was Ornette Coleman. Axiom has significant historical importance by being what is quite possibly the first European free jazz record, even if it was not released at the time. Recorded in Copenhagen in October 1963, it should have been Tom Prehn Quartet’s debut album for the Sonet label. But by the time the test pressings arrived – a couple of months later – the music already sounded old to them and Sonet subsequently pulled the plug. This, in itself, is quite remarkable, knowing that they were so far ahead of their time. A few sleeves and labels had been printed but only two complete copies survived, making it one of the rarest jazz albums ever. Axiom is expressive, full frontal free jazz of the highest order, and to think it was created by Danish musicians, most of them barely into their twenties, in 1963, is frankly mind-boggling. On the other hand, Scandinavian audiences, especially in Denmark and Sweden, had already welcomed controversial musicians like Ayler and Taylor with open arms. They also imposed a serious impact on many local jazz musicians, the Swedish sax phenomenon Bengt “Frippe” Nordstrøm even recorded Albert Ayler, in Sweden, with Swedish musicians, for his Bird Notes label as early as in 1962 , three years before his first ESP record. Elsewhere in Europe pioneers like UK´s Spontaneous Music Ensemble would debut on record in 1966, while Germany´s Peter Brötzmann would release his first record the year after. First vinyl release. Previously released as a CD by Corbett vs. Dempsey in 2015. Painstaking re-creation of original sleeve by Kim Hiorthøy.

File Under: Free Jazz
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moonshaped

Radiohead: A Moon Shaped Pool (XL) DLX Box
XL Recordings presents a 2LP + 2CD Deluxe Edition of A Moon Shaped Pool, the acclaimed ninth studio album from radical and revered British act Radiohead and follow-up to 2011’s The King of Limbs. The melodically rich and meditatively mid-tempo 11-track set was five years in the making and has already been hailed as one of the band’s most accessible efforts in years. The album comes preceded by the evocative videos for the Paul Thomas Anderson-directed “Daydreaming” and Chris Hopewell-directed “Burn the Witch” while further shimmering tracks like “Identikit,” “Ful Stop,” “Present Tense,” “Desert Island Disk” and “True Love Waits” have been previously performed live, the latter even dating all the way back to 1995 and an appearance on the 2001 EP I Might Be Wrong. Recording tape belly band applied: This is a piece of a Radiohead ½ inch master tape from an actual recording session. The tape degrades over time and becomes unplayable. The band thought rather than it ending up as landfill they would cut it up and make it useful as a part of the special edition. A new life for some obsolete technology. Each loop contains about ¾ of a second of audio – which could be from any era in the band’s recording past going back to Kid A. You may have silence, you may have colored leader tape, you may have a chorus.

File Under: Rock
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reichglass

Steve Reich/Philip Glass: Information, Transmission, Modulation & Noise (Modern Silence) LP
Modern Silence present Information, Transmission, Modulation And Noise, a set of recordings featuring works by Steve Reich and Philip Glass. During an interview recorded at the KPFA radio station, Steve Reich and Jon Gibson introduced an east coast performance of Steve Reich’s masterpiece, Four Organs, as well as an exciting recording of Ghanian drumming which the artist recorded in Ghana. They also introduced the music of Philip Glass, playing a tape of his historical Music In Similar Motion. Personnel: Four Organs by Steve Reich, was performed live in NYC in November of 1969 by Steve Chambers, Art Murphy, Philip Glass on electric organs and Jon Gibson on maracas; Drumming by Steve Reich, was performed by percussionists from Ghana and recorded by Steve Reich; Music In Similar Motion, by Philip Glass, was performed live In NYC in November of 1969 by Steve Chambers and Philip Glass on electric organs, Jon Gibson and Richard Landry on soprano sax, Steve Reich on electric harpsichord.

File Under: Classical, Minimalism
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reich

Steve Reich/Terry Riley: Six Pianos/Keyboard Study #1 (Film) CD
After the widely noticed performance at the “Acht Brücken Festival 2016” at Cologne’s Philharmonic Hall, Gregor Schwellenbach, Hauschka, Erol Sarp (of Grandbrothers), Daniel Brandt and Paul Frick (both of Brandt Brauer Frick) and John Kameel Farah release their interpretation of Steve Reich’s “Six Pianos” as a studio recording via FILM. The re-recording of this piece is an interpretation of Reich’s composition but still far more than just that – it is a modern approach to his idea behind it. The basic idea came up at the beginning of the ’70s at the Baldwin Piano & Organ Company in New York. During a rehearsal phase, which Steve Reich spent in this very piano store, the idea emerged of writing a composition for all the grand pianos available to him at the company. By the time of the finished piece, the actual number of pianos had settled down to six, where “Six Pianos” developed in 1973. On the occasion of his 80th birthday, the six pianists declare their love to Steve Reich with this release. Shaped by electronic club music as well as their classical education, they form “Six Pianos” in dignified modernity and top it off with today’s sound aesthetics and technical recording possibilities. Presented here is not the recording from the Kölner Philharmonie (Cologne Philharmonics), but the ensemble playing six different grand pianos in six different locations throughout Germany. Each pianist performed his part on his piano using his typical studio equipment and passed the recording over to the next one. Thus the six characteristic and individual timbres of the performers overlay to create the overall picture – “Six Pianos” the way it should be looked at in 2016. Jan Brauer mixed “Six Pianos” in the studio while Lukas Vogel provided delays for the “Keyboard Study #1”. “Keyboard Study #1” by Terry Riley is a worthy companion for Reich’s composition. The piece is kind of a building set of ever lengthening, repetitive patterns played against each other with the right and left hand displaced. The composition proposes various possible combinations for the performer to choose from and repeat at will. And what the performers have chosen proves Gregor Schwellenbach’s assumption: “Terry Riley’s and Steve Reich’s music are open doors for pianists socialized by pop music and their audience.”

File Under: Classical, Minimalism

sakamoto

Ryuichi Sakamoto: Music for Film (Buteo Buteo) LP+CD
Music For Film is the first compilation dedicated to the film music of Ryuichi Sakamoto, played by the Brussels Philharmonic and conducted by Dirk Brossé. This selection includes compositions from Merry Christmas Mr. Lawrence (1983), The Last Emperor (1987), The Sheltering Sky (1990), High Heels (1991), Wild Palms (1993), Little Buddha (1993), Snake Eyes (1998), Femme Fatale (2002), Babel (2006), Hara-Kiri: Death Of A Samurai (2011), Yae No Sakura (2013) and The Revenant (2015). Sakamoto was already a celebrated pioneer in electronic music and composer/pianist/singer in Japan when he was asked by Nagisa Oshima to write the music for the Merry Christmas Mr.Lawrence, his first major score. The list of major directors Sakamoto worked with is impressive: the veteran Japanese director Yoji Yamada, Takashi Miike, Bernardo Bertolucci, Brian De Palma, Pedro Almodovar, Volker Schlöndorff and Oliver Stone. Sakamoto conceived a unique approach of film scoring: a blend of splendid melodies, synthesizer work, traditional orchestral music, drum tracks, sound effects and unusual musical colors. Out of his striking contrast of musical styles and cultures, he created fascinating and enchanting standout scores. From Merry Christmas, Mr.Lawrence, there’s the haunting main theme that manages simultaneously to be Japanese and western, a central idea in the film. For The Last Emperor, Sakamoto’s score blends Chinese gestures with accessible melodies. For The Sheltering Sky, based on Paul Bowles’s novel, “Sakamoto wrote a rich, profusely emotive score, reflecting the emotional journey of the two characters.” For Little Buddha, the composer “integrates a standard Hollywood-style film underscore with several Indian motifs.” Sakamoto’s one-time collaboration with Spanish director Pedro Almodovar resulted in a flavorful sound, reliant on the sounds of a flamenco guitar. Knowing Sakamoto’s admiration for frequent Hitchcock collaborator Bernard Herrmann, it’s no wonder Brian De Palma asked him for the music for Snake Eyes. As Jerry McCulley testifies, the result was brilliant: “Sakamoto… crank[s] up the brass and swirling strings into an unsettling sonic maelstrom that would’ve done late ’50s Hitch proud.” In Femme Fatale, Sakamoto’s next collaboration with De Palma is his playful pastiche on Ravel’s Bolero, the obsessive rhythm of the opening sequence becoming a jewel heist at the Cannes film festival. Alejandro Gonzalez Inarritu’s The Revenant marked Sakamoto’s triumphant comeback after he survived throat cancer. For The Revenant, Sakamoto composed new ambient music that’s simultaneously subdued, low-key and emotionally powerful. Includes CD.

File Under: OST, Classical
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somnium

SIANspheric: Somnium (Sonic Unyon) LP
The two-decade-plus long existence of SIANspheric seems both improbable and poetic. The band’s debut, 1995’s Somnium, has been hailed as one of the top Canadian albums of all time. Amazingly, this release (out Oct 28, 2016) marks the first time this album has ever been available on vinyl. Limited to 500 copies worldwide, each album contains two long-playing LPs on red vinyl. These will not last long. “Armed with a sinewy intellect and their own brand of gaseous post-rock prescience, they burned a path through the sonic stratosphere. The waves of gentle turbulence and ethereal beauty are still as hypnotic and cavalier as they were on the first listen. A stoner classic.” – Chart Attack (#40 on Top 50 Canadian Albums of All Time)

File Under: Indie Rock, Shoegaze
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sian

SIANspheric: Writing the Future in Letters of Fire (Sonic Unyon) LP
SIANspheric’s first new studio album in 15 years, Writing the Future in Letters of Fire (out October 28, 2016) includes nods to the band’s past and leaps forward — staying grounded, while providing dreamy whirrs and explosive noise bursts. Band members (Matt Durrant, Ryan Ferguson, Jay Patterson and Sean Ramsay) hearken back to their ’90s roots on the title track, treading the line between calm and chaos, where echoes of Smashing Pumpkins meet echoes of The Verve, and on “Shimmer”, which builds and builds… and builds… Not content to stand still, the group also pushes the envelope by incorporating glorious choral accompaniment courtesy of Hamilton, Ontario’s Earth, Wind & Choir on the first single, “I Have It,” and Tame Impala-inspired trips on the breakdown choruses of “The Simple Exit”. The psych sludge on the outro of “The Flight of the Owl” is reminiscent of Wooden Shjips and the wheels almost entirely come off during the jazz skronk of “Los Herejes” (featuring horns from Hamilton’s Eschaton) or the 14-minute, untitled, live-off-the-floor freakout that closes Side D. The album is a true past-meets-future revelation

File Under: Indie Rock, Shoegaze
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beacon

Silver Apples: Beacon (Chickencoop) LP
Beacon is the fourth album for the Silver Apples, the “come back album”, produced by Steve Albini and originally released in 1997 on CD only. Eight of the tracks were new songs that former exile and Silver Apples leader Simeon had composed with recent additions Xian Hawkins and Michael Lerner. The remaining three tunes are remakes from the Silver Apples’s past. A reworking of “I Have Known Love” opens the record. “You and I” is given an appropriate chaotic reading; a wall of cacophonous keyboards forms in the instrumental breaks, like the video game Stargate on tilt. Of the originals, the vocal-less “Cosmic String” is the standout, developing a Trans Am groove with sounds recalling the moment the beloved Pac-Man is caught by his nemesis, Speedy. Beacon is full of the influence of ’80s video games, no doubt incorporated by the twenty-something Hawkins.

File Under: Electronic, Rock
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sleafordSleaford Mods: Live at SO36 (Harbinger) LP
Sleaford Mods’s third Berlin show took place at Kreuzberg’s legendary SO36 club. The band took to the stage on a hot sweaty June night and played to a sold out audience. The show was captured by a German documentary crew and this limited edition album captures the highlights of that incendiary performance. Among the 14 tracks on the album are favorites like “Tied Up In Nottz”, “Jobseeker”, “Fizzy” and the great crowd-pleaser and closer, “Tweet Tweet Tweet”. The recording is a testament to the connection between the band and those that follow them. Hear the glorious carnage and madness throughout the record’s duration. No language barriers, no borders, no restrictions of any kind. This album also represents the first release on Harbinger Sound’s new USA subsidiary label. Fuck England!

