Tag Archives: record store day

…..news letter #844 – rsd…..

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 we’ve got some killer Listen Record pint glasses! We’ll be giving away a limited amount and have the rest of them for sale for a super nice price throughout the day.

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 Dirt Bag Cafe will be here giving all you early birds free coffee and treats.

AND Stu from Collective Arts Brewing is coming down in the afternoon to pour samples of some of their delicious brews.. I hope be brings some IPA #5.

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

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.

…..RSD Top Picks…..

harvesterInternational Harvester: Remains (Silence) 5LP BOX
This may not be an official RSD release, but this is hands down the best thing out this week and damnit, it’s gonna be our top RSD pick! If you bought the Parson Sound box, or the Trad, Gras Och Stenar box, YOU NEED THIS…. Silence present a five-LP box set featuring International Harvester titled Remains. The box contains their debut album from 1968 Sov Gott Rose-Marie and Hemåt from 1969, along with three full bonus albums with live material dating from 1967-1969. It also includes a poster, lots of pictures, and a long interview with member Thomas Tidholm made by Mats Eriksson Dunér. 180 gram black vinyl; Edition of 1000. International Harvester emanated from Pärson Sound and later became Träd, Gräs och Stenar(“Trees, Grass and Stones”). Member Thomas Tidholm on the recordings: “We talked about making the music stop and stand perfectly still. And that did happen sometimes. We never let go of the drone. We hardly made any key changes and never changed chords.” Thomas Tidholm and Anders Lind, the engineer for the early albums, have listened to two cases full of live recordings from 1967 to 1969. After editing them, Anders has restored and mastered the live material from the old cassette tapes and for the two original albums — original analog master tapes have been used. Digitally transferred at 96 khz/24 bits and gently remastered by Anders Lind.

File Under: Psych, Drone, Experimental

NA5165LP_CU

David Axelrod: Song of Innocence (Now Again) LP
Supply for this one was looking grim, but we managed to secure a decent amount at the last minute. Rejoice! “David Axelrod delivered one of the great psychedelic albums with 1968’s Song Of Innocence, based around the poetry of William Blake. It is considered by many his masterpiece. Song Of Innocence is this weird hybrid that no one, not even Axelrod himself, could ever really describe. The listener is pulled in by his melodies, simplistic at first blush, but colored by odd chord progressions and turn arounds, grounded by the drummer Earl Palmer and Carol Kaye’s funk, torn between the juxtaposition of musical elements — a jazz vibraphone solo here, a fuzz guitar tear here, a nod to the baroque in Don Randi’s clavichord comps — and put at ease, always, by Axe’s arrangements, which utilize brass and strings in a way that no 1960s arranger did. It’s worth noting that there are really count-on-your-hand examples of anything that might even be compared to Song Of Innocence. Perhaps Arthur Verocai’s self-titled and only artist album, issued on the Brasilian Continental label in 1972, or the collaborations between Serge Gainsbourg and Jean Claude Vannier, which found their epitome in 1971’s Histoire de Melody Nelson. But even these albums, superb, in any thinking music fan’s canon of the best from this era, perhaps in their lives — and perhaps in line with Song Of Innocence — are one-offs. Axelrod’s Song Of Innocence set in path a series of artist albums on Capitol and other labels and influenced the world countless times over, from The Verve to DJ Shadow to Madlib to J.Dilla. Remastered from the original tapes in a new transfer, with extensive liner notes and unpublished photos.”

File Under: Jazz, Psych, Funk

w2ngVarious: W2NG 89.9 FM (Numero) LP
Another not official RSD release, which really, seemed like a publicity stunt more than a stand, either way this is the follow up to their fantastic WTNG comp from a few RSDs back and their more recent killer Yacht Rock comp. By that math, this is sure to be a wild ride in your uncle’s ‘yacht’…. In the wake of 2017’s Seafaring Strangers: Private Yacht, Numero is proud to present another addition to the soft rock cannon: W2NG. Set your FM dial to smooth and sail away with 42 minutes of uninterrupted easy glide, pontoon rock, and whispery disco. Featuring unreleased burners from Gary Hyde, Love Transfusion, Marshall Titus, and Phillips, alongside scarce cuts from Nannette, Greenflow, Jim Spencer & Son Rize, Larry Sanders, Kettner & Shawe, Orphans of Love, and Lion, W2NG is sure to surprise even the most devout boat shoe enthusiast.

File Under: Yacht Rock, Soft Rock, AM Gold.

zeitTangerine Dream: Zeit (Varese Sarabande) LP
This is one of the essential Krautrock, electronic, ambient, kosmische slabs of the 70s. So so so SO essential. Couldn’t be happier to see this reissued, hopefully it’s around long after RSD, but I wouldn’t take that chance… After selling-through on 2200 copies of Tangerine Dream’s debut album as part of RSD’s Black Friday 2017, Varese returns with their third album and first breakthrough record, Zeit. This double LP was the first with the main trio of Edgar Froese, Peter Baumann and Chris Franke. Each side features only one epic song varying in length from about 18 minutes to almost 20 minutes. The cover of a solar eclipse is widely considered iconic in the genre. Pressed, appropriately enough, on Tangerine colored vinyl, in fitting with the cover as well as the band name.

File Under: Kosmische, Electronic, Ambient

piperPink Floyd: Piper at the Gates of Dawn MONO (Pink Floyd) LP
This is the best Pink Floyd record. And everybody knows the mono mix is always better. YOU NEED THIS…. The psychedelic debut album by Pink Floyd was their sole album completed with original vocalist/guitarist Syd Barrett and featured the early classic “Interstellar Overdrive”. The original mono version of Pink Floyd’s first LP, named of of Rolling Stone’s 500 Greatest Albums of All Time, is available for Record Store Day 2018.

File Under: Psych

…..RSD EXCLUSIVES…..

AC/DC: Back In Black (Sony) CS
Air: Sexy Boy (Warner) LP
Arcade Fire: s/t EP (Sony) LP
David Axelrod: Song of Innocence (Now Again) LP
Duck Baker: Les Blues du Richmond (Tompkins Square) LP
Bobby Bare Jr.: Things Change (Hypermedia) LP
Courtney Barnett: City Looks Pretty (Mom + Pop) LP
Courtney Barnett: The Double EP (Mom + Pop) LP
Rob Base & DJ E-Z Rock: It Takes Two (Profile) LP
Bass Communion: s/t (Hidden Art) LP
Chris Bell: I am the Cosmos (Omnivore) 7″
Belly: Feel (Sony) 10″
Chuck Berry: Greatest Hits (Sundazed) LP
Black Lips & Khan Family: Play Safe (Sony) LP
Bleachers: Unplugged (RCA) LP
Blitzen Trapper: Kids Album (LKC) 10″
Richard Bone: Brave Travels (Medical) LP
David Bowie: Let’s Dance (Parlophone) LP
David Bowie: Now (Parlophone) LP
David Bowie: Welcome to the Blackout (Parlophone) LP
Jeff Buckley: Live at SIN-E (Columbia) BOX
Cam’ron: Purple Haze (Get on Down) LP
Car Seat Headrest: Twin Fantasy (Mirror to Mirror) (Matador) LP
John Carter Cash: We Must Believe in Magic (Cash) LP
Johnny Cash: Rough Guide to (Rough Guide) LP
Johnny Cash: At Folsom Prison (Columbia) BOX
Jimmy Castor Bunch: It’s Just Begun (Tidal Wave) LP
Circle Jerks: Gig (Relativity) LP
Oliver Coates: John Luther Adam’s Canticles of the Sky (RVNG Intl) LP
Willie Colon: The Big Break (Get on Down) LP
Elvis Costello: Someone Else’s Heart (Yep Rock) 7″
The Courteeners: St. Jude (Polydor) LP
The Cure: Mixed Up (Rhino) LP
The Cure: Torn Down (Rhino) LP
Cymande: Promised Heights (Mr. Bongo) LP
Cymande: Second Time Around (Mr. Bongo) LP
Dap-Kings: A Closer Look (Daptone) LP
Miles Davis: Rubberband (Rhino) LP
Lhasa De Sela: Lhasa live in Reykjavik (Audiogram) LP
Dejohnette/Grenadier/Medeski/Scofield: Hudson (Motema) LP
Mac Demarco: Old Dog Demos (Captured Tracks) LP
Mac Demarco/Shamir: Beat Happening Covers (Bayonet) 7″
Distillers/Regrettes: Side by Side (Warner) LP
Bo Diddley: 16 All Time Greatest Hits (Sundazed) LP
Pino Donaggio: A Venezia un Dicembre Rosso Shocking (Vinyl Magic) LP
The Doors: Live at the Matrix (Rhino) LP
Thomas Andrew Doyle: Incineration (Sub Pop) LP
Dylan & The Dead: s/t (Columbia) LP
Steve Earle & The Dukes: Live from the Continental Club (E-Squared) LP
ESG: Come Away with ESG (Fire) LP
Flamin’ Groovies: Grease (Skydog) LP
Flaming Lips: Pouring Beer in You Ear (Warner) 7″
Fleetwood Mac: Tango in the Night Alternate (Rhino) LP
Josephine Foster: A Wolf in Sheeps Clothing (Fire) LP
Florian Fricke: Spielt Mozart (One Way Static) LP
Serge Gainsbourg/Michel Colombier: Le Pache (WeWantSound) LP
Marvin Gaye: Sexual Healing Remixes (Columbia) LP
Robert Glasper x Kaytranada: The Artscience Remixes (Blue Note) LP
Marvin Gaye: Sexual Healing Remixes (Legacy) LP
Goat: Double Date Score (Rocket) 10″
Goblin: Squadra Antigangster (Vinyl Magic) LP
Grateful Dead: Filmore West, San Francisco, CA 2/27/69 (Rhino) BOX
Grant Green: Funk in France (Resonance) LP
Groundhogs: Scratching the Surface (Fire) LP
Albert Hammond Jr: Etchings (Red Bull) 10″
Hawkwind: Levitation (Atomhenge) 3LP
Hawkwind: Dark Matter (Parlophone) LP
Jimi Hendrix: Mannish Boy (Legacy) 7″
Robyn Hitchcock: Insanely Jealous (Yep Rock) 7″
J Dilla: Ruff Draft – Dilla’s Mix (Pay Jay) LP
Bert Jansch: LA Turnaround (Earth) LP
Bert Jansch: Santa Barbara Honeymoon (Earth) LP
Bert Jansch: A Rare Conundrum (Earth) LP
Michael Kiwanuka: Out Loud (Polydor) LP
Kreator: Behind the Mirror (Noise) LP
Delvon Lamarr Organ Trio: Live at KEXP! (Colemine) LP
Los Sospechos: Postales (Colemine) LP
Machito: From Montuno to Cubop (Grosso) LP
Madchild: Dope Sick Record (Suburban Noise) LP
Beverly Martyn: Where the Good Times Are (Hifly) LP
Maytones: Only Your Picture (Burning Sounds) LP
MC5: I Can Only Give You Everything (Modern Harmonic) 7″
MC5: Looking At You (Modern Harmonic) 7″
Merzbow/Mats Gustafsson/Pandi/Moore: Cuts Up Cuts Out (Rare Noise) LP
Messengers Incorporated: Soulful Proclamation (Guestroom) LP
Thelonious Monk: Monk. (Columbia) LP
Kevin Morby & Waxahatchee: Farewell Transmission (Dead Oceans) 7″
Morbid Angel: Kingdoms Disdained (Nu-Wrinkle) LP
Van Morrison: Alternate Moondance (Rhino) LP
Ennio Morricone: Un Esercito di 5 Uomini (Vinyl Magic) LP
National: Boxer Live in Brussels (4AD) LP
Doris Norton: Computer for Peace (Mannequin) LP
Doris Norton: Personal Computer (Mannequin) LP
Nublu Orchestra: (
The Open Mind: s/t (s/t (Sunbeam) LP
OST: American Dreamer (Cinewax) LP
OST: Ganja & Hess (Cinewax) LP
OST: Hitchcock (Silva Scree) 7″
OST: Oldboy (Beatball) LP
OST: Sympathy for Mr. Vengeance (Beatball) LP
OST: Star Wars – The Last Jedi Porg Vinyl (Disney) 10″
Patton Oswalt: Annihilation (Comedy Dynamics) LP
Eli Paperboy Reed: Meets High & Mighty Brass Band (Yep Rock) LP
Pere Ubu: Terminal Tower (Fire) LP
Pink Floyd: Piper at the Gates of Dawn MONO (Pink Floyd) LP
Plush: Fed (Be With) LP
Popol Vuh: Messa di Orfeo (One Way Static) LP
Prince: 1999 (Rhino) LP
Bernard Purdie & Friends: Cool Down (Sugar Road) LP
Rage Against The Machine: Democratic National Convention 2000 (Epic) LP
Ramones: Sundragon Sessions (Rhino) LP
Lou Reed/Kris Kristopfferson: Bottom Line Archive (Bottom Line) LP
Residents: W***** B*** Album (Ralph) LP
Antonio Sanches: Buli Povo! (Analog Africa) LP
Sheepdogs: Trying to Grow (Warner) LP
Sheepdogs: Big Stand (Warner) LP
Sheepdogs: I’ve Got A Hole (Warner) LP
Skatalites: Hi-Bop Ska (Jump Up) LP
Soneros de Verdad & Luis Frank: Buena Vista: Barrio de la Habana (Connector) LP
Son Volt: Okemah & The Melody of Riot (Thirty Tigers) LP
Soundgarden: A-sides (A&M) LP
Melvin Sparks: Texas Twister (Tidal Wave) LP
Spectrum: Highs, Lows, & Heavenly Blows (Medical) LP
Spiritualized: Fucked Up Inside (Glass) LP
Jamie Stewart: An Aggressive, Chain Smoking Alcoholic (Bad Paintings) LP
Stooges: Detroit Edition (Rhino) LP
Streets: Remixes & B-Sides (Warner) LP
Sublime: 89 Visions (Geffen) 10″
Sun Ra: Astro Black (Modern Harmonic) LP
Sun Ra: The Cymbals/Symbols Sessions (Modern Harmonic) LP
Superchunk: What A Time to Be Alive (Merge) 7″
S U R V I V E: RR7400 (Relapse) LP
David Sylvian: Dead Bees on a Cake (Virgin) LP
Tad: Quick & Dirty (MVD) LP
Tangerine Dream: Zeit (Varese Sarabande) LP
Television Personalities: Privilege (Fire) LP
Television Personalities: Closer to God (Fire) LP
Johnny Thunders: So Alonesome (Remarquable) LP
U2: Lights of Home (Universal) 12″
Uncle Tupelo: No Depression Demos (Legacy) LP
Urban Dogs: s/t (Fallout) LP
Tom Waits: Bastards (Anti) LP
Tom Waits: Brawlers (Anti) LP
Tom Waits: Bawlers (Anti) LP
Sam Waymon: Ganja & Hess OST (Strange Disc) LP
The Who: The Kids are Alright (Polydor) LP
White Hills/Gnod: Aquarian Downer (Rocket) LP
Wilco: Live at the Troubadour (Rhino) LP
Wire: Nine Sevens (Pink Flag) 9×7″
Wu-Tang Clan: Enter the Wu-Tang Clan 36 Chambers (RCA) CS
Shiho Yabuki: The Body is a Message of the Universe (Subliminal Sounds) LP
Richard Youngs: Endless Futures (Glass) LP
Various: The Beginning of the End: The Existential Psychodrama in Country Music (Iron Mountain) LP
Various: Digging for Gold Vol. 2 (Rubble) LP
Various: Digging for Gold Vol. 6 (Rubble) LP
Various: Girls in the Garage Vol 2 (Past & Present) LP
Various: Girls in the Garage Vol 3 (Past & Present) LP
Various: Hillbillies in Hell 666 (Iron Mountain) LP
Various: Motown Funk Vol 2 (Motown) LP
Various: Natural High (Studio One) LP
Various: Mighty Instrumentals R&B (History of Soul) LP
Various: New Orleans Soul 1967 (History of Soul) LP
Various: New York Soul ’67 (History of Soul) LP
Various: Pornosonic – Unreleased 70s Porn Music (Enjoy the Ride) LP
Various: Singapore A-Go-Go (Sublime Frequencies) LP
Various: Soho Scene ’60 (History of Soul) LP
Various: Soho Scene ’66 (History of Soul) LP
Various: Soul Jazz Presents – Punk 45: Approaching the Minimal with Spray Guns (Soul Jazz) 5×7″ Box
Various: Soul Jazz Presents – Congo Revolution (Soul Jazz) 5×7″ Box
Various: Soul Jazz Presents – Dub Plate Special (Soul Jazz) 5×7″
Various: Tamla Motown (History of Soul) LP
Various: Texas Soul ’67 (History of Soul) LP

…. more to be added tomorrow, check our facebook event….