File Under: Punk, Rap
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snowMichael Snow: Music For Piano, Whistling, Microphone and Tape Recorder (Song Cycle) LP
Musician, visual artist, composer, writer, and sculptor Michael Snow is also one of the world’s most highly acclaimed experimental filmmakers. In 1975 he released this album under the record company Chatham Square. The label was founded by the owner of Michael Snow’s gallery, the Bykert Gallery, which also issued the first Philip Glass recordings. This reissue is released in collaboration with Michael Snow. 180-gram vinyl; gatefold sleeve.

File Under: Experimental, Avant Garde
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spaceartSpace Art: Trip In The Center Head (Because) LP+CD
Because Music present a reissue of Space Art’s Trip In The Center Head, originally released in 1978. Space Art, the duo of Roger Rizzitelli and Dominique Perrier, is a legendary group that is considered a great pioneer of French electronic music. Perrier, having collaborated with Michel Fugain and Il Etait Une Fois, is one of legend Jean-Michel Jarre’s closest collaborators. Dominique discovered the very first synthesizer ARP (Odyssey) which he was taken with so much that he created his own band, Space Art, aside his good friend drummer Rizitelli. This curious band endorsed tight and opaque costumes of decontamination which covered their bodies and masked their faces. In 1977, “Onyx”, recorded in Studio Ferber mixed by René Hameline, became a very successful single. Issued from the album Space Art (BEC 5156240), the single sold over three million copies worldwide. Two albums shortly followed, in 1979, Trip To The Center Head then in 1980, Play Back (BEC 5156239). Space Art is behind the massive hits: “Onyx”, “Give Me Love”, “Love In C Minor” and more. Space Art’s legacy is the true “techno trance”. A keyboard virtuoso, Perrier worked on all of Jarre’s albums from Rendez-Vous (1986) to Oxygène 7- 1 (1997) and still tours with him around the world. Space Art toured with Jarre in China in the early ’80s. Alongside Jean-Michel Jarre and Cerrone, Space Art are considered one of the pioneers of electro music. One of three Space Art LP reissues, along with Play Back and Space Art, all cut from the long-awaited 2010 digital remasters and presented for the first time on vinyl. Considering the success of the Cosmic Machine compilations, French proto-electro is being revisited by fans of electronic music and being given well-deserved attention. Comes in printed cardboard sleeve with CD included.

File Under: Electronic, Synth Pop
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spaceart1

Space Art: Play Back (Because) LP
Because Music present a reissue of Space Art’s Play Back, originally released in 1980. Space Art, the duo of Roger Rizzitelli and Dominique Perrier, is a legendary group that is considered a great pioneer of French electronic music. Perrier, having collaborated with Michel Fugain and Il Etait Une Fois, is one of legend Jean-Michel Jarre’s closest collaborators. Dominique discovered the very first synthesizer ARP (Odyssey) which he was taken with so much that he created his own band, Space Art, aside his good friend drummer Rizitelli. This curious band endorsed tight and opaque costumes of decontamination which covered their bodies and masked their faces. In 1977, “Onyx”, recorded in Studio Ferber mixed by René Hameline, became a very successful single. Issued from the album Space Art, the single sold over three million copies worldwide. Two albums shortly followed, in 1979, Trip To The Center Head then in 1980, Play Back. Space Art is behind the massive hits: “Onyx”, “Give Me Love”, “Love In C Minor” and more. Space Art’s legacy is the true “techno trance”. A keyboard virtuoso, Perrier worked on all of Jarre’s albums from Rendez-Vous (1986) to Oxygène 7- 1 (1997) and still tours with him around the world. Space Art toured with Jarre in China in the early ’80s. Alongside Jean-Michel Jarre and Cerrone, Space Art are considered one of the pioneers of electro music. One of three Space Art LP reissues, along with Trip In The Center Head and Space Art, all cut from the long-awaited 2010 digital remasters and presented for the first time on vinyl. Considering the success of the Cosmic Machine compilations, French proto-electro is being revisited by fans of electronic music and being given well-deserved attention. Comes in printed cardboard sleeve with CD included.

File Under: Electronic, Synth Pop
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spaceart2

Space Art: s/t (Because) LP
Because Music present a reissue of Space Art’s self-titled debut album, originally released in 1977. Space Art, the duo of Roger Rizzitelli and Dominique Perrier, is a legendary group that is considered a great pioneer of French electronic music. Perrier, having collaborated with Michel Fugain and Il Etait Une Fois, is one of legend Jean-Michel Jarre’s closest collaborators. Dominique discovered the very first synthesizer ARP (Odyssey) which he was taken with so much that he created his own band, Space Art, aside his good friend drummer Rizitelli. This curious band endorsed tight and opaque costumes of decontamination which covered their bodies and masked their faces. In 1977, “Onyx”, recorded in Studio Ferber mixed by René Hameline, became a very successful single. Issued from Space Art, the single sold over three million copies worldwide. Two albums shortly followed, in 1979, Trip To The Center Head then in 1980, Play Back. Space Art is behind the massive hits: “Onyx”, “Give Me Love”, “Love In C Minor” and more. Space Art’s legacy is the true “techno trance”. A keyboard virtuoso, Perrier worked on all of Jarre’s albums from Rendez-Vous (1986) to Oxygène 7- 1 (1997) and still tours with him around the world. Space Art toured with Jarre in China in the early ’80s. Alongside Jean-Michel Jarre and Cerrone, Space Art are considered one of the pioneers of electro music. One of three Space Art LP reissues, along with Trip In The Center Head and Play Back, all cut from the long-awaited 2010 digital remasters and presented for the first time on vinyl. Considering the success of the Cosmic Machine compilations, French proto-electro is being revisited by fans of electronic music and being given well-deserved attention. Comes in printed cardboard sleeve with CD included.

File Under: Electronic, Synth-Pop
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spaceart3

Space Art: Remix (Because) LP
Because Music presents Remix, a double 12″ release featuring Space Art’s classic French electro tracks with contributions by Prins Thomas, Psychemagik, Daniele Baldelli and Marco Dionigi. Space Art, the duo of Roger Rizzitelli and Dominique Perrier, is a legendary group that is considered a great pioneer of French electronic music. Perrier, having collaborated with Michel Fugain and Il Etait Une Fois, is one of legend Jean-Michel Jarre’s closest collaborators. Dominique discovered the very first synthesizer ARP (Odyssey) which he is taken with so much so that he created his own band, Space Art, aside his good friend drummer Rizitelli. This curious band endorses tight and opaque costumes of decontamination which cover their body and mask their face. In 1977, “Onyx”, recorded in Studio Ferber mixed by René Hameline, became a very successful single. Issued from the album Space Art, the single sold over three million copies worldwide. Two albums shortly followed, in 1979, Trip To The Center Head then in 1980 Play Back. Space Art is behind the massive hits: “Onyx”, “Give Me Love”, “Love In C Minor” and more. Space Art’s legacy is the true “techno trance”. A keyboard virtuoso, Perrier worked on all of Jarre’s albums from Rendez-Vous (1986) to Oxygène 7- 1 (1997) and still tours with him around the world. Space Art toured with Jarre in China in the early ’80s. Alongside Jean-Michel Jarre and Cerrone, Space Art are considered one of the pioneers of electro music. Considering the success of the Cosmic Machine compilations, French proto-electro is being revisited by fans of electronic music and being given well-deserved attention. Remix features current leading electronic artists paying homage to the legacy of Space Art. Comes in printed cardboard sleeve with CD included.

File Under: Electronic, Synth-Pop
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strange-city

Sun Ra/Merzbow: Strange City (Cold Spring) LP
Cold Spring Records present Strange City featuring completely different music on each format. Officially licensed from Irwin Chusid of the Sun Ra estate, Cold Spring’s Justin Mitchell negotiated rare and unreleased tracks from the Sun Ra archive to be remixed and treated by Masami Akita (Merzbow). The tracks incorporate the jazz power of Sun Ra, carried into brutal excess by the legendary Japanese artist Merzbow.

File Under: Jazz, Noise
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naples

Piero Umiliani & I Suoi Oscillatori: Switched on Naples (Sonor) LP
Sonor Music Editions present a reissue of Piero Umiliani & I Suoi Oscillatori’s Switched On Naples, originally released in 1972. A very underrated Umiliani album, Switched On Naples is an outstanding ‪library album with a pure touch of genius. Maestro Umiliani revisits Naples’s popular songs by the use of synthesizers, carrying the record out with entirely electronic sounds.

File Under: Italian, Library
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ween

Dean Ween Group: The Deaner Album (ATO) LP
The Deaner Album is the debut album from The Dean Ween Group. Dean Ween aka Mickey Melchiondo recorded the album in several locations but finished it at his dedicated studio facility in Lambertville, NJ, across the river from his native New Hope, PA. On The Deaner Album, Dean brings his love of classic guitar rock to 14 original compositions (including four instrumentals) that echo everything from classic rock to cracked country to the quirky mix of soul, funk, metal and punk that defined Ween. “My tastes are very mainstream; I love Jimi Hendrix and Santana and Zeppelin, but my ears are always open,” Dean says. “P-Funk, they’re right up there with the Beatles. That’s what my influences were – that and punk rock – and I wanted all that in this album.” Initially, The Deaner Album found Dean moving to a more ensemble approach to recording, as he enlisted the services of current bandmates as well as old friends including the Meat Puppets’ Curt Kirkwood, legendary punk drummer Chuck Treece, and guitarists Mike “Kidd Funkadelic” Hampton, Scott Rednor, and Bill Fowler among others. “If I woke up in the middle of the night with an idea, I’d call a session and have the whole band come in and learn the song and play it together,” dean says. “That was really different for me. I could actually show some patience and not just half-ass it. If I needed a drummer, I’d get the best drummer I could to play that particular song.” Another huge change for Dean was moving into his own studio, converted from an old chicken coop in the woods of Western New Jersey on a patch of land donated by a friend’s father. “I think finally having my own studio has been a big part of why this record is as good as it is,” he says. “All the gear I’ve acquired over the years that’s been in storage and my garage and my attic, it’s all in one place now. Every guitar I’ve ever bought, every amp, every pedal, every effect, all in one place and it’s all getting used all the time. I’m there pretty much all day, every day, all night, every night, doing something – recording, practicing, mixing. It’s in the country, in the woods, nobody can hear us, and I’ve got a sound system in there powerful enough to power a big club. And you can go outside in your underwear and smoke a cigarette or blow off a grenade and nobody’s going to hear you.” Dean recorded three of the tracks on the album by himself, playing all of the instruments. That includes “SchwarzPete,” a loving tribute to guitar hero Les Paul and the collection’s oldest song, originally written years ago for a TV pilot. “I always wanted that song to be on a record,” he says. “I love that style of guitar playing.” Before diving headfirst into The Deaner Album, Dean produced and engineered Moistboyz V, his fifth collaboration with punk singer Guy Heller. “My idea was to do the Moistboyz’ record and my record at the same time, but I realized I needed to focus on one record at a time and shelved my record for a bit,” he says. “Then when I moved into my new studio a year or so ago, I just really went all in on my record, no distractions, no side projects. I did a lot of gigging, but that just benefited the record because my playing and singing just kept getting better.”

File Under: Rock, Ween
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brown3

Various: Brown Acid Third Trip (Riding Easy) LP
“We continue down the wormhole of hard rock, heavy psych, and proto-metal here on The Third Trip with a set of tunes so obscure they can’t be seen without a third eye. Most of these tracks were recorded in shack-sized studios, privately pressed for promotional purposes, and tossed out like last night’s half empties only to later be discovered to be half-full, if not overflowing with greatness. The majority of these tracks are from the good ol’ US of A with two exceptions, Ash-labelmate New Zealanders, Chook, and the mighty Limeys, Factory. As they say, first is the worst, second is the best, third is the one with the hairy chest. So take a shot of whiskey, shotgun a beer, and put some fuzz in between your nipples with the hairiest Trip you’ve taken yet. You won’t be sorry you did”.

File Under: Hard Rock, Psych, Metal
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metamorphoses

Various: Metamorphoses (Modern Silence) LP
Modern Silence present a reissue of Metamorphoses, originally released in 1980. A Russian album of electronic interpretations of “classical” pieces by Claude Debussy, Claudio Monteverdi along with John Bull, Vladimir Martynov, Sergei Prokofiev, J. S. Bach, Edward Artemiev and Yuri Bogdanov. Yuri Bogdanov is featured on every track, on some tracks together with Edward Artemiev, composer for Andrei Tarkovsky, and others. Other tracks feature Vladimir Martynov. From the original liner notes: “The record is made on the basis of a kaleidoscope: it is interspersed with pieces of various styles, genres and eras. For example, with these pieces, the authors wanted to show a variety of ways to use a synthesizer, starting with the direct simulation of now or once existing instruments, to the establishment of new not yet known sound systems. Thus, the record is like a small musical walk through time (…)”

File Under: Early Electronic, Experimental, Classical
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offering

Various: Musical Offering (Modern Silence) LP
Modern Silence present a reissue of Musical Offering, originally released in 1990. Features works by Oleg Buloshkin, Sofia Gubaidulina, Edward Artemiev, Edison Denisov and Alfred Schnittke. From the original liner notes: “(…) Please, try to imagine a score sounding by itself without a conductor, an orchestra even without musical instruments. This magic is possible by using the musical synthesizer, ANS. ANS is an instrument with which a composer can not only create but even draw his music without notes and orchestra. A Soviet scientist Evgeny Murzin spent about 20 years creating this apparatus which can join together three processes: music creation, recording and performing. All these processes are rather complicated. You can see the twinkling of different lamps, the rotation of grooved discs made of glass – notes are cut on a glass disc covered with a special layer; The drawings on the glass are ‘sounding notes’. To listen to the drawn picture you should press the button and a wonderful transformation will begin. Murzin dedicated his apparatus to Alexander Nikolayevich Scriabin, that’s why he called it ANS. Scriabin, the creator of the ‘Poem of Ecstasy’, used in his works a highly chromatic, new type of harmonic style designed to express his beliefs, views and wishes. Soviet music lovers already know some recordings made on ANS from the films Into Space, Solaris (1972), Mirror (1975), Siberiade (1979) and others. Works of well-known Soviet composers E. Artemiev, O. Buloshkin, E. Denisov, S. Gubaidulina, A. Schnittke featured on this LP were recorded at the Electronic Music Studio (…)”

File Under: Electronic, Soviet, ANS
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…..Restocks…..

Tony Allen: Jealousy (Kindred Spirits) LP
Tony Allen: No Discrimination (Kindred Spirits) LP
Tony Allen: NEPA (Kindred Spirits) LP
Baby Grandmothers: s/t (Subliminal Sounds) LP
Black Flag: Damaged (SST) LP
Black Flag: My War (SST) LP
Black Flag: Loose Nut (SST) LP
James Brown: Think (Cornbread) LP
Nick Cave: Boatman’s Call (Mute) LP
Clash: London Calling (Epic) LP
Cluster: ’71 (Bureau B) LP
John Coltrane: Blue Train (Blue Note) LP
Bo Diddley: Have Guitar Will Travel (Cornbread) LP
Dies Irae: First (Ohrwashel) LP
Charlie Feathers: Uh Huh Honey (Norton) LP
Goat: World Music (Rocket) LP
Gorillaz: Plastic Beach (EMI) LP
Guru Guru: UFO (Play Loud) LP
Joy Division: Closer (Rhino) LP
Joy Division: Unknown Pleasures (Rhino) LP
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) LP
Kronos Quartet: Pieces of Africa (Nonesuch) LP
Lambchop: Flotus (Merge) LP
Moondog: Snaketime Series (Cornbread) LP
Nirvana: In Utero (Geffen) LP
OST: Trainspotting (Warner) LP
Parliament: Mothership Connection (Universal) LP
Daniel Romano: Mosey (New West) LP
Scientist: Rids the World of the Evil Curse (Mirimur) LP
Sun Ra: Super-Sonic Jazz (Cornbread) LP
Television: Marquee Moon (Rhino) LP
White Stripes: Elephant (Third Man) LP
Various: Heavenly Ethiopiques (Heavenly) LP
Various: No New York (Lilith) LP

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…..news letter # 766 – fuuuuuuuuuuuuudge…..

Well, the future just got a lot more scary…… Snuggle up with your loved ones and some good tunes before he burns the whole world down. Black Friday RSD is coming quickly approaching, so stay tuned for details on that. Oh, and tomorrow, Remembrance Day, we’ll be open 12-5.

…..pick of the week…..

pbmib-sleeve

Paradise Bangkok Molam International Band: Planet Lam (Studio Lam) LP
Inspiration for the LP, is the musical experimentation that has happened at Studio Lam, and how that has influenced our sound, whether it’s the alternative nights featuring individual band members (Paradise Bangkok Rhythm Section, Kammao & friends, Electric Piphat Band) or sets from other artists and DJs like Andrew Ashong, Miles Cleret, Hugo Mendez, Awesome Tapes From Africa, Rabih Beaini, Kirk Degiorgio, and Phuong Dan. The fact that Studio Lam has become a musical focal point for city of Bangkok, has inevitably had an impact on the band itself, and this is reflected in the presence of different vibes and styles of the LP. The sound of ‘Planet Lam’ has been shaped by late night jamming gigs, homemade ya-dong, run ins with the police, and the swapping of ideas with like minded local musicians and artists.

File Under: Molam, Thai, Psych
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…..new arrivals…..

bachman

Daniel Bachman: s/t (Three Lobed) LP
There are few things worse, or more damning, than peaking too soon. Just ask anyone who accomplished their greatest work before barely hitting the quarter century mark. Ask Orson Welles; ask any Olympic gold medalist. Wheaties boxes, increasing public indifference, and diminishing returns. Is that all there is? Guitarist and former wunderkind Daniel Bachman, at 26, can no longer be considered “precocious.” On even his earliest recordings, released under the moniker Sacred Harp, Bachman’s guitar prowess and compositional voice were staggeringly mature. There was something refreshingly novel about a guitarist not old enough to vote possessing such clarity of vision. But novelty wears off, and even the most big-eared benefactors are likely to become fickle and disinterested over time; the fans who do happen to stick around may begin to hold you to impossibly higher standards – after all, you’re not a kid anymore. And so it is a pleasure to hear Bachman, with his new self-titled album, so confidently answer the bell with an album that serves as both riposte and reckoning. If you’re not with Bachman now, the album seems to declare, you never were. “Brightleaf Blues (I)” opens the album with an enveloping acoustic drone, Bachman conjuring with his slide a kind of signpost that welcomes us into the album. The drone gives way to lyrical, insouciant-sounding single note slides, which gain a quiet momentum throughout the piece. “The Flower Tree” is aptly titled, not just because the piece’s unhurried transformation from seed to full bloom is a thing to behold, but because of the small intricate details within, like the way Bachman’s percussive arpeggios foreshadow the knotty, turbulent theme that follows. Here the guitar is cast as a suddenly wild and intractable thing, like a ventriloquist’s dummy that becomes self aware and must be subdued or suppressed by its master. By the end of the piece, one imagines Bachman is drenched in sweat. “Wine and Peanuts” is an evocative title, one that speaks to the dualism in Bachman’s work. Though his attack here, as on “The Flower Tree,” is forceful, almost violent, it is never inarticulate or blatantly exhibitionistic. Listening to Bachman’s quick, nimble lines can make one feel like that meme of Michael Jackson giddily shoveling popcorn into his face in anticipation during the movie theater scene of the “Thriller” video, but his music just as readily complements moments of quiet reflection. Consider “A Dog Named Pepper,” which showcases Bachman’s pastoral, placid side, recalling the stoned impressionism of early Windham Hill LPs, minus the stuffy grandiloquence. The tune’s wandering melody is broken up by gaps of silences and negative space; indeed, the song’s final minute is little more than the sound of car tires slowly approaching over a gravel road, reminding us that “A Dog Named Pepper” is a song that deals not only with time but of distance, of roads traveled and misremembered, of how every route is a choice that, by necessity, leaves other destinies unchosen and unknown. “Brightleaf Blues (II),” like its counterpart, begins with a drone, this one softer and continuous, from which wide, keening slide guitar notes emerge like slowly expanding bubbles. Bachman sounds deeply connected to his environment here, the probing lines maintaining a steady, simmering focus over most of the piece’s quarter-hour duration. Then, about two thirds of the way into the piece, the slide guitar disappears, leaving only the drone, which now rings with icy, almost shrill, overtones, like the light from a nearby window hitting an ice sculpture in such a way that it temporarily blinds anyone looking at it. “Watermelon Slices On A Blue Bordered Plate,” Bachman’s take on the riverboat tune, may evoke the expected images of swamps and (it must be said) Fahey circa Of Rivers & Religion, but Bachman’s compositional style deftly sidesteps such clichés. The album ends with a rendition of the hymn “Farther Along.” Bachman’s choice to extract and ruminate on the tune’s melancholic aspects further reveals his good instincts: he plays it a bit like a nonbeliever, which is probably the best way to play it. His rendition suggests transcendence not as a given but as one of many possibilities, a best-case-scenario. Maybe ours are merely transitory struggles, the song seems to say, but then again, maybe they’re not. Truly a song for these insane times. With Daniel Bachman, the guitarist has made his most cohesive statement yet, an album by which future solo acoustic guitar albums by grown-ass men and women can and should be judged. Think of it not as Bachman’s Citizen Kane but as his Mean Streets. In other words, just you wait. –James Toth, July 2016–

File Under: Guitar Soli
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bazan

Daniel Bachman: s/t (Three Lobed) LP
There are few things worse, or more damning, than peaking too soon. Just ask anyone who accomplished their greatest work before barely hitting the quarter century mark. Ask Orson Welles; ask any Olympic gold medalist. Wheaties boxes, increasing public indifference, and diminishing returns. Is that all there is? Guitarist and former wunderkind Daniel Bachman, at 26, can no longer be considered “precocious.” On even his earliest recordings, released under the moniker Sacred Harp, Bachman’s guitar prowess and compositional voice were staggeringly mature. There was something refreshingly novel about a guitarist not old enough to vote possessing such clarity of vision. But novelty wears off, and even the most big-eared benefactors are likely to become fickle and disinterested over time; the fans who do happen to stick around may begin to hold you to impossibly higher standards – after all, you’re not a kid anymore. And so it is a pleasure to hear Bachman, with his new self-titled album, so confidently answer the bell with an album that serves as both riposte and reckoning. If you’re not with Bachman now, the album seems to declare, you never were. “Brightleaf Blues (I)” opens the album with an enveloping acoustic drone, Bachman conjuring with his slide a kind of signpost that welcomes us into the album. The drone gives way to lyrical, insouciant-sounding single note slides, which gain a quiet momentum throughout the piece. “The Flower Tree” is aptly titled, not just because the piece’s unhurried transformation from seed to full bloom is a thing to behold, but because of the small intricate details within, like the way Bachman’s percussive arpeggios foreshadow the knotty, turbulent theme that follows. Here the guitar is cast as a suddenly wild and intractable thing, like a ventriloquist’s dummy that becomes self aware and must be subdued or suppressed by its master. By the end of the piece, one imagines Bachman is drenched in sweat. “Wine and Peanuts” is an evocative title, one that speaks to the dualism in Bachman’s work. Though his attack here, as on “The Flower Tree,” is forceful, almost violent, it is never inarticulate or blatantly exhibitionistic. Listening to Bachman’s quick, nimble lines can make one feel like that meme of Michael Jackson giddily shoveling popcorn into his face in anticipation during the movie theater scene of the “Thriller” video, but his music just as readily complements moments of quiet reflection. Consider “A Dog Named Pepper,” which showcases Bachman’s pastoral, placid side, recalling the stoned impressionism of early Windham Hill LPs, minus the stuffy grandiloquence. The tune’s wandering melody is broken up by gaps of silences and negative space; indeed, the song’s final minute is little more than the sound of car tires slowly approaching over a gravel road, reminding us that “A Dog Named Pepper” is a song that deals not only with time but of distance, of roads traveled and misremembered, of how every route is a choice that, by necessity, leaves other destinies unchosen and unknown. “Brightleaf Blues (II),” like its counterpart, begins with a drone, this one softer and continuous, from which wide, keening slide guitar notes emerge like slowly expanding bubbles. Bachman sounds deeply connected to his environment here, the probing lines maintaining a steady, simmering focus over most of the piece’s quarter-hour duration. Then, about two thirds of the way into the piece, the slide guitar disappears, leaving only the drone, which now rings with icy, almost shrill, overtones, like the light from a nearby window hitting an ice sculpture in such a way that it temporarily blinds anyone looking at it. “Watermelon Slices On A Blue Bordered Plate,” Bachman’s take on the riverboat tune, may evoke the expected images of swamps and (it must be said) Fahey circa Of Rivers & Religion, but Bachman’s compositional style deftly sidesteps such clichés. The album ends with a rendition of the hymn “Farther Along.” Bachman’s choice to extract and ruminate on the tune’s melancholic aspects further reveals his good instincts: he plays it a bit like a nonbeliever, which is probably the best way to play it. His rendition suggests transcendence not as a given but as one of many possibilities, a best-case-scenario. Maybe ours are merely transitory struggles, the song seems to say, but then again, maybe they’re not. Truly a song for these insane times. With Daniel Bachman, the guitarist has made his most cohesive statement yet, an album by which future solo acoustic guitar albums by grown-ass men and women can and should be judged. Think of it not as Bachman’s Citizen Kane but as his Mean Streets. In other words, just you wait. –James Toth, July 2016–