Advertisements
Tagged , , , , , , ,

…..news letter #843 – 9…..

If you can imagine.. not a lot of new stuff this week. Although there are a couple of much anticipated stragglers from last year in finally… looking at you King Gizzard and Lorde. But really, the important thing is…….

RSD is next week! Stuff is starting to arrive and a lot is shipped and en route now. Fills are all over the place, as usual. Next week we’ll be updating the Facebook event (HERE) with what is in. We’ve got our pal Stu coming down from Collective Arts Brewing to pour samples in the afternoon, and as usual, WE’RE GIVING AWAY A REGA RP1 TURNTABLE! So clear your day, you’re going to want to spend your April 21st here!

…..pick of the week…..

schulze.jpg
Klaus Schulze: Cyborg (Brain) LP
Along with Tangerine Dream’s Zeit, Klaus Schulze’s Cyborg stands as one of the supreme achievements of Germany’s early 1970’s space cadet nexus. Dark and disturbing, yet eerily hypnotic, Cyborg is a panoramic voyage from the outer limts of far-flung galaxies to the even more stranger inner landscapes of the human brain. It’s basically over an hour and a half of cosmic background radiation filtered and amplified through little more than a VCS3 synthesizer and a Farfisa organ. Its simplicity is almost primal; its effect on the listener is nothing short of mind altering. The opening track “Synphara” reminds one of a seance being conducted in the absolute darkness of the intergalactic void. The ominous drone of detuned oscillators and Schulze’s hovering Farfisa create a sinister backdrop for a barrage of cosmic debris distilled and modulated through pulse, triangle and sawtooth wave fluctuations. “Conphara” continues this otherwordly invocation by slightly changing the pitch of the fundamental drone and adding the ghostly presence of a full orchestra that drifts in and out of the sonic interstices created by Schulze’s humming generators. The overall effect is like being in a cathedral floating through the asteroid belt. “Chromengel” roils with the menace of an approaching thunderstorm, its leaden cellos rising and falling like a low pressure front as a hail of electronic effects ricochet in the consuming darkness. The final cloudburst of shrieking high-voltage energy unleashes a sheet of synthetic rain that sweeps the piece into brooding silence. “Neuronengesang” (trans. “Song of Neurons”) reverses polarity and charts a course directly to the stormy hemispheres of the listener’s brain. Its massive synthesized drones crash like shards of lightning across convoluted gray matter terrain while charged particles of electronic noise crackle and explode in the atmospheric flux. Its subtle shifts of timbre and tonality almost resemble the static flow of electricity trapped in a Tesla coil. Imagine standing at the center of a power station where invisible speeds of energies race so fast they stand still, where blue fire flickers snap and hiss and shuttle through the humming air, where pulsing currents crawl across the skin like a prickling electric spider–these are the impressions “Neuronengesang” evokes. Long before it was fashionable, Schulze had gone where no one had dared to explore, and Cyborg is the travelogue of that strange but fascinating voyage.

File Under: Electronic, Krautrock, Kosmische
Listen Here

…..new arrivals…..

place

A Place To Bury Strangers: Pinned (Dead Oceans) LP
For well over a decade now, A Place to Bury Strangers has become well known for their unwavering commitment to unpredictable, often bewildering live shows, and total, some might say dangerous volume. Pinned, their fifth full-length album, finds the band converting difficult moments into some of their most urgent work to date. It’s their first since the 2016 election, and their first since the 2014 closing of Death By Audio, the beloved Brooklyn DIY space where guitarist/singer Oliver Ackermann lived, worked, and created with complete freedom. There are searing meditations on truth and government-led conspiracies (“Execution”), as well as haunting, harmonized responses to the tensions of our current political climate (“There’s Only One of Us”). It all opens with “Never Coming Back,” a frightening crescendo of group vocals, vertiginous guitar work, and Dion Lunadon’s unrelenting bass. It’s a clear and honest statement of intent, not just for everything that follows, but for the band as a whole.

File Under: Indie Rock
Listen Here

aksak

Aksak Maboul: Un Peu de L’ame de Bandits (Crammed) LP
Founded in 1977 by Marc Hollander and Vincent Kenis, Aksak Maboul already contained some of the key elements of the Crammed aesthetics: eclecticism, internationalism, deliberate and playful mixing of forms, cultures and genres. Un Peu De L’ame De Bandits (1980) was recorded by a lineup featuring English musicians Fred Frith and Chris Cutler. More intense and “experimental” than their debut, this album’s music contains complex, completely written sections as well as totally improvised hardcore ambient pieces, not to mention drum machines, bassoons, sampling before samplers existed, Bulgarian, Pygmy, Polynesian and Delta Blues voices, tango, a Turkish tune, crypto-punk and pseudo-Varese music. Even the most ambitious moments are infused with Aksak Maboul’s customary playfulness: “Tango” for example is based on various existing tangos, the scores of which were cut-up, shuffled and randomly glued back together; the musicians then proceeded to learn the resulting “opus”, and actually performed it live in one take; “A Modern Lesson” contains recorded fragments taken from every single other track on the album; the last section of “Cinema” is an improvised impression of a late-night program on Bulgarian radio. Un Peu De L’ame De Bandits’  first reissue on vinyl includes a booklet and previously-unreleased recordings on an accompanying download.

File Under: Electronic, Jazz, Avant Garde
Listen Here

badrelig

Bad Religion: The Gray Race (Epitaph) LP
Bad Religion has become synonymous with intelligent and provocative West Coast punk rock and are considered one of the most influential and important bands in the genre. Over the past three decades the band has continually pushed social boundaries and questioned authority and beliefs armed only with propulsive guitars, charging drumbeats, thoughtful lyrics and an undying will to inspire and provoke anyone who will listen. Newly remastered, 1996’s The Gray Race is Bad Religion’s ninth full-length effort overall and follow-up to their highly successful 1994 album Stranger Than Fiction. Produced by The Cars’ Ric Ocasek and serving as the band’s first recorded sans original guitarist Brett Gurewitz, it’s home to such fan favorites as “A Walk,” “Punk Rock Song,” “Pity the Dead” and “Spirit Shine.”

File Under: Punk
Listen Here

aladdin sane

David Bowie: Aladdin Sane (RCA) LP
45th anniversary edition on coloured vinyl! Originally released in 1973, Aladdin Sane came right at the height of David Bowie’s new superstar status and followed up the breakthrough Ziggy Stardust. It’s also the final album on which the Spiders’ classic lineup of Mick Ronson (guitar, piano, backing vocals), Trevor Bolder (bass), and Mick ‘Woody’ Woodmansey (drums) appears and marks the debut of one of avant-jazz pianist Mike Garson. In addition to vocals, Bowie plays guitar, harmonica, keyboards and saxophone on a set that has more than stood the test of time. Described by Bowie as “Ziggy goes to America,” Aladdin Sane saw him create a rockier, more frenetic album than its predecessor, with the Rolling Stones a possible influence on album opener “Watch That Man” and a transgressive cover of their song, “Let’s Spend the Night Together.” Elsewhere, Muddy Waters’ influence is heard in the riff of the UK #2 single “The Jean Genie” and “futuristic nostalgia” of “Drive-In Saturday.” “Cracked Actor,” possibly Bowie’s most decadent moment, was written after he had toured Hollywood Boulevard, translating the images and environment into raw rock n’ roll. The addition of Garson and his remarkable talents, infuse some of the album’s key tracks, in particular the title track with its dissonant improvisation, the Brechtian cabaret of “Time,” and album closer “Lady Grinning Soul” with an edgy, schizophrenic quality.

 File Under: Pop, Rock
Listen Here

dubuffett

Jean Dubuffet: Musical Experiences (Etats-Unis) LP
“The legendary French painter and sculptor Jean Dubuffet exalted naivety and spontaneity in visual art, and his brazenly experimental recordings on Musical Experiences evince the same spirit through sound. He once reflected, ‘Certain unexpected windfalls … come of improvising on an instrument one doesn’t really know how to use.’ Dubuffet, who famously founded the art brut (or outsider art) movement, began making music in the early 1960s with avant-garde figure Asger Jorn. With no training, they played a range of instruments: saxophone, bassoon, detuned piano, hurdy-gurdy, cabrette, bombarde and so on. Soon, Dubuffet reserved a room in his home for making music and bought two tape-recorders in order to manually edit the results. He wrote fondly of the recordings’ crudeness and the sense that they ‘had no beginning and no end but were simply extracts taken haphazardly from a ceaseless and ever-flowing score.’ Dubuffet’s discography begins in 1961 with the release Expériences Musicales, a six 10-inch record set produced in an edition of fifty with original artwork and lithographed sleeves. Musical Experiences, compiled by composer Ilhan Mimaroglu and released in 1973 on his Finnadar imprint, collects eight of the twenty pieces on the much sought-after Expériences Musicales. First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.”

File Under: Avant Garde
Listen Here

duncan

John Duncan: Organic (Etats-Unis) LP
“The inter-disciplinary maverick John Duncan emerged in 1970s Los Angeles as a confrontational performance artist and, as the decade progressed, aligned himself with the experimental-music collective Los Angeles Free Music Society. His sound art appeared on various self-released cassettes and alongside artists such as Jim Pomeroy and Yoshi Wada on the Los Angeles Institute of Contemporary Art’s influential compilation Sound. Duncan’s debut album, Organic, released in a tiny edition on the artist’s own AQM imprint in 1979 and distributed through LAFMS, collects some of his earliest and most absorbing noise experiments. Recorded live, Organic is composed of two sidelong pieces: ‘Broken Promise,’ a patient, murky dirge featuring Duncan on tape and percussion, plus Michael Le Donne-Bhennet on bassoon; and ‘Gala,’ a kinetic, durational percussion piece featuring Duncan alone. The meditations on texture and unpredictability, realized with unconventional and found sounds, anticipate his later work with shortwave radio. First-time standalone reissue. Limited edition of 500 numbered copies on clear vinyl.”

File Under: Electronic, Experimental
Listen Here

jepson

Warner Jepson: Totentanz (Etats-Unis) LP
“Considered as the first piece of electronic music to accompany a ballet, Totentanz is the arrestingly abstract and mightily expressive result of Warner Jepson’s experiments with tape and Don Buchla’s groundbreaking synthesizer, the Buchla 100. Totentanz, originally self-released in 1972, reveals a composer relieved of convention. In the 1950s and 1960s, Jepson was part of an informal circle of Bay Area artists that included Pauline Oliveros, Terry Riley, La Monte Young, Morton Subotnick and Steve Reich. A fixture of the legendary San Francisco Tape Music Center, Jepson was among the performers who realized the world-premiere of Riley’s seminal minimalist composition In C and worked closely with postmodern dance figure Anna Halprin as well as the Welland Lathrop Dance Company. Jepson’s affection for the performing arts meant that he was thrilled to be commissioned by the San Francisco Ballet Company to compose a piece to accompany Carlos Carvajal’s beguiling, danse macabre-inspired Totentanz. Jepson, who passed away in 2011, incorporated concrete sounds from his collection as well as creations on the Buchla 100, which had recently migrated to Mills College. As the composer once wrote, ;Don Buchla’s box … offered numerous sound possibilities without a map.’ First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.”

File Under: Electronic, Avant Garde
Listen Here

king giz

King Gizzard & The Lizard Wizard: Gumboot Soup (ATO) LP
In tomorrow… Australian rockers King Gizzard & the Lizard Wizard said they would issue five full-length LPs in 2017 alone and with the release of Gumboot Soup at the tail end of the year they accomplished the mean feat. Gumboot Soup follows February’s Flying Microtonal Banana, June’s Murder of the Universe, August’s Sketches of Brunswick East, and November’s Polygondwanaland. In an interview with Consequence of Sound, the band’s Stu Mackenzie described their final record of 2017 as a “place for us to put a lot of different ideas that we’re trying to experiment within the song, rather than within the whole record. And for me, some of my favorite songs of the year are on the fifth record. It’s more song-oriented than album-oriented.”

File Under: Psych
Listen Here

king tuff

King Tuff: The Other (Sub Pop) LP
The ten tracks that make up The Other represent a kind of psychic evolution for Kyle Thomas aka King Tuff. No less hooky than previous records, the new songs ditch the goofy rock-and-roll bacchanalia narratives of earlier outings in favor of expansive arrangements, a diversity of instrumentation, and lyrics that straddle the fence between painful ruminations and a childlike, creative energy untarnished by cynicism. The soulful and cosmic new direction is apparent from the album’s first moments: introduced by the gentle ringing of a chime, acoustic guitar, and warm organ tones, “The Other” is a narrative of redemption born of creativity. As Thomas sings about being stuck in traffic, directionless, with no particular reason to be alive, he hears the call of “the other,” a kind of siren song that, instead of leading towards destruction, draws the narrator towards a creative rebirth. Elsewhere, tracks like “Thru the Cracks” and “Psycho Star” balance psychedelia with day-glo pop hooks. “The universe is probably an illusion, but isn’t it so beautifully bizarre?” he asks on “Psycho Star,” providing one of the record’s central tenets. At a time when everything in the world feels so deeply spoiled and the concept of making meaning out of the void seems both pointless and impossible, why not try? Thomas self-produced the record, as he did his 2007 debut, Was Dead, but on a far grander scale. He recorded it at The Pine Room, the home studio Thomas built to work on the record, and playing every instrument aside from drums and saxophone. He pulled Shawn Everett (War On Drugs, Alabama Shakes) in to assist with the mixing process. While it would be easy to think of The Other as a kind of reinvention for King Tuff, Thomas views the entire experience of the record as a kind of reset that’s not totally removed from what he’s done in the past.

File Under: Psych, Garage
Listen Here

lockwood

Annea Lockwood: Glass World (Etats-Unis) LP
“New Zealand-born sound artist and composer Annea Lockwood received formal training at various institutions before exploring the sonorous potential of glass in a series of performances in the late 1960s. With plates of wired glass, glass discs, chunks of green cullet glass, glass tubing, sheets of micro-glass, glass jars and other incarnations of the material, Lockwood elicited a staggering array of sounds, some subtly uncanny and others as outlandish and alien as anything emitted from the era’s early synthesizers. Lockwood’s glass concerts yielded a text-score published in Northern California new-music journal Source: Music of the Avant-Garde and attracted the attention of South African producer Michael Steyn, who encouraged her to record the glass pieces for his label Tangent. They worked for two years in a small, resonant church in London to document a veritable catalogue of the materials’ tone and timbre; Lockwood wished to present each sound as if it were a piece of music in and of itself. Glass World originally appeared on Tangent in 1970. ‘I wanted to entice people into really listening intensively,’ Lockwood once reflected. ‘Into really listening. I wanted a deep immersion in the sounds of themselves, for the audience.’ First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.”

File Under: Avant Garde, Sound Art
Listen Here

lordeLorde: Melodrama (Lava) LP/DLX LP
In tomorrow… New Zealand-born singer/songwriter Lorde scored her first US No. 1 album when her long-awaited second LP Melodrama topped the Billboard 200 in the summer of 2017. Co-written and co-produced with Jack Antonoff (Fun, The Bleachers), each track – including captivating singles “Green Light,” “Liability,” “Sober,” and “Perfect Places” – is an intimate portrayal of late teenage years, which makes her wide appeal all the more impressive. The Fader called lead single “Green Light,” “a true pop anthem – made for both earbud strutting and the club”; Billboard praised “Liability” as “an absolute jaw-dropper”; and SPIN hailed “Sober” as “the strangest, coolest Melodrama song yet.” The universally acclaimed Melodrama was nominated for Album of the Year at the 60th Annual Grammy Awards. Featuring double sided record sleeve and double sided photo insert.

File Under: Pop
Listen Here

mienMien: s/t (Rocket) LP
Rocket Recordings are pleased to reveal the self-titled debut album by MIEN, the exciting new four piece band comprised of The Black Angels’ Alex Maas, The Horrors’ Tom Furse, Elephant Stone’s Rishi Dhir and The Earlies’ John-Mark Lapham. Inhabiting a modern-day realm in which what is termed ‘psych’ is all-too-often a codified and predictable incarnation entirely at odds with the original free-flowing spirit of psychedelia, it can be a struggle to find a band who can marry the essence of its inception with an adventurous mindset – one with the ability to render their creations beyond clichéd genre trappings and studied thriftstore cool. Who knows whether through study or serendipity, but MIEN – a Transatlantic four-way collision of considerable force involving luminaries who have each forged a reputation for head-spinning audial magick in their own right – are just such a band. What’s more, their eponymous Rocket recordings debut is no less than a rich tapestry of third-eye visions and nocturnal serenades both vivid and vital. The chemistry between these four gures is manifest amidst a kaleidoscopic series of atmospheres and excursions whereby the fertile songwriting of the golden age of ‘60s psychedelia is transmitted into a transcendental realm above and beyond the second decade of the 21st century.

File Under: Psych
Listen Here

nicolaiBruno Nicolai: Indio Black (Dagored) LP
Dagored present a reissue of Bruno Nicolai’s soundtrack for the 1970 spaghetti western Adiós, Sabata. The great Bruno Nicolai, one of the closest collaborator of Ennio Morricone, composed this epic score for the second film of the western cult classic Sabata Trilogy, starring the legendary Yul Brinner, employing a dramatic style creating what is considered one of the great masterpieces of Italian western music. First time complete soundtrack on vinyl. Orange vinyl; Edition of 500.

File Under: OST, Italian
Listen Here

schaRemko Scha: Machine Guitars (Etats-Unis) LP
“Gnashing, thrashing and teeming with enchanting microtones — Machine Guitars is the definitive recorded work of Remko Scha, although the late Dutch artist didn’t play a single note himself. Rather, Scha arranged a motorized, rotating wire brush and saber saw in front of suspended electric guitars and let these metallic torrents flow. Scha was a linguist and generative artist, enamored of computers’ capacity for algorithmic creativity. A leading researcher at the University of Amsterdam, he also cofounded the famed arts-space Het Apollohuis in a former cigar-factory in 1980. This haven for intellectuals and underground autodidacts served as the recording studio for most of Machine Guitars (as well as Ellen Fullman’s brilliant The Long String Instrument), which originally appeared in 1982 on the small Dutch label Kremlin. Machine Guitars, as the critic Byron Coley has noted, ranks among the best of the era’s minimalist-inspired, avant-garde guitar statements by Glenn Branca and Rhys Chatham. The semiautonomous sound-making sculptures also evoke contemporaneous work by Christian Marclay. Scha’s work falls somewhere between conceptual art and avant-garde music — a total revelation for minimalists and No Wave fans alike. First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.”

File Under: Experimental, Noise, Rock
Listen Here

pieroPiero Umiliani: Requiem per un Agente Segreto (Dagored) LP
Dagored present a reissue of Piero Umiliani’s soundtrack for the 1966 film Requiem Per Un Agente Segreto. A catching exploration of easy listening and lounge music by the legendary Piero Umiliani, one of the Italian score masters who penned some of the most outstanding film music from the ’60s and ’70s. Composed for the Italian spy thriller Requiem Per Un Agente Segreto starring Stewart Granger and Bond-girl, Daniela Bianchi. First time complete edition on vinyl. Green vinyl; Edition of 300.

File Under: OST, Italian
Listen Here

wye oakWye Oak: The Louder I Call.. (Merge) LP
For The Louder I Call, The Faster It Runs, Wye Oak’s Jenn Wasner and Andy Stack flew to one another’s cities – she in Durham, NC, he in Marfa, TX – for a week or so at a time, hunkering in home studios to sort through and combine their separate song sketches. These shorter stints together produced less second-guessing and hesitation in their process, yielding an unabashed and unapologetic Wye Oak. They discarded past rules about how to write a record, instead funneling all those experiences and experiments into perfectly unified statements. The result is the biggest, broadest, boldest music Wye Oak has ever made. Louder… pursues a litany of modern malaises, each of its 12 tracks diligently addressing a new conflict and pinning it against walls of sound, with the song’s subject and shape inextricably and ingeniously linked. It arrives at a time of immense doubt, when our personal problems are infinitely compounded by a world that seems in existential peril. But these songs answer the challenge by radiating self-reflection and resolve, wielding hooks and musical intricacy as a shield against the madness of the moment.

File Under: Indie Rock
Listen Here

…..Restocks…..

Alvvays: s/t (Royal Mountain) LP
Bahamas: Earthtones (Republic) LP
Big Black: Songs About Fucking (Tough & Go) LP
Blue Cheer: Vincebus Eruptum (Sundazed) LP
Butthole Surfers: Electriclarryland (Plain) LP
Brainticket: Celestial Ocean (Lilith) LP
Brainticket: Psychonaut (Lilith) LP
Brainticket: Cottonwoodhill (Lilith) LP
CCR: Green River (Fantasy) LP
CCR: Chronicle Vol 1 (Fantasy) LP
Alice Coltrane: Journey in Satchidananda (Impulse) LP
John Coltrane: A Love Supreme (Impulse) LP
John Coltrane: Blue Train (Blue Note) LP
Miles Davis: Birth of Cool (Columbia) LP
Miles Davis: Bitches Brew (Columbia) LP
Miles Davis & John Coltrane: Final Tour (Columbia) LP
Nick Drake: Bryter Layter (Island) LP
Nick Drake: Five Leaves Left (Island) LP
Nick Drake: Pink Moon (Island) LP
Essaie Pas: New Path (DFA) LP
GZA: Liquid Swords (Universal) LP
Herbie Hancock: Speak Like A Child (Blue Note) LP
Joy Division: Preston 28 February 1980 (Get Back) LP
Led Zeppelin: s/t (Warner) LP
Madlib/Freddie Gibbs: Pinata (MMS) LP
Nirvana: Nevermind (Geffen) LP
Nirvana: Unplugged in New York (Geffen) LP
Queens of the Stone Age: Rated R (Interscope) LP
Queens of the Stone Age: Lullabies To Paralyze (Music on Vinyl) LP
Spacemen 3: Sound of Confusion (Fire) LP
Spacemen 3: Recurring (Space Age) LP
Swans: The Glowing Man (Young God) LP

Tagged , , , , , , ,

…..news letter #842 – glass…..

Another week, another stack of wax waiting for me to finish this news letter so it can hit the shelves. Some real sweet pieces in this week, including the OST to Another Wolfcop from our pals Shooting Guns! Maybe this weather will let up and spring will come in time for RSD, cuz no one wants to wait in line in this cold. Speaking of RSD…..

RSD is in a few weeks! Some pretty neat stuff coming in for that, and as usual, we’ll have all kinds of fun planned, so plan to come on down on April 21st! Follow our Facebook event to keep up to date one what’s going on…. HERE

…..picks of the week…..

shooting guns

Shooting Guns: Another Wolfcop (One Way Static) LP
Our buds from S’toon have done it again! Shredding it up for Another Wolfcop!  A year has passed since the eclipse transformed hard-drinking Officer Lou Garou into a lycanthrope crime-fighter. Although the evil that controlled the town of Woodhaven was defeated, it is as depressed as ever. Lou’s liquor-fuelled lunar outbursts are now seriously testing his relationship with his partner Tina Walsh — the new Chief of Police. An old friend has mysteriously reappeared with a truly bizarre secret to share, and a villainous entrepreneur looking to transform the town has set up a nefarious new venture. Prepare for the next phase of this global cult favourite that promises to be dirtier, hairier and more outrageous than ever! Featuring a cool cameo by Kevin Smith, receiving raving reviews & stacking up award nominations … Another Wolfcop is currently wreaking havoc at festivals/theaters & is coming soon to VOD/Netflix. Also returning on scoring duties is the Canadian outfit ‘SHOOTING GUNS’. Hailing from Saskatoon, SK, in the heart of the Canadian prairies, Shooting Guns are hard at work fortifying the heavy end of the psychedelic spectrum, haunting the foggy moor between Sabbath-styled doom riffery and heavy pulse-riding kraut-rock. Their debut LP, ‘Born To Deal in Magic: 1952-1976’, was nominated for the Polaris Music Prize in 2012. Their sophomore LP, Brotherhood of the Ram, released in 2013 was nominated for the 2015 JUNO Metal/Hard Album of the Year as well as the Polaris Music Prize. Shooting Guns scored the soundtrack to Canadian horror-comedy WolfCop and released the Official Soundtrack in 2014 (also on One Way Static Records) which won the 2015 WCMA Award for Metal/Heavy Recording of the Year. The Another WolfCop OST sees the band’s most ambitious recording to date, incorporating a wide range of influences and instruments to expand on the WolfCop universe and take this nail-biting, action-packed film over the edge. Available as a classic black vinyl edition (limited to 250 copies) which will be available from record stores and online retailers worldwide on 4/6. Next to this black vinyl edition there will also be TWO color variants available: ‘PINK DONUT VINYL’ (300 copies) available exclusively from Light In The Attic & Mondo in North America and through Transmission in Europe. ‘BEER-CAN BROWN VINYL’ (250 copies) available exclusively from Light In The Attic (USA) and from Shooting Guns (Canada). All versions also come with a digital download card. Album art is handled by ‘The Dude Designs’ who is known for his work for Mondo, Troma, Arrow and many others.

File Under: Metal, S’tooner Rock, OST
Listen Here

sotl

Stars of the Lid: Gravitational Pull vs The Despair for an Aquatic Life (Kranky) LP
The release of Music For Nitrous Oxide, the 1995 debut by Stars Of The Lid, heralded a new strain of the American underground music scene, one born of the heat and humidity, boredom, and the insular, constipated, rock-ist music scene of Austin, Texas, home of the duo of Brian McBride and Adam Wiltzie. It was a muffled lashing out against surrounding musical conventions, a small middle finger to the local dominant “Americana” scene, but one that nobody could see outside the shack of a house in which they recorded or at their occasional sparsely populated live performances. It was as punk a move as anyone could make at that place and in that time. But, in a surprise to the two members of SOTL, people took notice, as related rumblings and grumblings were taking place simultaneously in other parts of the American landscape. Coming quickly on the heels of their debut was Gravitational Pull vs. The Desire For An Aquatic Life, released one year later. This is a transitional release that travels from the scruffiness of the debut’s ambiance to more extended and subtle undulating tides of assembled sound, yet still dominated by processed guitars as the primary sound source. It also serves as an omen to the mini-orchestral works to come, beginning with the Avec Laudenum album a few years later. This is a small masterpiece.

File Under: Electronic, Ambient, Drone
Listen Here

…..new arrivals…..

coil

Coil: Astral Disaster Sessions Un/Finished Musics (Perscription) LP
These rare COIL tracks were recorded as part of the legendary Prescription label album sessions in the late 1990s that resulted in the album Astral Disaster. As we described with regards to our first Coil volume, they were invited to record at Sun Dial’s studios beneath the London Bridge Hop Exchange. This studio was no ordinary studio. It was originally know as Samurai Studios, and had been originally built and owned by Iron Maiden. The premises in Victorian times had been an old debtors prison, which had three underground levels, and still had the original chains, manacles and wrought iron doors from the old prison. This caught the attention of John Balance, and he was very keen to record there. At Gary Ramon’s invitation, Coil spent a number of days recording at the studio during Halloween 1998. Coil developed a number of tracks, some of which resulted in the Astral Disaster album. For various reasons, unissued material and mixes were omitted from the original album. That brings us to here and now, and this LP, which provides Coil fans with their first opportunity to listen to this additional material from the Astral Disaster sessions. This album includes previously unissued mixes, the rare version of ‘I Don’t Want To Be The One’ (only included on the very rare 1999 promo only Prescription sampler); and the 14-minute track ‘Cosmic Disaster,’ which was the original working title of the album. Edition of 1,000 copies.

File Under: Ambient, Experimental, Industrial
Listen Here

exek

Exek: Ahead of Two Thoughts (w.25th) LP
Melbourne’s Exek began as a studio project with frontman Albert Wolski before the 2014 formation of the four-piece line up with Andrew Brocchi (synthesizer), Henry Wilson (bass) and Sam Dixon (drums). With the addition of Nell Grant on saxophone, the group’s sound entered another dimension that reveals Exek to be conjuring the ghosts of PiL, This Heat and Swell Maps. Ahead Of Two Thoughts, Exek’s sophomore release, pushes headlong into haunted, post-punk territories. Opening track “U Mop” pairs sneering vocals with elastic bass and spectral guitars, while the elliptical discourse of “Weight Loss (Henry’s Dream)” is accentuated by reverbed drums that would make Martin Hannett proud. Superior Viaduct’s W.25TH imprint presents Ahead Of Two Thoughts, a never-ending loop of dub-infected textures and anxious lyrics. Mastered by Mikey Young (Eddy Current Suppression Ring, Total Control), this tightly coiled album recorded in 2015-2016 could easily be mistaken for a classic 4AD title from the ‘80s. Look for Exek on tour in 2018.

File Under: Post Punk
Listen Here

farrah

Shamek Farrah: First Impressions (Pure Pleasure) LP
For a label that wasn’t around long, Strata East achieved the same sort of label recognition that Impulse! or Blue Note managed to build. In other words, you knew what you were getting when you bought a record on the label, even if you didn’t know the names on the outside of the cover. This is no exception. Who is Shamek Farrah? Who knows? Who cares? It’s the music that’s important. This is the standard spiritually intense new jazz one learns to expect from the label, soaked in some Eastern influences but always with its ear to the street. Musicians took their roles as leaders and spokesmen very seriously back then. This very adult statement from a group of very serious men is no exception. However, what might be an average, forgettable session is rescued by the propulsive engine of Milton Suggs’ bass. He adds the fire and the drive that keeps things interesting and prevents the music from wandering into a circular spiritual morass. For fans of the sound or the label, this can be heartily recommended.