File Under: Guitar Soli
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dazzling

Dazzling Killmen: Face of Collapse (Skin Graft) LP
Skin Graft Records presents a 25th anniversary Special Edition of Dazzling Killmen’s 1994 opus Face Of Collapse, recorded and engineered by Steve Albini. It includes a brand new restoration from the original analog tapes by Blake Fleming and Jason McEntire of Saw Horse Studios. The second LP includes the bonus tracks “Medicine Me,” “Poptones” (Public Image Ltd. cover) and “My Lacerations” (alternate version) on side 3 while side 4 features new artwork from cover artist Paul Nische silk screened directly onto the vinyl. A large 16-page book, measuring 12″ x 12″ , with liner notes from Aaron Burgess, new oral history of the band from Hank Shteamer and artwork and comics from Mark Buckheit, Mark Fischer, Paul Nitsche, Miles Rutlin and Rob Syers is also included. Comes complete with full gatefold sleeve including removable obi with color mini poster printed on the reverse side. Was Dazzling Killmen a hardcore band? A metal band? The world’s gnarliest progressive-rock quartet? “Yes” is the easy answer, but only because it’s easy to rewind through two decades of genre fragmentation to hear Dazzling Killmen’s influence on any number of “math-metal,” “prog-core” and similarly classified bands. At the time, however, this St. Louis quartet occupied a genre of one. When Skin Graft released the Killmen’s 1994 sophomore album, Face of Collapse, that genre had its touchstone. Nick Sakes, Darin Gray and Blake Fleming formed Dazzling Killmen just outside of St. Louis, Missouri in 1990. The following year Skin Graft made its debut with a 7″ single and comic book set from the band. Shortly afterward, Tim Garrigan joined the group, and the quartet began writing and refining material for what would become the label’s first, and the band’s second and final full-length, Face of Collapse. “As the songs progress, Dazzling Killmen bends the music just short of the breaking point, creating a frenzy that is always on the verge. They’re not linear melodies that arrive predictably in their neat little spaces. Rather there is a center to each song and in this space the band attempts to reach it from different directions. A phrase appears for a moment then vanishes and orbits around the next phrase, hovering and waiting for it’s next approach. Sometimes this center is the magnet that holds the whole shebang together. At other times the center cannot hold and the space collapses. It’s during these moments that Dazzling Killmen floor me.” – Randall Roberts, LA Times (from the band’s original presskit) Loud Life at Alternative Press magazine declared it the top album of the 90’s based on the following criteria: 1) Avoidance of formula or cliché. 2) Dexterity of rhythm section, 3) Quality of album’s production values, 4) Lack of predictable lyrical subjects – Satan, Straightedge, Viking folklore, etc. “Sounds like Dave Bruebeck’s Time Out played through Carcass’ PA system.” Face Of Collapse was a key influence on Dillinger Escape Plan: “Most of the great progressive underground bands of the ‘90s would not exist if it weren’t for them.” – Ben Weinman Spin Magazine called Blake Fleming one of the 100 Greatest Drummers of Alternative Music; while Fact Magazine named the album one of the Best Post-Metal Records Ever. Guitarist / vocalist Nick Sakes went on to form Colossomite (with Ed and John of Deerhoof) and now performs in Xaddax. Blake founded Laddio Boloko and then The Mars Volta; while Tim Garrigan and Darin Gray formed You Fantastic! Darin is renowned for his work with Jim O’Rourke, including their bands Brise-Glace and Yona-Kit.

File Under: Harcdcore, Metal, Prog
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deadcan2

Dead Can Dance: Within the Realm of a Dying Sun (4AD) LP
Formed in Australia in the early-80s by Lisa Gerrard and Brendan Perry, Dead Can Dance had veered away from the punk explosion towards a more non-conformist style. But finding the music scene unreceptive they moved to London, landed a record deal with 4AD and embarked on a career with the label that would last 17 years. Highly respected artists with a loyal global fanbase, Gerrard and Perry consistently made music full of integrity and passion. Both immensely talented vocalists – Gerrard with her inimitable, mesmeric style and Perry’s haunting baritone – they were also gifted, instinctive musicians and their melding of traditional instruments with samplers created a bridge between ancient and modern music. 4AD are finally reissuing all the albums the band released on the label on vinyl. With three recently back in print (Dead Can Dance, Spleen And Ideal, and Into The Labyrinth), the next three will be Garden Of The Arcane Delights (which is being pressed as a double LP to also include both the band’s John Peel Sessions), Within The Realm Of A Dying Sun and Toward The Within, all coming out in November 2016. Dead Can Dance issued their third album Within The Realm Of A Dying Sun in the Summer of 1987, showing both a continued maturity in their sound and rise in their popularity. Recorded during an intense period of musical and personal growth for the band, the album’s 8 songs are split equally between the duo with the first half being sung by Brendan and the second Lisa. At the time, Q Magazine described the album as combining “superb voice, ethereal church choirs, sweeping strings and a brochure of ethnic music: Middle Eastern, Indian, Moorish, anywhere but London’s East End where the couple resided.” The album’s cover only adds to the album’s aura of mystery with a haunting photograph of the family grave at the Père-Lachaise cemetery in Paris of famed French biologist François-Vincent Raspail.

File Under: Electronic, Rock, Dark Ambient
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dead-can1

Dead Can Dance: Toward the Within (4AD) LP
Formed in Australia in the early-80s by Lisa Gerrard and Brendan Perry, Dead Can Dance had veered away from the punk explosion towards a more non-conformist style. But finding the music scene unreceptive they moved to London, landed a record deal with 4AD and embarked on a career with the label that would last 17 years. Highly respected artists with a loyal global fanbase, Gerrard and Perry consistently made music full of integrity and passion. Both immensely talented vocalists – Gerrard with her inimitable, mesmeric style and Perry’s haunting baritone – they were also gifted, instinctive musicians and their melding of traditional instruments with samplers created a bridge between ancient and modern music. 4AD are finally reissuing all the albums the band released on the label on vinyl. With three recently back in print (Dead Can Dance, Spleen And Ideal, and Into The Labyrinth), the next three will be Garden Of The Arcane Delights (which is being pressed as a double LP to also include both the band’s John Peel Sessions), Within The Realm Of A Dying Sun and Toward The Within, all coming out in November 2016. Released in October 1994 and out of print on vinyl ever since, Toward The Within was an audio and video document of the 1993 sell-out Dead Can Dance World tour. Recorded at the Mayfair Theater in Santa Monica, California, it marked one of the final performances at the historic theatre as it later suffered major structural damage in an earthquake in 1994. Despite being a live recording, Toward The Within includes 12 previously unrecorded tracks as well as material from their six previous studio albums.

File Under: Electronic, Rock, Dark Ambient
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blonde_-_frank_ocean

Frank Ocean: Blonde (Fanclub) LP
Blonde is the second studio album by American singer Frank Ocean. It was released on August 20, 2016, as a timed exclusive on the iTunes Store and Apple Music, and followed the August 19 release of Ocean’s visual album Endless. Initially known as Boys Don’t Cry and teased for a July 2015 release, the album suffered several delays and was the subject of widespread media anticipation. The album features guest vocals from Beyoncé, Kendrick Lamar, Yung Lean, André 3000, Sebastian, James Blake, and Kim Burrell among others, and production from Frank Ocean himself, as well as Pharrell Williams, Tyler, The Creator, Jamie xx, Rostam Batmanglij, Om’Mas Keith, and many more. The album was supported by the single “Nikes”. It received widespread acclaim from critics, and charted at number one on the Billboard 200.

File Under: Hip Hop, Soul
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oneida

Oneida/Rhys Chatham: What’s Your Sign? (Northern Spy) LP
Four years after their inaugural union at Ecstatic Music Festival inside New York City’s Merkin Concert Hall produced a cosmic din for the ages, two genre-obliterating renegades who’ve made indelible marks in the experimental music pantheon – the NYC-bred, Paris-based avant-garde guitar legend and minimalist composer Rhys Chatham and long-running psychedelic free-rock juggernaut and Brooklyn institution Oneida – have joined forces on their first collaborative album proper titled What’s Your Sign? With six compositions credited to Oneida and Rhys Chatham, What’s Your Sign? – Oneida’s first set of original material since 2012’s A List of the Burning Mountains and Chatham’s second LP in 2016 (Pythagorean Dream the first) and third overall for Northern Spy – is an exercise in freethinking sonic explorations from an uncompromising, genre-defying group whose collective output has shaped the experimental music landscape extending over the last four decades. Recorded and mixed at Menegroth The Thousand Caves by Colin Marston, Oneida and Rhys Chatham and mastered by James Plotkin, What’s Your Sign?’s six shapeshifters are ecstatic journeys into a psych-rock future-world. Warped, alien jam action like the jet engine-drone roar of “Well Tuned Guitar” and the in-your-face noise-rock screams of “You Get Brighter” harken back to the legendary free-improv all-nighters that took place at The Ocropolis, Oneida’s former studio/performance space in Williamsburg. Both “Civil Weather” and “A. Philip Randolph and Back Bay Station” approach firebreathing 60’s free jazz vibes driven by Millions’ rolling and manic beats and ear bleeding double-horn-fueled drone, thanks to a Hanoi Jane-Chatham trumpet duet.

File Under: Indie Rock, Experimental
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two-virgins

Yoko Ono/John Lennon: Unfinished Music No. 1: Two Virgins (Secretly Canadian) LP
Turns out the very sound of falling in love is just as abstract, subjective and loopy as the concept itself. Yoko Ono and John Lennon are two of history’s greatest lovers, and Two Virgins is the musique concrete fever dream document of the pair falling in love in real time. It’s a Cageian suite recorded over one weekend in Spring 1968 at Lennon’s Kenwood home: Distant conversations; comedic role playing and footsteps; laughter, birdcalls and plunking piano lines; silly songs and space; tape delay stretching shrieks, bass rumbles and moans to the moon and back again. It’s two young people attempting to weird one another out, attempting to make one another laugh, falling deeply into one another. John mucks around with delay and loops while Yoko exercises her expressionist vocalizations. The smoke and wine is nearly audible. Available on vinyl for the first time in decades, Unfinished Music, No. 1: Two Virgins has been remastered from the original tapes by Sean Lennon and Greg Calbi and comes complete with an accompanying download featuring the bonus track “Remember Love,” which did not appear on the original release. Secretly Canadian couldn’t be more proud to be a part of re-introducing Yoko Ono’s seminal work. The first batch to be reissued will be 1968’s Unfinished Music No. 1: Two Virgins, 1969’s Unfinished Music No. 2: Life with the Lions, and 1970’s Yoko Ono Plastic Ono Band, all out November 2016, with more to come in 2017. Comprised of 11 studio albums, the reissue project’s focus is to painstakingly reconstruct the original vinyl packaging, to thoroughly excavate and appropriately curate the treasure-laden archives of never-before-seen photos and ephemera, and to re-master the audio, all for the purpose of creating the definitive editions of this timeless work. In addition to making the vinyl available for the first time in decades, each album will also be available digitally for the first time ever.