File Under: Jazz, Strata East
Listen Here

harper

Billy Harper: Capra Black (Pure Pleasure) LP
Capra Black remains one of the seminal recordings of jazz’s black consciousness movement. A profoundly spiritual effort that channels both the intellectual complexity of the avant-garde as well as the emotional potency of gospel, its focus and assurance belie Billy Harper’s inexperience as a leader. Backed by an all-star supporting unit including trombonist Julian Priester and drummer Billy Cobham, Harper’s tenor summons the brute force and mystical resolve of John Coltrane but transcends its influences to communicate thoughts and feelings both idiosyncratic and universal. This is music of remarkable corporeal substance that somehow expresses the pure language of the soul.

File Under: Jazz, Strata East
Listen Here

kunkel

Robb Kunkel: Abyss (Future Days) LP
“…one of the best, perhaps the best, on the label…displays the typical Tumbleweed combination of a loose, stoned ‘Astral Flash’ vibe and a classy production.” – Patrick Lundborg, Acid Archives. Denver in 1971 was the right place, right time for musician Robb Kunkel. He’d just come off a year rambling around North America before settling in Colorado, landing a gig as a promotions rep for ABC-Dunhill. The weed was potent, magic was in the air, and Kunkel’s life was about to change forever. The San Fernando earthquake had spurred industry pals Bill Szymczyk and Larry Ray to join forces to form their own label—and get the hell out of California. The duo reached out to Kunkel who helped set up shop for their burgeoning Denver enterprise, Tumbleweed Records. Kunkel secured a headquarters, helped staff the label, and brought in talent, including Danny Holien, Pete McCabe, Dewey Terry. But Kunkel was itching to make a record of his own. Perhaps to repay him, Tumbleweed agreed. A longtime piano man and blues aficionado, Kunkel had the soul of a poet and the restless spirit of the jazz musicians he also worshipped. For his album, Kunkel wanted a jazz producer, and Szymczyk hired Ed Michel, then the head of Impulse Records, who brought on a string quartet and jazz legend Ray Brown and Wrecking Crew musician Jimmy Bond. Ostensibly a pop album at heart, Abyss brings all of Kunkel’s influences together and vacillates wildly in style. From folky ditties to pensive wailers, Kunkel’s songs are often piano-driven but rarely straightforward. Tracks regularly veer off into jazz or baroque string arrangements, but there’s a raw quality—in the production and in Kunkel’s literary and at times earnest lyrics. It’s the album of a young and uninhibited musician who has realized a lifelong dream and who takes it seriously, but not too seriously.

File Under: Folk Rock
Listen Here

love

Love: Forever Changes 50th Anniversary (Rhino) BOOK+LP
The golden anniversary of Love’s landmark 1967 album Forever Changes is being celebrated with an extensive 4CD/DVD/180-gram LP collection reissue housed in a beautifully illustrated 12 x 12 hardbound book that features a newly written essay and track-by-track notes by music historian Ted Olsen. The set features a few firsts for the album, including the CD-debut of a remastered version made by its original co-producer and engineer Bruce Botnick, as well as the first-ever release of the mono version on CD. Also included are alternate mixes of the album, as well as a selection of rare and unreleased singles and studio outtakes. Botnick’s stereo remaster of the original album also makes its vinyl debut on the LP included with this set. It was cut from high resolution digital audio by celebrated audio engineer Bernie Grundman. The DVD that accompanies the anniversary collection includes a 24/96 stereo mix of the album remastered by Botnick. Also featured is Your Mind And We Belong Together, a rare promotional video directed by Elektra producer Mark Abramson that was originally released in 1968. Recorded during the Summer of Love in Hollywood, CA, Forever Changes is the group’s most fully realized studio effort, featuring Arthur Lee (vocals, guitar), Johnny Echols (lead guitar), Bryan MacLean (rhythm guitar, vocals), Ken Forssi (bass) and Michael Stuart (drums, percussion). The original album introduced such timeless classics as “Andmoreagain,” “Red Telephone,” “A House Is Not A Motel” and “Alone Again Or.” Forever Changes: 50th Anniversary boasts more than a dozen rarities, including single versions of “Alone Again Or” and “A House Is Not A Motel” that are available now for the first time since 1967. Two other recordings on the set have never been released: the backing track for “Live And Let Live” and an outtake backing track for “Wonder People (I Do Wonder).”

File Under: Psych
Listen Here

menzel

Suzanne Menzel: Goodbyes & Beginnings (Frederiksberg) LP
Frederiksberg Records is proud to announce the first reissue of Suzanne Menzel’s 1981 album “Goodbyes and Beginnings”. This sought-after rarity presents a blend of ambient, new-age, 60’s inspired folk music. The melancholic lyrics of singer-songwriter Suzanne Menzel are transformed by Danish New-Age pioneer, Klaus Schønning’s, futuristic soundscape. Schønning, not only produced “Goodbyes and Beginnings,” Menzel also credits him as giving her the artistic courage to self-release her first and only album. “Goodbye’s and Beginnings” sits at the cross-section of many genres. Menzel’s voice is as timeless as her heartfelt, somber lyrics. While Schønning’s synthesizer, organ and rhythm computers offer a playful contrast. The beautiful tension between them creates a fresh, unique sound and makes “Goodbye’s and Beginnings” hard to categorize even today.

File Under: New Age, Synth Pop
Listen Here

spacemen3

Spacemen 3: Dreamweapon (Superior Viaduct) LP
August 1988, Spacemen 3 embark on one of the strangest events in the band’s already strange history. Billed as “An Evening Of Contemporary Sitar Music” (although consciously omitting the sitar), the group would play in the foyer of Watermans Arts Centre in Brentford, Middlesex to a largely unsuspecting and unsympathetic audience waiting to take their seats for Wim Wenders’ film Wings Of Desire. Spacemen 3’s proceeding set, forty-five minutes of repetitive drone-like guitar riffs, could be seen as the “Sweet Sister Ray” of ‘80s Britain. Their signature sound is at once recognizable and disorienting —pointing as much to the hypnotic minimalism of La Monte Young as to a future shoegaze constituency. On this double LP reissue, Dreamweapon is augmented by studio sessions and rehearsal tapes from 1987 that would lead up to the recording of Spacemen 3’s classic Playing With Fire album. “Spacemen Jam,” featuring Sonic Boom and Jason Pierce on dual guitar, is a side-long mediation on delicate textures and psychedelic effects. Includes download card and new insert with liner notes by Will Carruthers.

File Under: Drone, Psych
Listen Here

spiny

Spiny Norman: s/t (Riding Easy) LP
Spiny Normen were an incredible mid-’70s Houston hard rock, progressive, psychedelic rock band that featured mellotron, Vox Jaguar, crunchy, heavy guitars, flute with echo effects, and lots more. A totally lost relic, this self-titled album was recorded at a community college and never released. The recording is very English, dark, mysterious and proggy, but also very acid-drenched. “Circa 1976, Gerry [Diaz] and I would skip class, smoke whatever scrap of contraband we could scrape together and meet in the high school auditorium where there was a piano and bang out crunchy rhythms. Gerry was playing guitar, listening to Alice Cooper, hair down to his back and about the only Mexican-American in a white bread school. He was cool! So when he said one day, ‘Hey man we should jam some time,’ I was stoked. I found an ancient Vox Jaguar that had belonged to Fever Tree and a Kustom amp that I blew out just right, that made the most beautiful distortion, accompanied by a beloved phase shifter. Over the next three years we began to experiment, spending months penning intense, bizarre, surreal and mind-affecting pieces influenced by King Crimson, Pink Floyd, film soundtracks, Van Der Graaf Generator, and the like. I was collecting keyboards: a mellotron, a single-key-play Moog… Gerry was adding echos, early guitar, synth and tons of pedals. I learned the flute. In we went with a hired stand-up bass player and little engineering knowledge to the community college 8-track recording studio and just played like psychedelic Mozarts. Timpani, live effects, sound effect records, backward echo, violin bow on guitar and plenty of echo. Gerry and I on vocals. What came out was still, to this day, in my humble opinion, some very complex, untouched territory, holy-what-the stuff. We were all about 19.”     —Steve Brudniak (cofounder of Spiny Normen)

File Under: Psych, Hard Rock
Listen Here

streets

Streets: Original Pirate Music (Locked On) LP
English rapper/producer Mike Skinner aka The Streets burst onto the U.K. music scene at large in 2002 with his fresh and fearless debut album Original Pirate Material. Showcasing Skinner’s part street poet and part punk suburban everyman duality, it led to both voice of his generation and best album of the decade laudits and earned a Mercury Prize nomination. The landmark effort melds hip-hop, dub, ska, and dance beats to form an epic backdrop for The Street’s witty vignettes. His writing and his music are equally distinctive here, flipping from humorous to dark and introspective and back again. The highly sought after, long out of print LP is home to the half rapped/half sung singles “Has It Come to This?,” “Let’s Push Things Forward,” “Weak Become Heroes” and “Don’t Mug Yourself.”

File Under: Electronic, Hip Hop, Dub
Listen Here

umoUnknown Mortal Orchestra: Sex & Food (Jagjagwuar) LP/DLX LP
Where are we headed? What are we consuming, how is it affecting us, and why does everything feel so bad and weird sometimes? These are some of the questions posed on Ruban Nielson’s fourth album as Unknown Mortal Orchestra, Sex & Food – a delightfully shapeshifting album that filters these real-deal serious themes through a vibrant sonic lens that spans battered drum-machine funk, doomy and thrashing rock, and pink-hued psychedelic disco. Recorded in a variety of locales from Seoul and Hanoi to Reykjavik, Mexico City, and Auckland, Sex & Food is a practical musical travelogue, with local musicians from the countries that Nielson and his band visited pitching in throughout. Over the last decade, Nielson’s established himself as one of the most inventive sonic traveler currently working, and Sex & Food is the most eclectic and expansive Unknown Mortal Orchestra release yet, from the light-footed R&B of “Hunnybee” to the stomping flange of “Major League Chemicals.” The adventurousness is all the more impressive considering that there’s a bit of DNA from the past UMO discography in Sex & Food: the soft-focus psych of the project’s 2011 debut LP, the lovely melancholia of 2013’s II, and the weirded-out funk of 2015’s virtuosic Multi-Love. But rather than living in the past, Nielson is firmly in the here and now, drawing from personal unrest and generational malaise while surveying a variety of societal ailments. “If You’re Going to Break Yourself” and “Not in Love We’re Just High” chronicle the effects of drugs and addiction on personal relationships, while the lyrics for “Ministry of Alienation” drip with modern-day paranoia like the silvery guitar tones that jewel the song’s structure. It’s a scary world out there, and it’s been that way for a while – and Sex & Food finds Nielson surveying the damage while attempting to reckon with the magnitude of it all. Indeed, the modern world – and all the thorny complications that come with living in it – loomed large on Ruban’s mind while making Sex & Food. But even though he’s not afraid to get topical throughout – as evidenced on the surprisingly boisterous “American Guilt” or the roomy-disco medication-meditation “Everyone Acts Crazy Nowadays” – Ruban was also careful not to get too political, and for good reason. “Everything is so soaked in politics, and it’s kind of depressing for everything to be political right now,” he explains. “I wanted to keep it light. I think everyone’s feeling angry, and there’s nothing particularly interesting about my anger.”

File Under: Indie Rock
Listen Here

vantzouChristina Vantzou: No. 4 (Kranky) LP
Belgium-based composer Christina Vantzou’s fourth full-length for Kranky ventures further into the uniquely elusive and evocative mode of ambient classical minimalism which has become her signature: a fragile synthesis of contemplative drift, heady silences, and muted dissonance. In regards to the new album she speaks of focusing particular attention on the effects of the recordings on the body, and of “directing sound perception into an inner space.” No. 4 took shape across roughly two years, incorporating a diverse array of musical and conceptual collaborators, including fellow Kranky artists Steve Hauschildt and John Also Bennett (of Forma) as well as Angel Deradoorian (ex-Dirty Projectors), Clarice Jensen, Beatrijs De Klerck, and members of Belgium’s Echo Collective. During the creation process Vantzou wanted to “blur lines of hierarchy,” and thus allowed all ensemble members and technical assistants to add or delete elements. Despite such a spectrum of input the eleven tracks feel distinctly cohesive, weaving elegant textures and resonant open spaces within a twilit landscape of eclectic instrumentation: piano, harp, vibraphone, voice, strings, marimba, synthesizers, gong, and bells. A mindset of premeditated exploration informs the album’s emotive textural intuition, with hushed drones and delicate gestures eliding in the periphery of the mix. Vantzou cites sleep and “the loosening of time” as two formative practices in her private and professional life, which manifests in the quietly hallucinatory properties of her music. No. 4 feels both endless and ephemeral, immersive and immaterial. It’s a music of horizon lines and half-light, mapped with feeling and foresight.

File Under: Ambient, Classical, Minimalism
Listen Here

…..Restocks…..

Black Sabbath: s/t (Rhino) LP
Black Sabbath: Master of Reality (Rhino) LP
Black Sabbath: Sabbath Bloody Sabbath (Rhino) LP
Black Sabbath: Vol. 4 (Rhino) LP
Butthole Surfers: Independent Worm Saloon (Plain) LP
Depeche Mode: Violator (Warner) LP
Flaming Lips: Transmissions from the Satellite Heart (Warner) LP
Flaming Lips: Soft Bulletin (Warner) LP
Flaming Lips: Yoshimi Battles (Warner) LP
Bridgette Fontaine: Est… Folle (Superior Viaduct) LP
Bridgette Fontaine: Comme A La Radio (Superior Viaduct) LP
Nils Frahm: All Melody (Erased Tapes) LP
Fuzz: II (In The Red) LP
Johnny Jewel: Digital Rain (Italians Do It Better) LP
Joy Division: Unknown Pleasures (Rhino) LP
Joy Division: Closer (Rhino) LP
Love: s/t (Rhino) LP
Metallica: Kill ‘Em All (Blackened) LP
Metallica: Ride the Lightning (Blackened) LP
Cecil Payne: Zodiac (Pure Pleasure) LP
Sheer Mag: Compilation (Wilsun) LP
Sheer Mag: Need to Feel Your Love (Wilsun) LP
Simply Saucer: Cyborgs Revisited (In The Red) LP
Spiritualized: Ladies & Gentlemen We Are Floating in Space (Plain) LP
Terekke: Improvisational Loops (Music From Memory) LP
Thundercat: Drunk (Brainfeeder) 4×10″
Marcos Valle: Vento Sul (Light in the Attic) LP
Marcos Valle: Previsao do Tempo (Light in the Attic) LP
Ween: 12 Golden Country Greats (Plain) LP
Ween: Chocolate & Cheese (Plain) LP
Ween: God Ween Satan (Plain) LP
Justin Walter: Lullabies & Nightmares (Kranky) LP
Wand: Golem (In The Red) LP
Wand: Plum (Drag City) LP
Various: Deutsche Elektronische Musik Part 1 (Soul Jazz) LP
Various: Deutsche Elektronische Musik Part 2 (Soul Jazz) LP

Tagged , , , , , , ,

…..news letter #841 – mere weeks…..

Hoooboy! Loads sitting on the counter so I’ll be brief. LOTS IN! Come buy em!

RSD is in a few weeks! Some pretty neat stuff coming in for that, and as usual, we’ll have all kinds of fun planned, so plan to come on down on April 21st!

…..picks of the week…..

pendant

Pendant: Make Me Know Sweet (West Mineral Ltd) LP
The artist sometimes known as Huerco S. ushers a phase shift of sound to the shoegazing harmonic gauze of Make Me Know You Sweet, his immersive debut proper as Pendant. In this horizontal mode, Brian Leeds relays abstract stories from a headspace beyond the dance, placing his interests in the Romantic landscapes of JMW Turner, Robert Ashley’s avant-garde enigmas, and Indigenous North American philosophy at the service of a more expressive, oneiric sound that sub/consciously avoids the trap falls of “chillout” ambient cliché. Across seven amorphous, texturally detailed tracks he establishes far reaching coordinates for both Pendant and the West Mineral Ltd. label, which aims to release everything except the commonly accepted, traditional forms of late 20th/early 21st century dance music, while also representing the work of his inner circle of friends, producers, artists. In that that sense there’s a definite feeling of “no place like home” to his new work, but that home appears altered, much in the same way The Caretaker/Leyland Kirby deals with themes of memory and nostalgia. It’s best described as mid-ground music, as opposed to the putative background purpose of ambient styles, or the upfront physicality of dance music. Rather, the sound billows and unfurls with a paradoxically static chaos, occupying and lurking a space between the eyes and ears in a way that’s not necessarily comforting, and feels to question the nature and relevance of ubiquitous pastoral, new age tropes in the modern era of uncertainty and disingenuity. The results ponder an impressionistic, romantically ambiguous simulacrum of real life worries and anxiety, feeling at once dense and impending yet without center. From the keening, 11-minute swell of “VVQ-SSJ” at the album’s prow, to the similar scope of its closer, Pendant presents an absorbing vessel for introspection, modulating the listener’s depth perception and moderating our intimacy with an elemental push and pull between the curdling, bittersweet froth of “BBN-UWZ”, the dusky obfuscation of “IBX-BZC” and, in the supremely evocative play of phosphorescing light and seductive darkness in the mottled depths of “KVL-LWQ”, which also benefits from additional production by Pontiac Streator. Make Me Know You Sweet taps into a latent, esoteric vein of American spirituality that’s always been there, yet is only divined by those who remain open-minded to its effect. Master and lacquer cut by Matt Colton. Edition of 700.

File Under: Electronic, Ambient, Experimental
Listen Here

banabil

Michel Banabila: Trespassing (Séance) LP
Trespassing is a 2LP compilation focusing on Dutch electronic artist Michel Banabila’s incursions into otherworldly and imagined realms. LP1 is a compilation of works spanning over 20 years that acts as a bridge between his earliest work and his contemporary practice. LP2 is a reissue of his early masterpiece Marilli, a highly sough-after album that acts as both an LSD inspired DIY tribute to Byrne and Eno’s Ghosts and a youthful exploration of Banabila’s personal background and his experience as a squatter in Amsterdam in the early 80s.

File Under: Electronic, Ambient, Experimental
Listen Here

roach

Steve Roach: Dreamtime Return (Telephone Explosion) LP
Steve Roach’s 1988 double-disc is back in production for the first time in 30 years! Dreamtime Return was inspired by multiple visits to the Australian Outback. The concept behind Dreamtime has secured the album as one of the pivotal works in ambient music today. The tales told over two LPs touch on the earth’s origins, and the role humans have to play in it. Inspired by the stories of Australia’s first people, Steve Roach used a combination of synthesizers and Aboriginal instruments to create the album’s signature sound. Dreamtime Return travels through unexpected pathways with slow moving textures, as tones scatter into brilliant arrays and evolve into a mystic long-distance journey. Remastered from the original tapes, Dreamtime Return will be released as a deluxe gatefold double LP.

File Under: Electronic, Ambient
Listen Here

…..new arrivals…..

PI203LP_PROD

Vanessa Amara: Manos (Posh Isolation) LP
Cut from the same cloth as 2017’s double-cassette, Like All Mornings, Vanessa Amara’s new album, Manos, trails shorthand piano pieces and wilted strings through magnificent, electro-acoustic sounds, often settling into buzzing, syncopated reveries. Their new album feels hesitant to reveal its parts and is perhaps a document of the limits of what can be revealed, a memorial to its own process as it winds itself in and around its delicately hued landscape. Though beginning with a morose gait, the album quickly turns over. And revealing its softer self, the clarity of the moving string arrangements hang in the air like fine mist. Everything settles against surfaces as the day breaks, opening up the space, though eventually condensing into the unnerving crescendo of the album’s final piece. A recurrent, gentle whirring, much like a gramophone’s needle, tracks through much of Manos. It carefully steadies the listener into a mode of measuring duration, a meditative self-awareness that deliver’s Vanessa Amara’s world. Always intricate, and effortlessly tender, Manos is an album as textural as it is melodic, and it is certainly the most exquisite suite of works to have been presented by Vanessa Amara thus far. Vanessa Amara is Birk Gjerlufsen Nielsen and Victor Kjellerup Juhl.

File Under: Ambient, Electronic
Listen Here

dunes

Amen Dunes: Freedom (Sacred Bones) LP
Over the course of 10 years, Damon McMahon aka Amen Dunes has transformed continuously, and Freedom is the project’s boldest leap yet. On the surface, it’s a reflection on growing up, childhood friends who ended up in prison or worse, male identity, McMahon’s father, and his mother, who was diagnosed with terminal cancer at the beginning of recording. The characters that populate the musical world of Freedom are a colorful mix of reality and fantasy: father and mother, Amen Dunes, teenage glue addicts and Parisian drug dealers, ghosts above the plains, fallen surf heroes, vampires, thugs from Naples and thugs from Houston, the emperor of Rome, Jews, Jesus, Tashtego, Perseus, even McMahon himself. Each character portrait is a representation of McMahon, of masculinity, and of his past. Yet, if anything, these 11 songs are a relinquishing of all of them through exposition; a gradual reorientation of being away from the acquired definitions of self we all cling to and towards something closer to what’s stated in the Agnes Martin quote that opens the record, “I don’t have any ideas myself; I have a vacant mind” and in the swirling, pitched down utterances of “That’s all not me” that close it. The themes are darker than on previous Amen Dunes albums, but it’s a darkness sublimated through grooves. The music, as a response or even a solution to the darkness, is tough and joyous, rhythmic and danceable. The combination of a powerhouse rhythm section, Delicate Steve’s guitar prowess filtered through Amen Dunes heft, and Panoram’s electronic production background, makes for a special and unique NYC street record. It’s a sound never heard before on an Amen Dunes record, but one that was always asking to emerge. “Blue Rose” and “Calling Paul the Suffering” are pure, ecstatic dance songs. “Skipping School” and “Miki Dora” are incantations of a mythical heroic maleness and its illusions. “Freedom” and “Believe” offer a street tough’s future-gospel exhalation, and the funk-grime grit of “L.A.” closes the album, projecting a musical hint of things to come.

File Under: Indie Rock
Listen Here

solaris

Edward Artemiev/Andrey Tarkovsky: Solaris. Sound and Vision
(Song Cycle) Box
Song Cycle Records present the release of Solaris. Sound And Vision, a collector’s edition box set, that includes the soundtrack realized by the great Russian composer Edward Artemiev for Andrey Tarkovsky’s masterpiece film Solaris (1972). The box includes the soundtrack in two formats: 180 gram, high-quality virgin vinyl and, for the first time, CD. The release is also accompanied by an exclusive, hardcover photo book with unreleased images of the movie set and essays about music and cinema of the duo Artemiev/Tarkovsky, and the BluRay version of the film, in original language with English subtitles; BluRay region B (Europe only). The set comes in a limited edition of 500 numbered copies. The collaboration between Tarkovsky and Artemiev started in conjunction with the completion of Solaris when the director was seeking for a film score capable to give back and complete, through the sound, the meaningful images of the film. Back in the day, Artemiev was a member of the legendary Experimental Studio of Electronic Music in Moscow, a place of high experimentation in the field of the electronic music, in the context of which the ANS synthesizer was conceived and employed for the first time for music composition. Invented almost ten years before by Murzin, the ANS was used by Artemiev to create the special sound atmosphere that Tarkovsky was looking for. Artemiev and Tarkovsky’s association will also extend to two other undisputed masterpieces of Tarkovsky, Mirror (1975) and Stalker (1979), both forthcoming. A unique artistic joint-venture is that among the duo, in which the musician is seen as a sound organizer, more than a composer, within the process of giving form to a soundscape intertwined completely with the film in its unfolding: always essential and never to be experienced as an accessory element. What emerges here is how and at what degree for Tarkovsky the sound is part of his own existence. Made in collaboration with the Andrey Tarkovsky Institute, Solaris. Sound And Vision is a compelling publication for everyone who wants to dive deep into the Tarkovsky’s realm.

File Under: Ambient, Drone, OST
Listen Here

atobe

Shinichi Atobe: Butterfly Effect (Demdike Stare) LP
2018 limited repress. Shinichi Atobe has managed to stay off the grid since he made an appearance on Basic Channel’s Chain Reaction imprint back in 2001. He delivered the second-to-last 12″ on the label and then disappeared without a trace, leaving behind a solitary record that’s been selling for crazy money and a trail of speculation that has led some people to wonder whether the project was in fact the work of someone on the Basic Channel payroll. That killer Chain Reaction 12″ has also been a longtime favorite of Demdike Stare, who have been trying to follow the trail and make contact with Atobe for some time, whoever he turned out to be. A lead from the Basic Channel office turned up an address in Japan and — unbelievably — an album full of archival and new material. Demdike painstakingly assembled and compiled the material for this debut album. And what a weird and brilliant album it is — deploying a slow-churn opener that sounds like a syrupy Actress track, before working through a brilliantly sharp and tactile nine-minute piano house roller that sounds like DJ Sprinkles, then diving headlong into a heady, Vainqueur-inspired drone-world. It’s a confounding album, full of odd little signatures that give the whole thing a timeless feeling completely detached from the zeitgeist, like a sound bubble from another era. This is only the second album release on Demdike Stare’s DDS imprint, following the release of Nate Young’s Regression Vol. 3 (Other Days) in 2013. Who knows what they might turn up next? Mastered by Matt Colton at Alchemy.

 File Under: Electronic, Basic Channel
Listen Here

HJR203LP_PROD

Derek Bailey: Lot 74 (Honest Jon’s) LP
Honest Jon’s Records present a reissue of Derek Bailey’s Lot 74, originally released by Incus in 1974. Recorded at a private house in West London, the side-long title track is a masterwork: a twenty-two-minute, starkly personal, freely expressive, itchily searching re-casting of orders of rhythm and sound into a new, quicksilver kind of affective and musical polyphony. Never mind the guitarist’s championing of “non-idiomatic improvisation”, the poet Peter Riley gets the ball rolling in his identification of the various hauntings of Bailey’s playing at this time: “mandolins & balalaikas strumming in the distance, George Forby’s banjo, Leadbelly’s steel 12-string, koto, lute, classical guitar… and others quite outside the field of the plucked string.” The five pieces on side two were recorded back home in Hackney around the same time — with the exception of “Improvisation 104(b)”, from the year before (and issued by Incus in its TAPS series of mini reel-to-reel tapes) — opening with ventriloquized guitar feedback, and taking in some cod banter about colleagues like Mervyn Parker, Siegfried Brotzmann, and Harry Bentink. Crucial.

File Under: Improvised Music, Experimental, Jazz
Listen Here

HJR204LP_PROD

Derek Bailey: Duo (Honest Jon’s) LP
Honest Jon’s Records present a reissue of Derek Bailey and Tristan Honsinger Duo, originally released by Incus in 1976. Born in Burlington, Vermont, and conservatory-trained in the US, the cellist Tristan Honsinger moved from Montreal to Amsterdam in 1974, quickly linking with Han Bennink and Misha Mengelberg and opening a long and fruitful musical relationship with Derek Bailey. Recorded in 1976, Duo displays a performative musical approach already characterized by the lack of inhibition which would later endear him to The Pop Group: he is knockabout, exclamatory, explosively rhythmic; burping Bach and folk melodies with spasmodic lyricism, in amongst the garrulous textures and accents of his scraping, bowing, and plucking, and gibbering like a monkey; throwing out his arms and stamping the floor, grappling with his instrument like an expert clown, always tripping himself up. You can hear Bailey reveling in the company, as he ranges between scrabbling solidarity and an askance skewering of his partner’s antics, on prepared (nineteen-string) and standard electric guitars — and a Waisvisz Crackle-box, for the garbled, quizzical, cross-species natter which closes “The Shadow”. Throughout, the spirited interplay between laconic, analytic wit, and guttural, sometimes slapstick physicality is consistently droll, often laugh-out-loud funny; vigorously alert, alive, and gripping.

File Under: Improvised Music, Experimental, Jazz

ESPDISK5024LP_PROD

Robbie Basho: Live in Forli, Italy 1982 (ESP) LP
Robbie Basho (1940-86), who died young after a stroke, never got his due in the culture at large, but steel-string guitar enthusiasts have known for decades that he was one of the greats of “American Primitivism”. Technically adept and compositionally imaginative, fusing the music of many cultures into a mesmerizing solo style, he has been an inspiration for many; his music has generated a surge of interest in recent years. This 1982 concert was part of a four-show Italian tour. It took place at the 18th-century Palazzo Gaddi that housed the local music high school and was mostly used for classical concerts, in an intimate space co-organizer Mario Calvitti (whose memories of the events surrounding this concert make up the bulk of the liner notes) says Basho called it “one lovely little room where I could play all night.” Only previously released incompletely as a download, this show can now be heard in its full glory. This release is in cooperation with the Official Robbie Basho Archives. No. 2 in the RB-Archives-Live series. Produced by Buck Curran; Co-released with Obsolete Recordings. “American musician Robbie Basho (1940-1986) is without doubt one of the greatest pioneers of world guitar music. To this day, his songs and compositions for the acoustic guitar remain wholly unique, contemporary, and otherworldy. Though largely unknown in Italy when he toured there in 1982 (in the company of Italian acoustic guitarist Maurizio Angeletti), the small to medium size audiences who attended his performances were overwhelmingly sympathetic to his musical vision and deeply entranced in the glow of his musical presence. From what is documented on this recording from Forlì, we are given witness to Basho’s idiosyncratic spirit and musical artistry. Wielding only a six and twelve-string guitar and his powerful voice, we hear rapturous fingerpicking and singing. As the concert evolves, Basho’s spirit rises high above terra firma as he transforms into a wild mythical winged stallion, riding waves of colour and sound … charging across plains of cosmic light towards the outer regions of space and time.” –Buck Curran, September 11, 2017, Bergamo, Italy

File Under: Folk, Solo Guitar, Americana
Listen Here

REGRM019LP_PROD

Francois Bayle: Tremblements (Recollection GRM) LP
François Bayle on Tremblement de terre très doux (1978); first performance on March 19, 1979 at the Grand Auditorium of Radio-France, Ina-GRM’s Cycle Acousmatique: “The familiar generates the strange. These rolls, these hums, these sudden rushes; this song, these peaceful circlings; these sudden outbursts, these returns to quiescence — what do they remind us of? This piece’s trajectory could also be a representation of the dramatic unfolding of a day — of a life — from sunrise (‘Climate 1’) to night-time (‘Landscape 4’) via restless encounters, transitions (‘Transit 1’, ‘2’, and ‘3’) that announce the drama climaxing in ‘Landscape 3’, before reaching its denouement in “Climate 4″… A whole concrete ‘story’. The subterranean properties inherent to listening gently shift our ideas…” François Bayle on Toupie dans le ciel (1979); first performance on January 21, 1980 at the Grand Auditorium of Radio-France, Ina-GRM’s Cycle Acousmatique: “A wave is swaying on two minors thirds. This constantly uniform yet constantly varied swaying revolves in a swarm of sharp designs that blink on and off in a layer of growing density and mobility. Distance, speed, pressure, density, temperature, color, intensity, are the ‘themes’ of the 27 short interconnected cells flowing together though this seemingly unified movement. Occasionally, a breach in the texture reveals skies dotted with little comets. In the center, a slow gliding picks up the distant harmonics of a basic chord. Toward the end, this gliding returns with a fiery burst. Fine lines and whirs are generated from the song of a spinning antique top. To end on a lighter note the title Toupie dans le ciel — ‘Spinning Top in the Sky’ reminds us of ‘Lucy in the Sky with Diamonds’ by The Beatles as well as Lucy, the oldest Australopithecine (three million years), our African grandmother in the Erosphere… The overall title Erosphere alludes to the desire inherent to the listening experience, and to the very primitive cues that sustain the auditory attention and are the basis of all musical pleasure.” Cut by CGB at Dubplates & Mastering, Berlin, June 2017; Digital transfer by Jonathan Fitoussi; Translations by Valérie Vivancos; Layout by Stephen O’Malley; Coordination GRM – Daniel Teruggi and François Bonnet; Executive Production – Peter Rehberg.