File Under: Rock, Experimental
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ono

Yoko Ono/John Lennon: Unfinished Music No. 2: Life with Lions (Secretly Canadian) LP
If Two Virgins is the ecstatic first kiss shared between two of pop culture’s greatest lovers, then Life with the Lions is the sound of the pair validating their love as something impenetrable and timeless. It’s when we, the listener, begin to fully understand that the scope of their recording efforts was much more than a recording collaboration, and something closer to a performative documentary, a declaration of “Our life and our love is our art every nitty, gritty part of it.” The collection begins with a more straightforward piece of improvised music, edited down from a live performance at Cambridge University’s Lady Mitchell Hall in March 1969. The entirety of Side B was recorded in a patient suite at London’s Queen Charlotte Hospital where Ono was admitted with pregnancy complications and ultimately lost a child, John Ono Lennon II. Available on vinyl for the first time in decades, Unfinished Music, No. 2: Life with the Lions has been remastered from the original tapes by Sean Lennon and Greg Calbi and comes complete with an accompanying download featuring the bonus tracks “Song for John” and “Mulberry,” which did not appear on the original release. Secretly Canadian couldn’t be more proud to be a part of re-introducing Yoko Ono’s seminal work. The first batch to be reissued will be 1968’s Unfinished Music No. 1: Two Virgins, 1969’s Unfinished Music No. 2: Life with the Lions, and 1970’s Yoko Ono Plastic Ono Band, all out November 2016, with more to come in 2017. Comprised of 11 studio albums, the reissue project’s focus is to painstakingly reconstruct the original vinyl packaging, to thoroughly excavate and appropriately curate the treasure-laden archives of never-before-seen photos and ephemera, and to re-master the audio, all for the purpose of creating the definitive editions of this timeless work. In addition to making the vinyl available for the first time in decades, each album will also be available digitally for the first time ever.

 File Under: Rock, Experimental
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trainspotting

OST: Trainspotting (Rhino) LP
A 20th anniversary reissue of the original soundtrack from the iconic 1996 British drama Trainspotting. Based on the Irvine Welsh novel of the same name, the film version of Trainspotting directed by Danny Boyle became a cult sensation. Centered around the heroin subculture of Edinburgh in the 1980s, the film is occupied with surrealism, black comedy, and most importantly – a killer soundtrack. Including tracks from Iggy Pop, New Order, Blur, Primal Scream, Lou Reed, Pulp and Underworld, this timeless soundtrack is an essential part of any music lovers collection!

File Under: OST, Rock
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sleigh

Sleigh Bells: Jessica Rabbits (Torn Clean) LP
Sleigh Bells wasted no time after getting off the ground in 2009, releasing three blistering records in four years. Ready for a break from the road, they took their time on their fourth LP, Jessica Rabbit, writing and finishing the record several times only to realize that they wanted to push themselves and the music further. As the three years elapsed, guitarist Derek Miller went looking for the abyss, found it, and crawled out in one piece. Vocalist Alexis Krauss, for her part, found something like heaven in nature and healthy living. The result of their combined experiences is an intense and vulnerable record that’s highly evolved and completely uncategorizable, a major statement from a band wholly committed to advancing their dynamic, uncompromising vision. Jessica Rabbit is the first release on the band’s own record label, Torn Clean, in partnership with Sinderlyn Records.

File Under: Rock
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sy

Sonic Youth: Experimental Jet Set, Trash and No Star (Geffen) LP
In tomorrow??…. Following an unprecedented run of influential albums like Daydream Nation (1988), Goo (1990) and Dirty (1992) which marked Sonic Youth’s ascent to becoming America’s pre-eminent alternative band, the group issued Experimental Jet Set, Trash And No Star in 1994, an uncompromising record impacted as much by touring with acts like Royal Trux, Sebadoh and Pavement as contemporaries like Nirvana and Mudhoney had swayed the sound of its predecessors. Produced by Butch Vig yet as stripped down as ever, Experimental Jet Set, Trash And No Star saw the band simultaneously evolving and yearning for their pre-grunge art band days and less expectations, still just as interested in making remarkable underground sounds as songs with commercial appeal. Thurston Moore explained its synthesis, “The idea this time was to cut as much of it live as we could, and not labor over polishing and overdubbing in the usual big-rock manner, and that’s basically what went down.”

File Under: Indie Rock
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watersMuddy Waters: Elevate Me Mama (Black Knight) LP
Mississippi born singer-guitarist Muddy Waters was much more than an influential blues man, he was an artistic epicenter, a rare, luminous astral body around whom it seemed, at certain points, the entire post-war blues galaxy was centered. It would not be an exaggeration to say that Muddy represented the celestial pole of the blues’ very center, a point of connection between the music’s symbolic heaven and earth, one through which owed a surging force so powerful it not only affected how musicians performed, it reached into the very social-cultural fabric of the nation, and eventually the world. Bound together by a rare symmetry of creative elements, he also ultimately represents a uniting force that, through his pervasive influence on rock & roll’s practitioners, brought black and white together at time of profound division. Muddy changed everything. He proposed a modern blues reality so tangibly potent and loaded with soul deep appeal that it was like a portal to undreamed of realm, and all who entered therein were made a gift of Muddy’s singular philosophical rhythms and truth. As a ringmaster for rock & roll – a Godfather who not only facilitated but also participated by leading Chuck Berry to the recording studio, inspiring and touring with the Rolling Stones – he is completely unique all over again. Not just another hits collection, this deep 14-track offering from Black Knight Records gathers some of the early Chicago blues numbers that Muddy Waters made his name on and where his legend began including: “Five Long Years,” “Elevate Me Mama,” “You Shook Me,” “Messin’ With The Man,” “I Got My Brand On You,” “Read Way Back,” “When I Get To Thinking,” “Baby I Done Got Wise,” “Recipe For Love,” “Diamonds At Your Feet,” “She’s Into Something” and “She’s All Right.”

File Under: Blues

daydead

Various: Day of the Dead (4AD) LP
Epic New 59-Track, 5 Hour Tribute to the Grateful Dead Curated by Aaron and Bryce Dessner of The National! Day of the Dead is an epic tribute to the music and artistry of the Grateful Dead, curated by Aaron and Bryce Dessner of The National. They have brought together some of their favorite musicians to reinterpret the songs and sounds of the Dead for a new generation. 59 tracks and over 5 hours of music makes the album a landmark to get lost in, to discover hidden treasures and to make your own playlists for whatever mood you’re in. The diversity in both material and performance on the tribute is astounding. Special collaborations include Grateful Dead touring member Bruce Hornsby with DeYarmond Edison (featuring Justin Vernon of Bon Iver and the band Megafaun) on “Black Muddy River,” Perfume Genius and Sharon Van Etten on “To Lay Me Down,” Arcade Fire’s Richard Reed Parry, the Band’s Garth Hudson, Little Scream, and composer Caroline Adelaide Shaw’s take on “Brokedown Palace,” Grizzly Bear’s Ed Droste and Little Joy’s Binki Shapiro on “Loser,” Lee Ranaldo and TV on the Radio’s Tunde Adebimpe’s “Playing in the Band,” Jenny Lewis and Moses Sumney’s “Cassidy,” Charles Bradley’s “Cumberland Blues,” and perhaps most expansively, Grizzly Bear’s Daniel Rossen and Chris Bear teaming up with members of the National, So Percussion, and the Brooklyn Youth Chorus to recreate 1977’s entire Terrapin Station medley. There are fresh interpretations of classics, like The War On Drugs’ “Touch of Grey,” Jim James’ “Candyman,” Mumford and Sons’ take on “Friend of the Devil,” Phosphorescent / Matthew Houck’s “Sugaree” and “Standing on the Moon,” “Shakedown Street” recorded by Unknown Mortal Orchestra, the Walkmen’s “Ripple,” and Lucius’ version of “Uncle John’s Band,” as well as a perfectly cast Kurt Vile and J Mascis on “Box of Rain.” But the compilation also explores lesser known Dead material such as the psychedelic folk gem “Mountains of the Moon” (Lee Ranaldo), and “Rubin and Cherise,” originally a Jerry Garcia song, later adopted by the Grateful Dead and recorded here by Will Oldham. Day of the Dead also features lively recordings from Senegalese collective Orchestra Baobob (“Clementine Jam”), composer Terry Riley and his son Gyan Riley (“Estimated Prophet”), electronic artist Tim Hecker (channeling John Oswald’s classic “Dark Star” exploration “Grayfolded”), jazz pianist Vijay Iyer (“King Solomon’s Marbles”), and Bela Fleck with Edgar Meyer, Zakir Hussain, and Chris Wood (“Help on the Way / Slipknot”). Wilco also contributes here on a live version of “St. Stephen” with Bob Weir in tow!

File Under: Indie Rock, Grateful Dead
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killed-by

Various: Killed By Death Volume 2 (Sacred Bones) LP
After the initial blast of punk rock bands made their impression on the youth of the late 1970s, subgenres quickly emerged. Some preferred the faster, louder aggression of hardcore, others the angular danceability of post-punk, some the raw and more personal home-made sound of DIY, and so on. Looking back among and between these genres we now recognize various blends of punk, post-punk, goth rock, industrial, and DIY as “deathrock.” In 2014, Sacred Bones Records launched the series Killed By Deathrock to document an entire scene of bands that haven’t yet received proper recognition. The thread that holds these groups together as deathrock bands comes down to their willingness and sometimes compulsion to reveal and explore the darker side of their psyches. Night-soaked dirges of fatality, despair, and horror were rampant, rooted in that sublimity that is found on the edge of the horror genre, as famously developed by Edgar Allan Poe – an edge that relished in misery and openly recognized the inevitable end of any human life. Killed by Deathrock Vol. 2 brings together essential underground bands from Denmark, the United Kingdom, Belgium, California, and Colorado. Though separated initially by the thousands of miles between their local scenes, these bands are united at last under the banner of this eternally underappreciated punk subgenre. Vinyl comes with exclusive poster designed by Heir.

File Under: Punk, Post Punk, Goth
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…..Restocks…..