File Under: Early Electronic, Experimental

BIO025LP_PROD

Biosphere: Hilvarenbeek Recordings (Biophon) LP
Review from A Strangely Isolated Place: “‘As The Sun Kissed The Horizon’ is one of my favorite Biosphere tracks. It’s a recording of (what to me sounds like) the empty fields after a bustling summer’s day, as the sun slowly sets and people leave for home. It reminds me of my summer’s youth, and every time I listen, I picture myself in that exact field, the same field I spent my summers playing football in, hanging with friends and generally enjoying my childhood. Music has the power to reinvigorate lost memories and despite me never hearing this until years later, this track brings back memories every time Biosphere’s The Hilvarenbeek Recordings capture a similar emotional response. Across the eight pieces, we’re treated to a similar summer’s day in ‘tSchop. Biosphere is known for his field recordings, but they are sometimes lost amongst his more electronic productions, or in some instances, slightly too focused on extremely obscure sounds. This album is the perfect middle-ground and defines the Biosphere I enjoy the most. A subtle mixture of beautiful ambient formed from some of nature’s finest textures — sounds that have the power to transport you from your own relatable experiences.”

File Under: Electronic, Ambient
Listen Here

AALP085LP_PRODCamarao: Imaginary Soundtrack to a Brazilian Western Movie
(Analog Africa) LP

Camarão, living Patrimony of the state of Pernambuco November 2012: “In 1960 we received an invitation to play in Recife, a wonderful, exciting and dangerous place, often described as a ‘social jungle’. The Forró party took place at Caxangá´s neighbourhood theatre, on the first floor; with its high ceilings, wooden floors and balconies, the place was perfect for these kinds of events. When all the windows were wide open, there would be a wonderful breeze during the hot tropical evenings. Since everyone was looking for amusement, the place was packed on weekends. People from all corners of society would arrive nicely dressed, animated and chatting loudly over the sound of clinking glasses. Pernambuco´s Cachaça, considered by many, especially by the locals, to be the best in the country, had started flowing generously and the popular sugar cane-based alcohol lives up to its reputation. We always had a few shots to warm up before performing and by the time the place was packed we were already in a very good mood. Our local cachaça had loosened the bodies and minds of everyone in the room, people started to pair off and twirl around to the sound of forró music, smiling and sliding their feet off the floor — a reflex picked up from dancing in rural villages to avoid kicking up the dust.”

File Under: Brazil
Listen Here

corruptedCorrupted: Felicific Algorithm (Cold Spring) LP
Corrupted is a mysterious Japanese doom metal band, formed in 1994. Immensely down-tuned guitar and crushingly slow bass are shrouded under deep layers of feedback. They are rightly hailed as one of the heaviest and darkest doom metal bands of all time. This record isn’t your standard doom fare. The title-less tracks are to be played at either standard vinyl speed. Therefore, and at the band’s request, no samples or download code. The limited 12″ is accompanied by a foldout poster.

File Under: Doom Metal

deadmeadowDead Meadow: The Nothing They Needed (Xemu) LP
Dead Meadow’s unique marriage of Sabbath riffs, dreamy layers of guitar-fuzz bliss, and singer Jason Simon’s melodic croon have won over psychedelic pop/rock and stoner rock fans alike. With their new album The Nothing They Need the band show that in 2018, they continue to fuse their love of early-’70s hard rock and ’60s psychedelia into their own distinct sound. The album was recorded in Dead Meadows’ studio/rehearsal space, Wiggle Room and it celebrates 20 years of the band with eight songs that feature everyone that has been musically involved with the band over the years. Jason and Steve Kille are joined by original drummer Mark Laughlin, Stephen McCarty (the drummer throughout the Matador years), and current drummer Juan Londono. Cory Shane joins them on guitar for some Feathers era dual guitar interplay.

File Under: Indie Rock, Psych
Listen Here

FFL038LP_PRODDharma Quintet: Mr. Robinson (Souffle Continu) LP
Souffle Continu Records present the first ever reissue of Dharma Quintet’s Mr Robinson, originally released in 1970. In an interview with Jazz Magazine in the early 1970s, Dharma, as a collective voice, outlined their method: “we try to reach, within free jazz, the same sort of rhythmic cohesion as in bop, a cohesion based not exactly on tempo, but something which feels like tempo. A kind of underlying pulse.” Evidence of these ideas can be heard immediately on listening to Mr Robinson, the first album by the Dharma Quintet, for whom community living seemed obvious, in order to add to the aforementioned cohesion. Through this, the group members played together on a daily basis, trying out things which were worked on day in, day out. They also listened to a lot of records, with of course a preference for free jazz, but not forgetting Miles Davis in his electric period, notably for the keyboards of Keith Jarrett and Chick Corea. To which should be added esthetical-political concerns based on a refusal of hierarchy, and a desire to escape from a restrictive academic approach… It was within this framework that Jef Sicard and Gérard Coppéré (saxophones, flute, bass clarinet), Patricio Villarroel (electric and acoustic piano), Michel Gladieux (bass), and Jacques Mahieux (drums) formed the first version of a collective united by structured intentions. The result is a beneficial cohesion, and moments of great beauty born of a collective excitement and giving rise to ambiances which seemed almost possessed. The use of modes could seem to link Mr Robinson to the spiritual jazz of the past but that is without taking into account the fact that the benevolent spirit of Eric Dolphy seems to watch over this album. In France, a similar desire for cohesion could be found in the Cohelmec Ensemble, who had parallel preoccupations, to the point where their bassist, François Méchali, ended up by joining Dharma. As a quintet, with however some personnel changes, Dharma recorded three albums (one as a trio, under the name of Dharma Trio), which are all of fundamental importance (Dharma also accompanied the songs of Jean-Marie Vivier and Colette Magny). Individually, the members would record with musicians passing through (notably Anthony Ortega, Dave Burrell) and participated in other key groups including Machi Oul and Full Moon Ensemble. Licensed from Dharma. Obi strip; Includes 12-page booklet; Edition of 700.

File Under: Free Jazz
Listen Here

FFL039LP_PRODDharma Trio: Snoopy’s Time (Souffle Continu) LP
Souffle Continu Records present the first ever reissue of Dharma Trio’s Snoopy’s Time, originally released in 1970. Dharma as they were simply known, at the time when they were still playing, englobed all the incarnations of the group, trio, quartet (essentially as a live band), and quintet built around the stable core of pianist and bassist Patricio Villarroel and Michel Gladieux. Snoopy’s Time is their second album, concentrated on the rhythm section including the ever-faithful Jacques Mahieux on drums, and recorded three months after Mr Robinson (FFL 038LP), the first album, made as a quintet including Jef Sicard and Gérard Coppéré, both at the time saxophonists with Claude Delcloo’s Full Moon Ensemble. It is the most classic album in their discography, marked by the influence on Patricio Villarroel of the electric explorations of Miles Davis’s pianists from 1968, that is to say Herbie Hancock, Chick Corea, Joe Zawinul, and Keith Jarrett. Indeed, the use of echo, reverb and saturation by Patricio Villarroel is similar to that of his famous counterparts. It would be a year later in France, but with a sound all his own, that Siegfried Kessler would undertake similar experiments playing with Perception, a group similar in spirit to Dharma. Specialists may also evoke Paul Bley, notably on Scorpio (1973) and Sweet Earth Flying (1974), or even Richard Beirach with Dave Liebman on Drum Ode (1975), but these albums came out a few years after the innovative Snoopy’s Time, surprisingly released in 1970. Even amongst all the instrumental funky music of the time, it is rare to find such a communicative energy, magnified all the more by the subtle use of effects and an innate sense of groove. Licensed from Dharma Obi strip; 12-page booklet; Edition of 700.

File Under: Free Jazz

FFL040LP_PRODDharma Quintet: End Starting (Souffle Continu) LP
Souffle Continu Records present the first ever reissue of Dharma Quintet’s End Starting, originally released in 1971. For Gérard Marais, guitarist with Dharma (the quintet), from this third album — in fact he replaced Gérard Coppéré, one of the two saxophonists present on the first album — Albert Ayler’s instruction to play your own music was the detonator. This did not fall on deaf ears, and was particularly appropriate as it would have been difficult, even for a musician attracted to free jazz, to make something of his own from the esthetic and political direction taken by Cecil Taylor, Archie Shepp, or Sun Ra. What could be summarized as ethnic differences. The quest was to find one’s own music, whatever the more or less apparent roots. For, at the beginning of the 1970s, Gérard Marais and his comrades in the Dharma Quintet were overwhelmed by electric period Miles Davis. Not the band with Pete Cosey, which was still gestating, but the one fascinated by electronic keyboards and the famous Fender Rhodes which added so much to the atmosphere of In A Silent Way (1969). From the beginning of Dharma, but without ever copying anyone, Patricio Villarroel played the role of Chick Corea with Miles Davis. While Gérard Marais, whose fulgurate playing added another dynamic to the group, was at the level of John McLaughlin, or Sonny Sharrock at the same period. Another important soloist, alto saxophonist Jeff Sicard was as inventive as Byard Lancaster, Noah Howard, Gary Bartz, Marion Brown, or Sonny Simmons. Questioned by a critic, years after the group split, Gérard Marais insisted on it being an idea born of the seventies, which seemed the only creative way to enable written music and improvisation to coexist. This was a philosophy that he would continue to develop within Michel Portal’s group, on Splendid Yzlment (1972), but also in a great duo with Joseph Dejean (of Full Moon Ensemble), and yet again in a trio led by drummer Stu Martin, with two guitars the other being Claude Barthélemy. The Dharma Quintet, made their mark, appearing under the letter “D”, between Dedalus and Dies Irae, on the list of major influences created in 1979 by Nurse With Wound. Licensed from Dharma. Obi strip; 12-page booklet; Edition of 700.

File Under: Free Jazz
Listen Here

FFL041LP_PRODDharma: Archipel (Souffle Continu) LP
Souffle Continu Records present the first ever reissue of Dharma’s Archipel, originally released in 1973. “Do your own music!” was Albert Ayler’s advice, received loud and clear in France. Cohelmec Ensemble, Workshop de Lyon, and the Dharma Quintet, three groups close in spirit, which would each illustrate, in their own way, a local principle: to get some distance from American free jazz. As far as Dharma is concerned, the community-based approach was put in place to escape from any academism. This may draw comparisons with the Association for the Advancement of Creative Musicians, but they were also influenced by Gong. The events of May ’68 were fresh, and protest was still in the air: no leadership structure was possible, and personnel could change with each recording (on Archipel, a new drummer makes an appearance; however, there is no recorded trace of the group with Jean Querlier and François Méchali). Like its predecessor End Starting (FFL 040LP), Archipel is a constructed album, mixing free rock and European free jazz in a series of collective explosions based on abrupt and contrasting improvisations. For much of the time, piano, guitar, and saxophone intertwine over intense rhythms, with everything and anything being electrified. Retrospectively, such remarkable timbral combinations, evoking sometimes the freer passages of Cinemascope by Joachim Kühn with Toto Blanke (1974), make the demise of Dharma in 1974, even more regrettable. Their modernity has nothing to envy of the later advances of Paul Bley with guitar (Pat Metheny, John Scofield), or of OM on 1977’s Rautionaha, Patricio Villarroel’s electric piano adding a nonetheless surprisingly singular touch to Dharma. This is without mentioning a kind of incisive violence when things sped up, which was unique to the Dharma Quintet, or a sound as dense as that of On The Corner by Miles Davis (1972), or Stark Reality, John Abercrombie’s group from around the same period. Who else could seem approximately close to the Dharma Quintet at the same time… Emergency, a quintet which had played and recorded in France. Masabumi Kikuchi in Japan also deserves a mention. Along with the Cohelmec Ensemble, the Workshop de Lyon, the Full Moon Ensemble, Perception, Armonicord, or the Michel Portal Unit, the Dharma Quintet stand out as one of the most important examples of free jazz as it was played in France at the beginning of the 1970s. Licensed from Dharma. Obi strip; 12-page booklet; Edition of 700.

File Under: Free Jazz

drummKevin Drumm: Inexplicable Hours (Sonoris) LP
Six-panel, double gatefold sleeve; Includes CD. Inexplicable Hours is the sequel of the successful six-CD boxset Elapsed Time, also released by Sonoris in 2017. The material on the first LP of Inexplicable Hours documents a new direction in his music, with some of his last electroacoustic experimentations with audio generators, field recordings, and various electronic devices. The material on the second LP explores the same ambient/drone territories as the boxset, but there is less static and it is more complex than it appears on the first listen. And as always with recent Kevin Drumm’s music there’s a sense of majesty, of mystery and a melancholic beauty that is uniquely his own. Some words about the boxset are also appropriate for this record: “Despite Drumm’s noisy reputation, his music can be overwhelmingly sensual even at its loudest, providing a form of minimalism replete with a delicate, melancholic motion. How wildly divergent emotions rise, hover, and fall using so little is a mystery that only Kevin Drumm can provide.” Mastering by Giuseppe Ielasi. CD version comes in cardboard cover.