Arctic Monkeys: AM (Domino) LP
Arctic Monkeys: Suck it and See (Domino) LP
Arctic Monkeys: Humbug (Domino) LP
Beach House: Depression Cherry (Sub Pop) LP
Beach House: Thank Your Lucky Stars (Sub Pop) LP
Black Keys: The Big Come Up (Alive) LP
Guy Clark: My Favorite Picture of You (Dualtone) LP
Dinosaur Jr.: Give A Glimpse of What Yer Not (Jagjaguwar) LP
Nils Frahm: Spaces (Erased Tapes) LP
Goat: Commune (Sub Pop) LP
Gorillaz: Demon Days (Fanclub) LP
Jesu/Sun Kil Moon: s/t (Caldo Verde) LP
Sharon Jones: It’s A Holiday Soul Party (Daptone) LP
Kraftwerk: Computer World (Fanclub) LP
Kraftwerk: Ralph & Florian (Fanclub) LP
Metallica: Metal Up Your Ass (Fanclub) LP
Metz: s/t (Sub Pop) LP
Metz: II (Sub Pop) LP
My Bloody Valentine: Loveless (Fanclub) LP
National: Alligator (Beggars) LP
National: Trouble Will Find Me (4AD) LP
Frank Ocean: Channel Live (Fanclub) LP
Organization: Tone Float (Fanclub) LP
Pavement: Slanted & Enchanted (Matador) LP
Pixies: Trompe Le Monde (4AD) LP
Queens of the Stone Age: Like Clockwork (Matador) LP
Radiohead: A Moon Shaped Pool (XL) LP
Radiohead: The Bends (XL) LP
Real Estate: Atlas (Domino) LP
Savages: Silence Yourself (Matador) LP
Sigur Ros: Meo Suo I Eyrum Vio Spilum Endalaust (XL) LP
Sigur Ros: Valtari (XL) LP
Elliott Smith: Either/Or (Kill Rock Stars) LP
Elliott Smith: s/t (Kill Rock Stars) LP
Elliott Smith: An Introduction… (Kill Rock Stars) LP
Elliott Smith: New Moon (Kill Rock Stars) LP
Kaitlyn Aurelia Smith: Ears (Western Vinyl) LP
Kaitlyn Aurelia Smith: Euclid (Western Vinyl) LP
System of a Down: s/t (Fanclub) LP
System of a Down: Toxicity (Fanclub) LP
System of a Down: Mesmerize (Fanclub) LP
System of a Down: Hypnotize (Fanclub) LP
Todd Terje: It’s Album Time (Olsen) LP
Tool: 10,000 Days (Fanclub) LP
U2: Achtung Baby (Fanclub) LP
U2: Zooropa (Fanclub) LP
Vampire Weekend: s/t (XL) LP
Kurt Vile: B’Lieve I’m Goin’ Down (Matador) LP
War On Drugs: Lost in the Dream (Secretly Canadian) LP
Warpaint: Heads Up (Rough Trade) LP
White Lung: Paradise (Domino) LP
Whitney: Light Upon the Lake (Secretly Canadian) LP
Wire: Pink Flag (Fanclub) LP
Women: s/t (Flemish Eye) LP
Women: Public Strain (Flemish Eye) LP
Neil Young: Mirror Ball (Fanclub) LP

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…..news letter #737 – are ess dee…..

Alright! Here we go! Weeks of ordering and receiving and plotting and in about 36 hours, all hell is gonna break loose around here. Tomorrow night we’re gonna close up early and completely strip the walls and replace everything will all them glorious RSD exclusives.

AND just in case you don’t get what you wanted, or maybe you don’t want any of the exclusives, all the other records in the shop will be 20% off as well as gear and other accessories.

AND if that isn’t enough we’ll be giving away all kinds of swag through out the day.

AND if that isn’t enough, if you get hungry waiting in line we’ll have some coffee and donuts for the early birds.

AND our pal Jason Dublanko of sKin is coming down to play some music for y’all around pm.

AND IF THAT ISN’T ENOUGH SOMEONE IS GOING TO WIN A $700 REGA QUEEN TURNTABLE JUST FOR SHOPPING HERE ON SATURDAY!

AND if you don’t win the turntable you could still win some cool swag from Local 124 or Cups & Cake Podcast.

Not so fine print… We will be opening at an hour early, 10am. However,  people do start lining up well before that. We do try process this all as fast as possible, but it will likely be crisp out in the morning. Plan to spend a good while outside in line, and dress accordingly. Some exclusive releases are extremely limited, and we have very few copies. Others, not so much. Exclusives are first come, first served and one per customer.

Also, we’ll be launching some new Listen swag on Saturday with some sweet deals on them saturday only…

…..top rsd picks…..

wake upVarious: Wake Up You!: The Rise & Fall of Nigerian Rock (1972-1977)
(Now Again) 2LP+Book

“The Western world was in the throes of peace, love and flower power as Nigeria descended into Civil War in 1967. The rock scene that developed during the following three years of bloodshed and destruction would come to heal the country, propagate the world-wide ideal of the modern Nigerian, and propel Fela to stardom after conflict ended in 1970. Wake Up You! tells the story of this time, pays homage to these now-forgotten musicians and their struggle, and brings to light the funk and psychedelic fury they created as they wrested free of the ravages of the late 1960s and created thrilling, original Nigerian rock music throughout the 1970s. The CD is presented in a 104-page book full of never-seen photos along with detailed liner notes by Nigerian musicologist and researcher Uchenna Ikonne (Who Is William Onyeabor?), with all tracks fully licensed from the bands themselves.”

File Under: Nigerian, Rock, Psych
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shadowyShadowy Men On A Shadowy Planet: Oh, I Guess We Were A Fucking Surf Band After All (Yep Rock) 4LP Box
Shadowy Men on a Shadowy Planet is the seminal Canadian instrumental combo formed in Toronto, in 1984. They released three albums before disbanding in 1996, reconstituting once again in 2013. Yep Roc Records is proud to be re-releasing all three original studio albums (Savvy Show Stoppers; Dim The Lights, Chill The Ham; Sport Fishin’: The Lure of the Bait, The Luck of the Hook) on vinyl in deluxe gatefold sleeves, with expanded artwork, liner notes by Bon Von Wheelie, Bry Webb and Scott McCaughey, contextual essays by band associates and a chihuahua, and including “Having An Average Weekend”, made famous as the theme to the hit sketch comedy TV show, The Kids in the Hall. This luxurious box set includes an exclusive new LP including tracks from singles, soundtracks, compilations, their trashcan, and BBC John Peel and CBC Brave New Waves sessions. Remastered from first generation tapes by recent Grammy winner Peter J. Moore – all in one box-set called, I Guess We Were A Fucking Surf Band After All…

File Under: Surf, CanCon, Punk
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don't thinkVarious: Don’t Think I’ve Forgotten: Cambodia’s Lost Rock & Roll
(Dust to Digital) 2LP

On April 17, 1975, Phnom Penh fell to the Khmer Rouge and Cambodian rock and roll was no more. Its star musicians were targeted and killed, record collections were destroyed, clubs were closed, and Western-style music-making, dancing, and clothes were outlawed. The deaths of approximately two million Cambodians and the horrors of the Killing Fields have been well-documented; add to this John Pirozzi’s fascinating tale of Cambodia’s vibrant pop music scene, beginning in the 1950s and ’60s, influenced by France’s Johnny Hallyday and Britain’s Cliff Richard and the Shadows. The filmmaker has assembled rare archival footage, punctuating it with telling interviews with the few surviving musicians. Cambodian culture has long been synonymous with a love for the arts. Pirozzi’s 2014 film Don’t Think I’ve Forgotten pays homage to the country’s rock legends who paid for their creativity with their lives. Through the eyes, words, and songs of its popular music stars of the ’50s, ’60s, and ’70s, Don’t Think I’ve Forgotten: Cambodia’s Lost Rock and Roll examines and unravels Cambodia’s recent tragic past. This soundtrack to Pirozzi’s important film, compiled by the director, is very cinematic in nature. The sequencing and newly-remastered audio transport the listener through the rock and roll history of Cambodia in a similar fashion as Pirozzi’s documentary film. It is both entertaining and essential to hear so many tracks that are available outside of Cambodia for the very first time. Includes tracks by The Royal University of Fine Arts, Sinn Sisamouth, Chhoun Malay, Huoy Meas, Baksey Cham Krong, Ros Serey Sothea, Pen Ran, Sieng Vannthy, Va Sovy, Drakkar, Pou Vannary, Yol Aularong, and Cheam Chansovannary.

File Under: World, Psych, Garage
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hardcoreVarious: Hardcore Matinee
(Swami) LP

‘Hardcore Matinee’ is an ode to the budget punk rock compilations that informed a young John Reis, Swami Records head honcho / overlord. While many of these LPs were disposable – they favoured quantity over quality, cramming 40 or 50 unknown groups onto records that crackled and popped with tinny sound and infantile graphics – their cut-rate aesthetic has actually weathered the passage of time relatively well. Call it nostalgia or perhaps a testament to how truly ugly the world has become, but these records can now be enjoyed as curious oddities of a bygone era. It was with this inspiration that Hardcore Matinee was assembled. The compilation features 22 of San Diego’s most exciting groups and covers the wide range of current punk music. From well-established bands such as Hot Snakes (with their first new recording since 2004 and featuring both drummers on the same recording), Pinback (their final recording before disbanding and then reforming) and Gary Wilson (off his recent collaboration with The Roots) to up-and-coming bands Octagrape (ex-Truman’s Water), Death Eyes (hardcore supergroup with members of Rat’s Eyes and Death Crisis) and Schizophonics, this record’s varied styling is a jarring ride. The Swami Records harem is represented by the reformed Sultans (first recording since 2003), Beehive and The Barracudas (first new recordings since 2008), Mrs. Magician (an outtake from their soon-to-be-released second album Bermuda) and The Heartaches (first new recording since their Too Cool For School LP). Other artists include The Loons (featuring Mike Stax of Ugly Things), Rob Crow, Teenage Burritos (Burger Records), Plateaus (Art Fag Records), Creepy Creeps (Dionysus Records), The Widows (Route 44 Records), Ale Mania (Volar Records), Ghetto Blaster (ex-Fishwife and The Let Downs), WHA (ex-Tourettes Lautrec), The Shake Before Us, The Lumps (both on Tower Bar Records) and the debut of The Soaks. In order to stay true to the original compilations’ aesthetic, it was important to keep the music fresh and moving quickly.

File Under: Punk

requiemClint Mansell: Requiem For A Dream OST
(Nonesuch) LP

An audiophile-quality vinyl reissue of Clint Mansell’s critically-acclaimed and best-selling score for the classic 2000 Darren Aronofsky film Requiem for a Dream, featuring two never-before-released bonus tracks and the breakout “Lux Aeterna,” performed by the Kronos Quartet.This Record Store Day release features two 180 gram LPs, remastered with bonus tracks in an old-style gatefold jacket with two page color insert and download card. Limited to 5,000 copies.

File Under: OST
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 …..Record Store Day Exclusives…..

 Alrighty folks, the part you all really care about, the exclusives. Almost everything is here, some of this is slated to arrive tomorrow, and there’s a few on here that maybe won’t…