File Under: Ambient
Listen Here

essaieEssaie Pas: New Path (DFA) LP
On New Path, their second album for DFA, Montreal electronic duo Essaie Pas (Marie Davidson and Pierre Guerineau) take inspiration from Philip K. Dick’s A Scanner Darkly, a dystopian science fiction classic. The album sounds like the book reads – a voyeuristic, druggy, and paranoid narrative of existence in the surveillance state. New Path touches on addiction, loss, and the lingering strength of identity within late capitalism’s mass media paranoia. It pins down the central character’s destructive tendencies, using this as a metaphor to explore the dichotomous rupture between our inner lives and our social environment, one that is often fed and soothed by various kinds of dependencies. Essaie Pas possess a wiry, experimental take on the more leftfield end of techno music, in the way of pioneers Chris & Cosey and Cabaret Voltaire, as well as newer acts like Fever Ray, Factory Floor, and Helena Hauff. The album trades in hypnotic pads of strings, punctuated by dramatic stabs and sensual rhythmic patterns, with Marie’s tripped-out, pseudo-scientific verbiage further adding to the ambience. The world the duo have created here offers a tangled vision of tomorrow’s aesthetics, a soundtrack stacked with cold music for cold times.

File Under: Electronic
Listen Here

vesselFrankie Cosmos: Vessel (Sub Pop) LP
Frankie Cosmos has taken several different shapes since their first full-band album, 2014’s Zentropy, erupted in New York’s DIY music scene. For Vessel the band’s lineup comprises multi-instrumentalists David Maine, Lauren Martin, Luke Pyenson, and Greta Kline. The album’s 18 tracks employ a range of instrumentations and recording methods not found on the band’s prior albums, while maintaining the succinctly sincere nature of Kline’s songwriting. The album’s opening track, “Caramelize,” serves as the thematic overture for Vessel, alluding to topics like dependency, growth, and love, which reemerge throughout the record. Although many of the scenarios and personalities written about on Vessel are familiar territory for Frankie Cosmos, Kline brings a freshly nuanced point of view, and a desire to constantly question the latent meaning of her experiences. Kline’s dissonant lyrics pair with the band’s driving, jangly grooves to create striking moments of musical chemistry. Vessel’s 34-minute run time is exactly double the length of Frankie Cosmos’ breakout record, Zentropy, and it is an enormous leap forward. Vessel’s unique sensibility, esoteric narratives, and reveling energy place it comfortably in Kline’s ongoing musical auto-biography. Vessel was recorded in Binghamton, New York with Hunter Davidsohn, the producer and engineer who helped craft Zentropy and Next Thing, and at Gravesend Recordings in Brooklyn with Carlos Hernandez and Julian Fader. It features contributions from Alex Bailey (formerly of Warehouse, and now part of the live configuration of Frankie Cosmos), Vishal Narang (of Airhead DC), and singer/songwriter Anna McClellan, all of whom have played on bills with Frankie Cosmos and collaborated on-stage with the band. The final mixes were done by Davidsohn, and the album was mastered by Josh Bonati.

File Under: Indie Rock
Listen Here

gilbert

Bruce Gilbert: Ex Nihilo (Editions Mego) LP
Editions Mego’s 250th release continues its ongoing legacy of cross-pollinating and perverting various threads of radical 20th century music whilst concocting and propelling further ideas into the nebulous region where we all currently reside. With Ex Nihilo, Editions Mego resumes its enduring relationship with long-term collaborator and stalwart representative of the label’s aesthetic with a new release from London’s most charming deviant occupant, Bruce Gilbert (formerly of Wire, Dome, etc.) Gilbert’s peculiar approach to sound over four decades has seen him engage with a wide variety of practice and performance always hovering amongst the grey area between his mind and the surrounding architecture. Ex Nihilo is another significant entry into Gilbert’s outer sound-book. Inhabiting a murky zone between interference and trauma, Ex Nihilo is a daring and dark audio ride through a contemporary ketamine haze, one which haunts identifiable parameters whilst remaining too oblique to be truly quantified. “Change And Not” teases discomfort, “Black Mirrors” embraces disorder, “Nomad” skirts the unsettling. Whilst never quite resolving its own logic, Ex Nihilo invites the casual listener to privy a devastating peculiar and somewhat paranoid fantasy (reality?). Another effortless Gilbert classic. Design: David Coppenhall; front image/concept: Bruce Gilbert. Mastered by Russell Haswell. Cut by Rashad Becker at Dubplates and Mastering, Berlin.

File Under: Experimental, Wire
Listen Here

SSJ001LP_PRODBeverly Glenn-Copeland: s/t (Super-Sonic Jazz) LP
Super-Sonic Jazz present a reissue of Beverly Glenn-Copeland’s self-titled debut album, originally released on the Canadian GRT imprint in 1970. The debut release by Afro-Canadian singer, songwriter, and cult figure within new age experimental sounds, has been long been sought after. The soulful jazz release, was original recorded in 1970 alongside musicians Dough Bush, Don Thompson, Terry Clark, Lenny Breau, Jeremy Steig, and Ray Charles collaborator Doug Riley, aka Dr. Music. Written when she was 26, the album is a testament to Copeland’s stand-out songwriting and earnest, beautiful vocal talents, fitting into the realms of spiritual folk. Born into a musical family in Ottawa, Canada, Beverly Glenn-Copeland studied the classical piano repertoire, after being brought up listening to his father’s playing at home. Following his studies, Copeland moved on to songwriting, in order to weave all the different musical cultures he had come to love. He is best known for the 1986 release Keyboard Fantasies, reissued in 2017 by Invisible City, a record described as a mixture of “digital new age and early experimental Detroit techno”. Now going by his name Glenn Copeland after gender transitioning, the singer songwriter also made a name for himself writing children’s music for TV shows Sesame Street and Mr. Dressup. Referring back to his debut record, Copeland states: “I was a fresh-faced kid of twenty-six when I wrote these songs, only a few years out of the classical music world in which I had been immersed since childhood, performing the European classical song repertoire in concerts both live and for radio broadcast. So I sold my oboe, bought a guitar, and began tuning it in wild and wonderful ways to more easily find the chords I had no idea how to find in the regular tuning. I didn’t want to study anymore. I just wanted to write.” Comes in a heavyweight tip-on sleeve.

File Under: Folk, Jazz
Listen Here

bartonUrsula K. Le Guin & Todd Barton: Music and Poetry of the Kesh
(Freedom to Spend) LP

Music and Poetry of the Kesh is the documentation of an invented Pacific Coast peoples from a far distant time, and the soundtrack of famed science fiction author, Ursula K. Le Guin’s Always Coming Home. In the novel, the story of Stone Telling, a young woman of the Kesh, is woven within a larger anthropological folklore and fantasy. The ways of the Kesh were originally presented in 1985 as a five hundred plus page book accompanied with illustrations of instruments and tools, maps, a glossary of terms, recipes, poems, an alphabet (Le Guin’s conlang, so she could write non-English lyrics), and with early editions, a cassette of “field recordings” and indigenous song. Le Guin wanted to hear the people she’d imagined; she embarked on an elaborate process with her friend Todd Barton to invoke their spirit and tradition. For Music and Poetry of the Kesh, the words and lyrics are attributed to Le Guin as composed by Barton, an Oregon-based musician, composer and Buchla synthesist (the two worked together previously on public radio projects). But the cassette notes credit the sounds and voices to the world of the Kesh, making origins ambiguous. For instance, “The River Song” description reads, “The prominent rhythm instrument is the doubure binga, a set of nine brass bowls struck with cloth-covered wooden mallets, here played by Ready.” According to writer and long-time friend of LeGuin, Moe Bowstern (who pens the liners for the Freedom To Spend edition of Kesh), Barton built and then taught himself to play several instruments of Le Guin’s design, among them “the seven-foot horn known to the Kesh as the Houmbúta and the Wéosai Medoud Teyahi bone flute.” Barton’s crafting of original instruments lends an other-worldly texture to the recordings of the Kesh, not unlike fellow builders Bobby Brown and Lonnie Holley. Bowstern notes, “Other musician / makers have crafted their own Kesh instruments after encountering the earlier cassette recordings that accompanied some editions of the book.” Both Barton and Le Guin are sensitive to the sovereignty of indigenous Californians and were careful not to trample the traditions of the Tolowa people who lived in the valley long before the Kesh. “You research deeply, and then you bring your own voice to the table,” said Barton. Within the Kesh culture, the numbers four and five shape the lives, society and rituals. Barton composed loosely around these numbers, patiently listening to the land of Napa Valley for signs and audio signals from the natural elements. Todd incorporated ambient sounds of the creek by Le Guin’s house and a campfire they built together. The songs of Kesh are joyful, soothing and meditative, while the instrumental works drift far past the imaginary lands. “Heron Dance” is an uplifting first track, featuring a Wéosai Medoud Teyahi (made from a deer or lamb thigh bone with a cattail reed) and the great Houmbúta (used for theatre and ceremony). “A Music of the Eighth House” sends gossamer waves of the faintest sounds to “float on the wind.” Like the languages invented in the vocal work of Anna Homler, Meredith Monk, and Elizabeth Fraser, the Kesh songs and poems play with the shape of voice. The Music and Poetry of the Kesh cassette was meant to accompany and enhance the experience of reading Always Coming Home. Presented in this edition as a long-playing album, where only traces of the book linger (the jacket offers some of Le Guin’s illustration, and a letterpressed bookmark featuring the the narrative modes of western civilization and the Kesh valley is included), the music alone breaking the silence of what might be. It can transport—offering a landscape for imagining a future homecoming. One in which we are balanced, peaceful, and tend to the earth and its creatures. A line from “Sun Dance Poem” reminds us, “We are nothing much without one another.” Freedom To Spend gives new life to the recordings of the Kesh people in the first ever vinyl edition of Music and Poetry of the Kesh also availably on digital formats on March 23, 2018. The LP will include a spot printed jacket with Ursula’s illustrations from Always Coming Home, a facsimile of the original lyric sheet, liner notes by Moe Bowstern, a multi-format digital download code and a bookmark letter pressed by Stumptown Printers in Portland, OR.

File Under: Experimental, Spoken Word
Listen Here

MUSIQ223LP_PRODFumio Itabashi: Nature (Mule Musiq) LP
Mule Musiq present the first vinyl reissue of Fumio Itabashi’s Nature, originally released in 1979. The legendary Japanese jazz pianist’s first solo record ever, Nature was recorded at Nippon Columbia’s first studio in Tokyo from March 13-15 in the year of its release. It features Itabashi making feverish love with the piano and he shares the studio with the great bass players Hideaki Mochizuki and Koichi Yamazaki, drummers Kenichi Kameyama and Ryojiro Furusawa, soprano saxophonist Yoshio Otomo, and vibraphone wizard Hiroshi Hatsuyama. They all joined him to perform his very own songs, composed by Itabashi himself and produced by Ryonosuke Honmura, who also produced Japanese jazz heroes, like saxophonist Keizo Inoue, during his career. Nature is fresh, propulsive, twitchy, and melodious from the first to the last tone. Sometimes the instrumentalists play a classic solo in an overall deep modal jazz atmosphere that seems to be made for cats that love the good old stars and inventors — from John Coltrane to Miles Davis, from Thelonious Monk to Art Blakey. Nature also shows how deep Itabashi studied the history of the genre, while keeping his very own vision of jazz alive. The man that made his professional debut as a member of the Sadao Watanabe Quintet in 1971 and who was also a member of the Elvin Jones Jazz Machine world tour from 1985-1987, plays the piano in all tempos, from a nervous high-flying quickness to a deep blues-style slow. Besides the traditional jazz flavors, you get a feeling of mind-expanding spiritual jazz, that grand masters like Pharaoh Sanders or Gary Bartz, turned into a sacred music genre. A master-class record in ravishing big city jazz music, adventurous, sometimes meditative, sometimes faster than the speed of light, always grooving with a bright, pure-toned sensibility and deeply soulful melodic imaginations. It extends the jazz history with a fine balance between tradition and innovation. And it stays infectious all the time while sounding surprisingly fresh due to a lot of thrilling musical spontaneity that touches profoundly even though all notes have been written down by Itabashi before he and his combatants entered the studio. And maybe that’s the mystery of these timeless five at times epic recordings: all notes written on paper, but each musician had the freedom to dance with them in his very own unique way.

File Under: Jazz
Listen Here

JOmfJackie-O Motherfucker: Flags of the Sacred Harp (Textile) LP
Released in 2005 this fifth full-length album from the Portland based collective displayed the group’s patient and evolved songwriting style with historic references to American blues and hymns. This double-LP contains songs that are all manifestations, mutations, and reinterpretations of old blues and gospel, specifically from an old hymnal called “The Sacred Harp”. It is definitely the most accessible and sublime release from Jackie-O Motherfucker.

File Under: Experimental
Listen Here

jbs

JBs: Hustle With Speed (Get on Down) LP
“Get On Down proudly presents another top-notch vinyl reissue, from their long-running series of collaborations with James Brown’s famed 70s funk label People Records. As the 1970s wore on, the classic funk sounds that had defined James Brown’s backing band, The J.B.’s, gave way to the rise of disco music. Fred Wesley and his collective of musicians couldn’t resist the chance to make their mark, releasing Hustle With Speed in 1975, with Charles Bobbit and Don Love producing, and the godfather himself, James Brown co-writing and providing arrangements. Hustle With Speed didn’t cross over like the band had hoped it would, but it was nonetheless remarkable album, featuring The J.B.’s signature funky style married with disco to exciting effect. All the while there’s still plenty to be had for the funk die-hard, from the brass blow-out jam ‘Here We Come, Here We Go, Here We Are’, to the trombone-heavy ‘All Aboard The Funky Soul Train’, to the powerhouse opening salvo that is ‘(It’s Not The Express) It’s The JBs Monaurail’. Songs from Hustle With Speed would take on lives of their own decades after the album’s release, through sampled appearances in tracks by Jay-Z, Nas, Eric B. & Rakim, Ultramagnetic MCs, EPMD, and many more.”

File Under: Funk
Listen Here

SR438LP_PRODRagnar Johnson & Jessica Mayer: Music From Yemen Arabia
(Sub Rosa) LP

Sub Rosa present Music From Yemen Arabia: Sanaani, Laheji, Adeni And Samar a reissue of both Music From Yemen Arabia: Samar and Music From Yemen Arabia: Sanaani, Laheji, Adeni, recorded by Ragnar Johnson and Jessica Mayer. These songs originate from the city of Sanaa, the sheikdom of Lahej and the port of Aden. These songs originate from the city of Sanaa, the sheikdom of Lahej and the port of Aden. Samar is the delicious, luxury time when people gather for relaxation, refreshment, and music. This record contains oudh playing, percussion, and singing from Yemen. The three Kawkabani brothers sing traditional poems and play oudh (lute), double drums, tambourine, and, occasionally, the kanoun (zither). They were recorded in Sanaa in 1973. The oudh player Hassan al Zabeede and his double drum playing brother sing songs in the Lahej style and were recorded in Taez in 1973. File under: Le Coeur du Monde. Features the Kawkabani Brothers (Mohamed Al, Abdel Wahab Al, and Saad Al), Hassan Al Zabeede (also credited as Hassan Al Zbeede and Hassan Zubeede), and Saad Al Kawkabani.

File Under: Arabia, World, Folk

kinkgongKink Gong: Dian Long (Discrepant) LP
Another unique document of Kink Gong’s, aka Laurent Jeanneau, collection of surreal soundscapes of augmented field recordings, this time turning into his love/hate relationship with China into a mesmerizing soundscape of unclassifiable music. Jeanneau on Dian Long: “Before becoming Kink Gong I had different names, one of my projects, designed by cultural circumstances in China at the beginning of the 21st century, was Dian Long (‘electric dragon’ in Chinese). I landed in Shanghai in 2000 in order to make music and recordings of whatever. Faced with the cruel tendency of modern China to reject tradition and embrace full on bling-bling culture, my option was to attack this music industry commercial flavor by destroying it. I had in my bag a faithful portable CD player who knew how to turn syrup into crystal. Later, reaching Yunnan in 2001, I discovered the reality away from the bling-bling of eastern towns and did a realistic soundscape of it.”