African Head Charge: Super Mystic Brakes (On U Sound) 10″
Afrika Bambaataa & The Soulsonic Force: Planet Rock (Remixes) (Atlantic) LP
Air: Casanova 70 (Parlophone) LP
Alt-J: Live at Red Rocks (Atlantic) LP+DVD
Amebix: Monolith: The Power Remains (Amebix) LP
Bardo Pond: Acid Guru Pond (Fire) LP
Bee Gees/Faith No More: Side by Side (Warner) 7″
Bevis Frond: Miasma (Fire) LP
Bevis Frond: Inner Marshland (Fire) LP
Justin Bieber: Purpose (Def Jam) LP
Bleachers: Terrible Thrills Vol 2 (RCA) LP
Blitzen Trapper: Field Rexx (Lidkercow) LP
Blonde Redhead: Peel Sessions (Numero) 7″
David Bowie: The Man Who Sold The World (Parlophone) Pic LP
David Bowie: I Dig Everything (Sanctuary) LP
David Bowie: TVC15 (Warner) 7″
Cachao: Cachao’s Gonna Make You Dance (Grosso!) LP
Carlton Melton: Aground (Agitated) LP
Cave Of Anti-Matter: Void Versions (Warp) LP
Chvrches: Every Open Eye Mixtape (Glassnote) LP
John Coltrane: The Roulette Sides (Stateside) 10″
Anne-Marie Coffinet: Le Vampire (Souffle Continu) 7″
Pascal Comelad + Les Liminanas: Nothing Twist (Trouble in Mind) LP
Death Cab For Cutie: Tractor Rape Chain (Atlantic) 7″
Def-Tones: Rarities (Reprise) LP
Mac Demarco: Another One Demos (Captured Tracks) LP
Deviants: You’ve Got to Hold On (Munser) 7″
DNA: You & You (Superior Viaduct) 7″
The D.O.C.: No One Can Do It Better (Get on Down) LP
The Doors: Live at the Aquarius Theatre (Rhino) LP
Drone: Reversing into the Future (Pomperipossa) LP
Egyptian Lover: 1983-1988 (Stones Throw) 4LP Box
Alejandro Escovedo: Thirteen Years (Watermelon) LP
Alejandro Escovedo: Gravity (Watermelon) LP
Fabio Fabor/Armando Sciascia: Infini (Roma) LP
The Fall: Bingo Masters at the Witch Trials (Ozit) LP
The Fall: Bingo Master’s Break Out (Superior Viaduct) 7″
The Fall: It’s the New Thing (Superior Viaduct) 7″
Jay Farrar: Sebastopol (Transmit) LP
Feelies: Uncovered (Barnone) 12″
Flaming Lips: Heady Nuggs 2 (Warner) Box
Fleetwood Mac: Tusk Alternates (Warner) LP
Florence & The Machine: Delila (Island) 12″
Foals: Rain (Warner) 7″
The Greg Foat Group: Cityscapes (Jazzman) 10″
The Greg Foat Group: Landscapes (Jazzman) 10″
Blaze Foley: Duct Tape Messiah (Elite) LP+DVD
John Frusciante: Foregrow EP (Acid Test) 12″
Masayoshi Fujita & Guy Andrews: Needle Six (Erased Tapes) LP
Patrick Gauthier: Bebe Godzilla (Souffle Continu) LP
Giant Sand: Sun Set Vol 1 (Fire) LP
Dizzy Gillespie: The Champ (Savoy) LP
Goblin: La Via Della Droga (AMS) LP
Grateful Dead: Capital Theater (Warner) 4LP
Buddy Guy & Junio Wells: The Criteria Sessions (Atco) LP
Half Japanese: Volume 4 (Fire) 3LP Box
Emmy Lou Harris: Wrecking Ball (Nonesuch) LP
Husker Du: In A Free Land (MVD) 7″
Idle Race: s/t (Parlophone) LP
Iggy & The Stooges: Metallic KO (MVD) LP
Iron Maiden: Empire of the Clouds (Warner) LP
J Dilla: The Diary (Pay Jay) LP+7″
Albert King/Butterfield Blues Band: Side by Side (Warner) 7″
Elle King: Love Stuff (Sony) LP
The Kinks: Mister Pleasant (Sanctuary) 7″
The Kinks: Dave Davies Hits (Sanctuary) 7″
Fela Kuti & Afrika 70: I Go Shout Plenty (Knitting Factory) 10″
Lil Wayne: The Carter (Republic) LP
Lil Wayne: The Carter II (Republic) LP
Lydia Lunch & Marc Hurtado: My Love the Killer (Munster) LP
Lush: Origami (4AD) Box
Man Man: Six Demon Bag (Ace Fu) LP
Metal Urbain: Panik (Alternative Tentacles) 7″
Metz/Mission of Burma: Good Not Great (Sub Pop) 7″
Metz/Swami John Reis: Let it Rust (Swami) 7″
Alanis Morissette: The Demos (Rhino) LP
Mrs. Magician: Eyes All Over Town (Swami) 7″
Mudcrutch: Trailer (Warner) 7″
Mumford & Sons + Baaba Maal: There Will Be A Time (Glassnote) 7″
Mystery Artists: Side by Side (Warner) 7″
Willie Nelson/Uncle Tupelo: Side by Side (Warner) 7″
Notorious B.I.G.: Mo Money (Warner) LP
Nurse with Wound/Band of Pain: Noinge (Dirter) LP
Ocean Colour Scene: Moseley Shoals (Island) LP
Ol’ Dirty Bastard: Brooklyn Zoo/Shimmy Shimmy Ya (Get on Down) 12″
The Orb: Adventures Beyond the Ultraworld (Island) 4LP
OST: Across the Universe (Interscope) LP
OST: Disney’s Favorite Songs (Disney) LP
OST: Dr. Who & The Daleks (Silva) LP
OST: How to Train Your Dragon (Varese) LP
OST: John Wick (Varese) LP
OST: Joy (Abkco) LP
OST: Judgement Night (Asbestos) LP
OST: Requiem For A Dream (Nonesuch) LP
OST: Star Wars The Force Awakens (Disney) LP
Tom Petty: Kiss My Amps 2 (Reprise) LP
Phish: Hoist (Jemp) LP
Pinback: Blue Screen Life (Ace Fu) LP
Richard Pinhas & John Livengood: Cyborg Sally (Souffle Continu) LP
Iggy Pop: Fire Engine (Easy Action) 7″
Sam Prekop: s/t (Thrill Jockey) LP
Puscifer: V is for Viagra (Puscifer) LP
Ramones: Judy is a Punk (Norton) 7″
Jay Reatard: Blood Visions (Fat Possum) LP
Residents: Please Do Not Steal It
Rockin’ Vickers: Dandy (Munster) 7″
Charles Rumback & Ryley Walker: Cannots (Dead Oceans) LP
Hope Sandoval & The Warm Inventions: Isn’t it True (Tendril Tales) 7″
Armando Sciascia: Impressions in Rhythm & Sound (Roma) LP
Ravi Shankar: In Hollywood (Northern Spy) LP
The Slits: I Heard It Through the Grape Vine (Island) 10″
Son Volt: Live at the Bottom Line (Rhino) LP
Regina Spektor: Soviet Kitsch (Sire) LP
Sublime: Jah Won’t Pay (Universal) LP
Suicide: Cheree (Superior Viaduct) 7″
Suicide: Dream Baby Dream (Superior Viaduct) 7″
The Summer Hits: Beaches & Canyons (Medical) LP
Sun Ra: Spaceways (ORG) LP
Sun Ra: In Some Far Place (Strut) LP
Superchuck: Tossing Seeds (Merge) LP
Superpitcher: So Far So Super (Kompakt) LP
Talking Heads/Echosmith: Side by Side (Warner) 7″
The Third Power: Believe (Future Days) LP
Johnny Thunder: Vive La Revolution (MVD) LP
Allen Toussaint: Live in Philadelphia 1975 (Rhino) LP
Frank Turner: Positive Songs for Negative People Acoustic (Polydor) LP
Twenty One Pilots: Disquaire Day (Fueled By Ramen) 7″
Jean-Claude Vannier: L’Enfant Assassin des Mouches (Finders Keepers) 7″
Vitamin String Quartet: Daft Punk’s Random Access Memories (Vitamin) LP
Alan Vega & Marc Hurtado: Sniper (Munster) LP
Muddy Waters: Hoochie Coochie Man (Justin Time)  LP
The Weeknd: The Hills Remixes (Republic) LP
White Stripes: Live at the BBC (Third Man) LP DELAYED
Lucinda Williams: Just A Little More (Sony) 12″
The Wizards: Purple Magic (Burger) LP
Xiu Xiu: Plays the Music of Twin Peaks (Polyvinyl) LP
Lester Young: Blue Lester (Savoy) LP
Warren Zevon/Flamin’ Groovies: Side by Side (Warner) 7″
Frank Zappa: My Guitar (Universal) 7″
Rob Zombie: Well Everybody’s… (UME) 10″
Various: Big Lizard Stomp – Teen Trash From Psychedelic Tokyo ’66-’69 (Bamboo) LP
Various: Birth of the Beat (History of RNB) LP
Various: Bob Dylan’s Greenwich Village 1 (Let Them Eat Vinyl) LP
Various: Bob Dylan’s Greenwich Village 2 (Let Them Eat Vinyl) LP
Various: C86 (Cherry Red) LP
Various: Cambodian Cassette Archives – Khmer Folk & Pop (Sublime Frequencies) LP
Various: Jazz Dispensary Cosmic Stash (Fantasy) 4LP
Various: Der Zeltweg – Italian Tapes Industrial Music 1982-1984 (Mannequin) LP
Various: Don’t Think I’ve Forgotten – Cambodia’s Lost Rock & Roll (Dust-to-Digital) LP
Various: Doused In Mud, Soaked in Bleach (Robotic Empire) LP
Various: Get Me Home For Tea: Rare Psych (ORG) LP
Various: Hallucinations: Psychedelic Pop Nuggets from the WEA Vaults (Warner) LP
Various: Hardcore Matinee (Swami) LP
Various: Heartworn Highways (Light in the Attic)  Box
Various: Instrumentals Soul-Style (History of RNB) LP
Various: klangFarBe – German Democratic Republic Tape Music 1983-1987 (Mannequin) LP
Various: Los Alamos Grind (Numero) LP
Various: Monster A Go-Go (Bamboo) LP
Various: Other Side of Sun Records (ORG) LP
Various: Sixties Japanese Garage-Psych Sampler (Bamboo) LP
Various: Slitherama – Psychedelic Tokyo ’66-’69 (Bamboo) LP
Various: Soho Scene ’64 (History of RNB) LP
Various: Texas Soul ’65 (History of RNB) LP
Various: Wake Up You! – The Rise & Fall of Nigerian Rock 1972-1977 (Now Again) LP
Various: West Coast Soul ’65 (History of RNB) LP

 

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…..news letter #736 – countdown!…..

Wowzers! We are just over a week out from Record Store Day. Which does leave us with a bit of a light list this week. Things aren’t too crazy right now, but next week, things are probably going to get a bit hairy, since, nothing has shown up yet at all! Anyway, check back next week for the low down, or check out our Facebook event. We will be running things much the same this year as previous years, including giving away a Rega Turntable!

…..picks of the week…..

ciani

Suzanne Ciani: Buchla Concerts 1975 (Finders Keepers) LP
Finders Keepers invite you to witness the incredible first ever Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. This is history in the remaking. This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we’ve come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it’s daunting to learn that this record was in fact not a record at all… It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance. In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco’s neck and neck contender to New York’s Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its likeminded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums The Bull and Silver Apples Of The Moon, Buchla’s versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog’s marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith. These “concerts” are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and ‘alternative’ musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes “ambient” and “futuristic” utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental “records” of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then. The importance of these genuinely lost pieces of electronic musics puzzle almost eclipses the glaring detail of Suzanne’s gender as a distinct minority in an almost exclusively male dominated, faceless, coldly scientific landscape. Those familiar with Suzanne’s work, a vast vault of previously unpublished “non-records”, will already know how the creative politics in her art of “being” simultaneously reshaped the worlds of synth design, advertising and film composition before anyone had even dropped a stylus in her groove. Needless to say this record, finally commanding the archival format of choice, courtesy of the Ciani and Finders Keepers longstanding unison, was not the last “first” with which this hugely important composer would gift society, and the future of a wide range of exciting evolving creative disciplines. You have found a holy grail of electronic music and a female musical pioneer who was too proactive to take the trophies. With the light of Buchla and Ciani’s initial flame Finders Keepers continues to take a torch through the vaults of this lesser-celebrated music legacy shining a beam on these “non-records” that evaded the limelight for almost half a century. You can’t write history when you are too busy making it. With fresh ink in the bottomless well, let’s start at the beginning. Again. You, are invited!

File Under: Electronic, Synth, Buchla
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nww

Nurse With Wound: Soliloquy for Lilith (Dirter) 4LP
Originally recorded and released in 1988, Nurse With Wound’s ambient opus was years ahead of its time, a groundbreaking set of atmospheric sound patterns designed for ritual ceremonies. Hailed as a masterpiece on release, it soon became a firm favorite of NWW fans and topped the world ambient chart for over three months! This edition has been expanded to a four-LP set containing the original three LPs plus a 40-minute piece from the original sessions, previously unreleased on vinyl. The set arrives in a rigid, heavy, gloss-laminated box with red foil blocking. Each LP is housed in its own spined outer sleeve inside the box, along with a double-sided insert. Highly Recommended!

File Under: Dark Ambient, Industrial
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……new arrivals…..

bixio

Bixio, Frizzi, Tempera: Magnetic Systems (Finders Keepers) LP
From the same vibrant cinematic landscape of 70s studio supergroups as Goblin, The Pawnshop, The Group and The Braen’s Machine comes The Magnetic System – the Italian incognito dream team comprised of Milano prog keyboardist Vince Tempera and Cinevox sibling Franco Bixio and launched the career of Video Nasty maestro Fabio Frizzi.  Bridging the void between Giallo jazz bass driven prog and the arrival of home studios and synthesisers, the omnipresent film music of The Magnetic System marked a sea change in Italian genre film music, promoting melodic electronics to the forefront of Italian pop culture and pre-empting the first murmurs of Italo disco and synth-pop.  Sharing session musicians, studios and release schedules with many of the aforementioned luminaries, Bixio, Frizzi and Tempera’s magnetic powers continue to attract musicians and aficionados of discerning sight and sound.

File Under: Electronic, Soundtrack, Prog
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lost themes

John Carpenter: Lost Themes II (Sacred Bones) LP
On Halloween 2014, the director and composer John Carpenter introduced the world to the next phase of his career with “Vortex,” the first single from Lost Themes, his first-ever solo record. In the months that followed, Lost Themes rightfully returned Carpenter to the forefront of the discussion of music and film’s crucial intersection. Carpenter’s foundational primacy and lasting influence on genre score work was both rediscovered and reaffirmed. So widespread was the acclaim for Lost Themes, that the composer was moved to embark on something he had never before entertained – playing his music live in front of an audience. 2016 will host the first ever John Carpenter tour and in true Carpenter spirit, a sequel to Lost Themes with Lost Themes II. The follow-up brings quite a few noticeable changes to the process, which result in an even more cohesive record. Lost Themes’ cowriters Cody Carpenter (John’s son) and Daniel Davies (John’s godson) both returned. Cody was recently also heard as a composer for Showtime’s Masters of Horror series (Cigarette Burns and Pro-Life), and NBC’s Zoo. Davies was a composer for NBC’s Zoo, as well as the motion picture Condemned. All three brought in sketches and worked together in the same city, a luxury they weren’t afforded on the first Lost Themes. The result was a more focused effort, one that was completed on a compressed schedule – not unlike Carpenter’s classic, notoriously low-budget early films. The musical world of Lost Themes II is also a wider one than that of its predecessor. More electric and acoustic guitar help flesh out the songs, still driven by Carpenter’s trademark minimal synth.

File Under: Electronic, Pseudo-OST
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den sorte

Den Sorte Skole: Indians & Cowboys (Den Sorte Skole) LP
Having been introduced to us in 2014 by the Finders Keepers crew, Den Sorte Skole blew our minds with the triple album Lektion III and now without much in the way of announcement they present a new double LP of kaleidoscopic electronic beat-laden library sounds pressed over four sides of solid red vinyl. The formula is the same – Indians & Cowboys is entirely built from thousands of samples from every corner of the record shop and from glancing at the track list they have been digging deep. Samples are lifted from Yoko Ono, This Heat, Hawkwind, Conrad Schnitzler, Brigitte Fontaine, Popol Vuh, Jean-Claude Vannier, Faust, John Foxx, Cybotron, Seefeel, Delia Derbyshire, Kraftwerk, Unknown Artist and Various Artists. So basically it’s an absolute mish-mash of sounds and styles that’s like a thousand homemade TDK mix tapes spliced together to turn out something completely new and original. By taking sounds from all these sources and blending them together Den Sorte Skole have created a seamless LP of library rooted hiptronic floor-filling far flung found sound that truly has no limits for what it can encompass that’s sure to be looked back on as one of the first truly inventive ways of encapsulating the post-internet every genre and record imaginable a mouse click away – or like Lektion III, just a super slick album of psychedelic sampledelia and some bangers. As before, once it sells out it will have people weeping on Discogs so grab one while you can. A must check record for anyone into anything.

File Under: DJ Mix, World, Psych, Mashup
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frightened

Frightened Rabbit: Painting of a Panic Attack (Atlantic) LP
Canvasback Music/Atlantic recording group Frightened Rabbit return with their eagerly awaited fifth studio album Painting Of A Panic Attack, produced by Aaron Dessner of The National. Dessner – a longtime fan of Frightened Rabbit – had this to say about the record and frontman Scott Hutchison: “Great songwriters touch a nerve, and I think Scott really touches a nerve with these songs. To me, lyrically, this album is a step above anything he’s written before.” Painting Of A Panic Attack was recorded at Dessner’s Brooklyn studio – where The National also recorded High Violet and Trouble Will Find Me – and at Dreamland Studio in Woodstock, NY in the summer of 2015. Much of the album is indebted lyrically to Los Angeles, where Hutchison moved to from Scotland in 2014 Tracks such as “Get Out,” the lead single which chronicles an addictive and obsessive love, and “Still Want To Be Here,” telling of his struggle with adjusting to life in LA, perfectly encapsulate the mindset of the Frightened Rabbit frontman since the band’s last release. And, of the album closer “Die Like A Rich Boy,” Dessner says, “[It] feels like a completely classic song, but it’s also a distillation of everything Scott has ever written about. It’s so gracefully constructed and realized, and it’s not trying to be anything other than what it is. I wish I could write a song like that.” Painting Of A Panic Attack follows 2013’s major label debut Pedestrian Verse which saw the band land their highest ever charting, hitting the Top 10 in the UK.

File Under: Indie Rock
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stone

Billy Green: Stone (Finders Keepers) LP
Meet Stone. The trailer says it all. A deep Australian drawl narrates the scene over a psychedelic swamp-funk rhythm section doused in electronic percussion and treated keyboards. “Stone Is A Trip… The grave diggers are on the move – a new breed of motorbike gang.” The screen fills with images of slo-mo bike accidents, hallucinogenic trips and a death defying cliff stunt which could easily mistaken for a doppelgänger scene in Psychomania. “Vietnam veterans with their own style of life, their own rules, their own religion.” The scene swathes to a satanic ritualistic burial at the hands of a denim-clad crew of outlaw bikers with strangely familiar faces. To many global record collectors, DJs, music producers and general retrophiles living outside of Australia “Stone” was primarily known for its electronic sound effects, psychedelic guitars, cosmic sound scapes and funky basslines… In the 80s and 90s, before the global DVD boom, Stone to many people was first and foremost a Soundtrack… The kind of soundtrack that makes you wish you could see the film but it’ll probably never happen. The LP artwork alone was beyond enigmatic with its contradicting embroider logo (designed by sandy) alongside its striking futuristic airbrushed chrome insignia (designed by comic artist Peter Ledger and realised by airbrush whizz Errol Black). The huge parade of brand new Kawasaki bikes inside the gatefold looked like something from the future compared to the classic full-dresser Harleys from the American Hells Angels movies. And when the needle drops into the groove and the freakish blend of didgeridoo and Moog (played by Johnny ‘Didge’ Matthews and synth expert Andy Cohan) blended with unidentified clicks belches and pops fly out the speakers it is literally impossible to put a date, never mind a story line, to this acid fuelled soundscape. The use of confusing and contradicting musical influences alongside bizarre noises is actually the secret sauce in this concoction and when the swampy psychedelic funk-rock rhythm section kicks-in you are left with a 45 minute programme of skewed. Forward-thinking avant-pop that would stylistically fill a very lonely section in the record shop racks. There are not many records quite like Stone.

File Under: OST, Psych, Bikers
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soundtrack-ost-batman-v-superman-dawn-of-justice-l

OST: Batman V Superman (Music on Vinyl) 3LP
The soundtrack is a collaborative effort by film composers Hans Zimmer and Junkie XL (aka Tom Holkenborg). 1st pressing on 3LP RED VINYL Deluxe Edition – Numbered – Triple Gatefold Sleeve – Insert – Poster- Etched Disc Side F- Download card!! This 3-disc deluxe vinyl set features over 90 minutes of music, five bonus tracks, an exclusive fold-out poster and liner notes from the composers. Additionally, the vinyl set features etched vinyl art and an album download card! The story: fearing the actions of Superman are left unchecked, Batman takes on Superman, while the world wrestles with what kind of a hero the world really needs. With Batman and Superman fighting each other, Lex Luthor creates a new threat: Doomsday.

File Under: OST
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spider king

Spider King: Shot to Pieces (Cache Cache) LP
“Leaving you spellbound in its androgynous vocal delivery, Spider King’s Animals is a haunting children’s march that paralyses me with each listen”  Cedric Bixler Zavala (Mars Volta/Antemasque) An unknown pleasure torn out of Manchester’s lost DIY manual, this overqualified/underexposed post-punk pop pillar cast an almost invisible undetected web across the history of Manchester’s inner-city music scene which has trapped body parts of The Mothmen, Martin Hannett, Gerry And The Holograms, John Cooper Clarke, The Blue Orchids, Naffi Sandwich (The Naffis) and The Fates in its glue. As a central mast to 1970s/80s Manchester’s “deserted” DIY era, spanning angular jazz funk, punk and sarcastic synth pop, Spider King has also played huge parts in Manchester’s honorary adoption of The Velvet Underground’s Nico (as her lead guitarist), fronted Martin Hannett’s first ever band and inhabits a key roll in the careers of Sad Cafe, Alberto y Lost Trios Paranoias, Paul Young and AC/DC’s Mancunian debut. With dozens of self-penned songs, unreleased demos and two of the best collectable Manc punk funk 45s to grace collectors want lists it’s almost unbelievable (almost tragic) that Mike King never released a full length album… until now. Shot To Pieces is one of the most elusive jagged pieces of the North West’s punk funk puzzle. Recorded sporadically between 1979 and 1983 with a cast of characters from the Rabid/Absurd label family, such as behind the scenes synth wielder John Scott from Gerry And The Holograms, and producers like Laurie Latham (The Blockheads) it’s plain to see why 2016′s current music climate is the perfect time for the Spider King’s lost music to resurface. Commonly recognised by stalwarts of the era’s mutating punk/alt/indie genre as “the one that got away”, Spider King is the archetypal artist’s artist as well as the outsider’s outsider and the hardest working man in no-business who is now attracting a whole new audience of champions from bloggers, vinyl nerds and well respected contemporary musicians with his appearances on mix-tapes and various artist compilations. On hearing this essential release you could argue that these lost “spider-grams” are more relevant now than they were when those arachnophobic A&R men shooed him away over 3 decades ago. For those who ain’t afraid to get bitten say hello to the Spider King.

File Under: Post-Punk, DIY
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stabat stable

Stabat Stable: Ultraissima on the Junk’s Moon (Cache Cache) LP
Incredible, idiosyncratic and obscure early 80s French futurist DIY project led by Jean-Luc Aime (Univers Zero) this feature-length album of elusive recordings marks the bonafide axis point where Zeuhl School meets synth pop, dark ambient and early electro culled from rare vinyl and disparate cassette co-op releases for this first ever LP release. A lost art-efact from a micro genre where ZED, Eskaton and Heldon share outernational tape space with Vox Populi! The Normal, Colin Potter and Luc Marianni this record occupies a unique place on the shelves of fans of early DIY electro and post punk while ticking the boxes of 80s VHS OST enthusiasts and the growing interest in European cassette zine projects. These melodic macabre tape experiments fuse multi-track cassette experiments with home-made special effects at the hand of an accomplished multi-instrumentalist working on the outer reaches of disenfranchised progressive-pop and reluctant techno defining then deconstructing genres that have yet to exist. Fuelled by futurist gothic imagery and operating on a parallel plain to his European and American contemporaries there are few artists like Stabat Stable and virtually none more enigmatic. This benchmark record is the first signpost to a darker part of your musical want-list as the invisible glue for fans of the aforementioned anti-genres. File under “Not Yet”.

 File Under: French, Electronic, Experimental
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…..Restocks…..

Ryan Adams: 1989 (Blue Note) LP
Arcade Fire: Funeral (Merge) LP
Arcade Fire: Neon Bible (Merge) LP
Arcade Fire: The Suburbs (Merge) LP
The Band: Last Waltz (Rhino) LP
Bjork: Vespertine (One Little Indian) LP
Bjork: Post (One Little Indian) LP
Black Flag: Who’s Got The 10 1/2? (SST) LP
Neko Case: Furnace Room Lullaby (Anti) LP
Explosions in the Sky: The Wilderness (Temporary Residence) LP
Nils Frahm: Felt (Erased Tapes) LP
Nils Frahm: Spaces (Erased Tapes) LP
Last Shadow Puppets: Everything You’ve Come… (Domino) LP
Metallica: Master of Puppets (Blackened) LP
OST: The Knick (Milan) LP
Nina Simone: Sings the Blues (4 Men With Beards) LP
Scott Walker: Scott 1 (Mercury) LP
Scott Walker: Scott 2 (Mercury) LP
Lucinda Williams: Car Wheels on a Gravel Road (Music on Vinyl) LP
Various: Cult Cargo: Grand Bahama Goombay (Numero) LP
Various: Pomegranates (Finders Keepers) LP

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