File Under: Electronic, World, Collage
Listen Here

klitzThe Klitz: Rocking The Memphis Underground (Mono-Tone) LP
All girl band from Memphis who happened to be Alex Chilton’s protégés; primal, loose rock n’ roll à la Chilton/Jim Dickinson/Tav Falco in a wild and primitive no wave/DIY punk style. Whether you like Charlie Feathers or Kleenex, The Cramps or Lydia Lunch, you will adore The Klitz, the unadulterated sound of the Memphis underground. One side studio, one side live, both sides frantic, chaotic, and electrifying!

File Under: Punk
Listen Here

macariEblen Macari: Musica Para Planetarios (Séance Centre) LP
Mexican guitarist and ambient artist Eblen Macari’s masterpiece Música Para Planetarios (Music for Planetariums) was originally composed for weekly performances in the Luis Enrique Erro Planetarium in Mexico City. The album, released in 1987 was based around Macari’s solo performances using Ensonic ESQ-1, a Korg Poly 800, two guitars and pre-hispanic Ocarinas. The arrangements on the album are expanded to include a full stable of pre-hispanic percussion and beautiful baroque harpsichord played by Macari’s wife. Remastered from the original master tapes.

File Under: New Age, Ambient, Guitar, Mexico
Listen Here

HOS594LP_PRODMerzbow: Noisembryo (Hospital) LP
Hospital Productions present a vinyl reissue of Merzbow’s Noisembryo, originally released on CD by The Releasing Eskimo in 1994. Noisembryo is a holy grail, not only of Merzbow’s obsessive discography, but of the entire ’90s noise movement. You’ve heard the stories surrounding the infamy of this release, but beyond that stands the depth and wild energy that Noisembryo encapsulates over two decades later. High-speed loops, roving automotive bass, and cacophonic drum machines gel together with the surprising inclusion of a sound rarely heard within Merzbow’s many years… Masami Akita’s own voice. Akita’s surrealism of the past stands prominently relevant to this day. Includes the bonus track “Travelling” from the equally as infamous Noise Forest compilation (1992), appearing here for the first time on vinyl. Edited and remastered for vinyl by Masami Akita. Includes insert featuring unseen classic paintings and collages of Masami from the original Noisembryo sessions. Deluxe foil-stamp gatefold sleeve.

File Under: Noise
Listen Here

messtheticsThe Messthetics: s/t (Dischord) LP
“The Messthetics are an instrumental trio featuring Brendan Canty (drums), Joe Lally (bass), and Anthony Pirog (guitar). Brendan Canty and Joe Lally were the rhythm section of the band Fugazi from its inception in 1987 to its period of hiatus in 2002. This is the first band they’ve had together since then. Anthony Pirog is a jazz and experimental guitarist based in Washington, D.C. One half of the duo Janel & Anthony, he has emerged as a primary figure in the city’s out-music community. The trio’s debut includes nine songs recorded at Canty’s practice space throughout 2017, live and mostly without overdubs. It’s a snapshot of a band dedicated to the live ideal, where structure begets improvisation.”

File Under: Punk, Fugazi
Listen Here

moaningMoaning: s/t (Sub Pop) LP
Moaning is a band defined by its duality. The abrasive post-punk trio comprised of LA DIY veterans, Sean Solomon, Pascal Stevenson, and Andrew MacKelvie, began nearly a decade after the three started playing music together. Their impassioned debut album comes born out of the member’s experiences with love and distress, creating a sound uniquely dark and sincere. Although the band is just breaking out of their infancy, Moaning’s sleek and cavernous tone emphasizes the turmoil of the era they were born into. One where the endless possibility for art and creation is met with the fear and doubt of an uncertain future. Moaning’s conception came when Solomon sent Stevenson and MacKelvie the first demo for “Don’t Go,” setting the tone for the impulsive songwriting that would follow. The three fleshed out Solomon’s primitive recordings, adding in MacKelvie’s heavy syncopated drumming, and Stevenson’s melodic driving bass and synth parts, capturing each member’s personality in their sparse and fuzzed out tracks. Like many of their previous collaborative projects, Moaning forces pain up against pleasure, using the complexity of personal heart break to inform the band’s conflicted sound. The band’s homemade video for an early, home-recorded version of “The Same” caught the attention of Alex Newport, a seasoned engineer and producer who had previously worked with At The Drive-In, Bloc Party, and the Melvins. With Newport, Moaning began working on the tracks that would make up their self-titled release, employing a lush, open ended production quality that had never been at the band’s disposal. Tracks like “Artificial” stand out among the recordings, where Moaning used the studio’s recourses to take their frantic live arrangement and give it the intensity merited by Solomon’s lyrics. As a whole, Moaning drifts from sentimental to catastrophic, hiding meek and introspective lyrics within powerful droning dance songs, giving sonic nods to some of the band’s musical heroes like, New Order, Broadcast, and Slowdive. The band’s youthful attitude is met with the weight of topics like loss, routine, and mental health, reflecting the anxiety towards the status quo that much of their generation faces today.

File Under: Punk
Listen Here

modernModern Institute: Another Exhibition at the Modern Institute (Diagonal) LP
Diagonal pull out a zinging art-techno curveball with Another Exhibition at the Modern Institute, the second EP by Glasgow’s hottest new prospect, The Modern Institute; an iconoclastic trio of agitators comprising Golden Teacher’s Richard McMaster and Laurie Pitt joined some droll, scaly Northern English vocalist, James Stephen Wright, for one of the freshest and vital blends of post-punk, art-school, and techno sensibilities to emerge in recent memory. Aimed as a snark at the middle-class art gaze as much as a slippery engine for the dancefloor, Another Exhibition at the Modern Institute reels six mercurial fusions of scudding, techy rhythms, and sheer electronic contours strewn with drily observant vocals describing hyper-sensual scenarios. It’s a sound perhaps purposefully located lightyears away from Golden Teacher’s charming retro-vintage styles, and effectively gives that group’s rhythmic engine of McMaster and Pitt a space to express their more contemporary concerns. Forming the second blow of a Glasgow-centered 1-2 after Russell Haswell and Sue Tompkins’s Respondent EP, The Modern Institute swarm in formation from a white-hot electro-stepper “IV Cheeks” to somewhere darker, almost paranoid by the close of “Dozen Cocktails”, taking in a sound like Errorsmith producing for MES in “Limitless Light”, or Hecker doing footwork on the new beta anthem “Quicksilver Lips”, whilst “Unbreakable Pulse” and the pinging ballistics of “Molton Gold” short circuit the deep-rooted transatlantic connection between Glasgow art punks’ afterparties and Detroit ghetto styles with a deadly swagger. RIYL: Chris Carter, DJ Stingray, Toresch, Dale Cornish, Cabaret Voltaire, Fad Gadget, John Bender, Smersh, LCD Soundsystem. Artwork by Guy Featherstone. Mastered and cut by Matt Colton. Includes locked grooves. Red vinyl; Edition of 500.

File Under: Electronic
Listen Here

SP045LP_PRODBrett Naucke: The Mansion (Spectrum Spools) LP
Brett Naucke returns to Spectrum Spools with his sophomore LP for Spectrum Spools following the Seed LP as well as a string of exceptional cassette releases on Umor Rex and Hausu Mountain. The Mansion finds Naucke at the peak of his powers with a fresh array of meticulously composed psychotropic tapestries. Themes based on a childhood home, now a distant memory, reveal a mysterious narrative in mind-bending sonic detail. These complex ideas fuse conflicting states of tension and beauty with an organic acumen, each track a piece of the greater whole. The Mansion is a fine mixture of contemporary concrète structure interlaced with tightly crafted melodic arrangement and hi-fidelity electronic exploration. In addition to his stalwart synthesis, Naucke employs additional personnel featuring vocal duties from Natalie Chami (of Goodwill Smith and TALsounds) and viola sounds from Whitney Johnson (of Matchess). Field recording, piano, and other various instrumentations are also carefully implemented adding a new, deeper dimension to the Naucke oeuvre. With his most realized set of compositions yet, The Mansion finds Naucke at the paragon of his conceptual and sonic ethos with a work that’s at once deeply meaningful and profound in its auditory breadth. The Mansion was written and recorded in Chicago, IL between January 2015-February 2017. Mastered at Dubplates & Mastering Berlin by CGB, July 2017.

File Under: Electronic, Ambient
Listen Here

orquestOrquesta Akokan: s/t (Daptone) LP
Akokán is a Yoruba word used in Cuba meaning “from the heart,” and indeed, every song on the self-titled debut album by Orquesta Akokán feels like a heartfelt gift from the band to the listener. Assembled and led by Cuban vocalist José “Pepito” Gómez, Orquesta Akokán is a big band collective of the finest musicians on the island, both young and old. It features all-original music and was cut live to tape over a three-day session at Havana’s hallowed state-run Estudios Areito, one of the longest operating studios in the world where many important Cuban records have been made. The album was produced by Jacob Plasse and arranged by Mike Eckroth. Orquesta Akokán flexes its blazing hot mambo from the first downbeat, with lead-off track “Mambo Rapidito”: a breakneck pace, deft big band orchestrations that dart and weave, rich cascades of piano, all led by Pepito’s soaring, joyful proclamations.

File Under: Cuban
Listen Here

ELP034LP_PRODPotter Natalizia Zen: Shut Your Eyes on the Way Out (Ecstatic) LP
After stranding listeners in deep space with Schleißen 4 in 2015, Colin Potter, Alessio Natalizia, and Guido Zen regroup along the percussive vectors of Shut Your Eyes On The Way Out for the Ecstatic label. Three years in the making, taking cues from German synth rock, cosmic disco, abstract EBM, and obscure library sounds, the trio head for seductive new horizons of pulsing rhythms and floating ambient dub tones. The six hands control the mission with masterful skill and sleight of hand, prompting routes for the user rather than signposting the way with cliché. Of course, it’s hard to escape some sense of homage or reverence for the original forms, but they do so with such sensitivity to the material and “the journey” that the results simply transcends that heritage, to arrive somewhere, timelessly, out there. In a starfield littered with long-abandoned shuttles and criss-crossed by previously attempted missions, they chart a steady course, slowly melting from cryogenic stasis to map out free-floating space in “Articulated”, then holding their course despite the gravitational pull from massive objects in “Rhythm Did Not Change”, and under pressure of slow disco G-forces in the pulsing beauty of “Linda”, leading to the interception of panicked bleeps in “Chaosmosis”. Over on the B side “When Time Stops Moving” the mission becomes very Tarkovsky-esque and surreal, with Zen’s lysergic drones really coming into their own, before the upside-down tonal sculpting of “Unsystematic Waves” re-aligns the user’s brain functions in preparation for the stunning dynamic proprioception of “Che Osmosi”, where the route ahead becomes scrambled in a delirious tangle of nagging arpeggio melodies and pill-belly pulses, emulating pretty much how you’d feel, lost but happy to be zillions of light years from terra firma. RIYL: Eduard Artemiev, Klaus Schulze, Vangelis, John Carpenter. Mastered and cut by Matt Colton at Alchemy.

File Under: Electronic, Ambient, Experimental
Listen Here

HOS598LP_PROD

Prurient/Hanged Man’s Orgasm: Unknowns (Hospital) LP
Originally released as a bonus cassette to Prurient’s Rainbow Mirror, Unknowns appears here on vinyl as two side-long collaborative tracks from Dominick Fernow, joined by longtime producer Kris Lapke (Alberich), with Patrick O’Neal (Skin Crime). Hanged Mans Orgasm was the earliest project from O’Neal starting in the late ’80s and early ’90s that could be a rural American counterpart to England’s Nurse With Wound middle period. Consisting of unrecognizable, discomforting electric acoustic noises mixed with radiation noise, Prurient fills the void with sub-bass electronics and a caustic reading of the Rainbow Mirror short story written in collaboration with Scott Bryan Wilson. A vocal counterpart to the otherwise instrumental Rainbow Mirror album. The B side is a reworking of field recordings and woodland screams recording in Rhode Island and reworked in New York City around the time O’Neal and Fernow first met. Housed in a deluxe sleeve with manual artwork by visual artist Adam Marnie, whose works have been featured previously on Prurient’s epic Frozen Niagara Falls (2015). Foil-stamped cover; Edition of 500.

File Under: Electronic, Experimental

WWSLP012LP_PROD

Hiroshi Sato: Orient (Wewantsound) LP
Wewantsounds present a reissue and the first international release of Hiroshi Sato’s ultra-rare synth masterpiece, Orient, originally released in 1979 on Kitty Records in Japan only. This highly sought-after album is a superb breezy mix of Japanese synth-pop with a subtle touch of mid-70s Herbie Hancock-style funk and AOR. Originally released in 1979, at a fruitful time when Hiroshi Sato, Haruomi Hosono, and Shigeru Suzuki were fresh from playing in the group Tin Pan Alley and Haruomi Hosono had just formed Yellow Magic Orchestra, Orient is a unique balance of various styles. It has become one of the most sought-after Japanese LPs on the global Balearic scene and is now exchanging hands for astronomical prices. The album includes such cult tracks as “Son Go Kuw” and “Do-Jo” popular on the international DJ scene. It features the best Japanese musicians at the time, including Shigeru Suzuki on guitar, Haruomi Hosono on bass, Pecker on percussion, and Sato himself on keyboards and synthesizers. The album also features on Gilles Peterson’s “Significant Album” List. Fully remastered from the original Kitty Records tapes by Universal Japan. Includes original four-page color insert, including English translations of the original liner notes by leading Japanese journalist Yasufumi Amatatsu, plus the full track-by-track musician line up. “Breezy Balearic synth pop with a Nippon twist” –The Vinyl Factory.-pop with a subtle touch of mid-70s Herbie Hancock-style funk and AOR. Originally released in 1979, at a fruitful time when Hiroshi Sato, Haruomi Hosono, and Shigeru Suzuki were fresh from playing in the group Tin Pan Alley and Haruomi Hosono had just formed Yellow Magic Orchestra, Orient is a unique balance of various styles. It has become one of the most sought-after Japanese LPs on the global Balearic scene and is now exchanging hands for astronomical prices. The album includes such cult tracks as “Son Go Kuw” and “Do-Jo” popular on the international DJ scene. It features the best Japanese musicians at the time, including Shigeru Suzuki on guitar, Haruomi Hosono on bass, Pecker on percussion, and Sato himself on keyboards and synthesizers. The album also features on Gilles Peterson’s “Significant Album” List. Fully remastered from the original Kitty Records tapes by Universal Japan. Includes original four-page color insert, including English translations of the original liner notes by leading Japanese journalist Yasufumi Amatatsu, plus the full track-by-track musician line up. “Breezy Balearic synth pop with a Nippon twist” –The Vinyl Factory.

File Under: Electronic, Funk
Listen Here

SFERIC002LP_PRODSpace Afrika: Somewhere Decent to Live (Sferic) LP
Ambient duo Space Afrika offer a bird’s-eye view of the city center at night with Somewhere Decent To Live; their keenly anticipated first album on Sferic — the Manchester-based label they run in conjunction with Will Boyd. Taking gaseous form as a series of dark blue hues and electromagnetic sub-bass impulses, the vibe inside is delectably elusive. Unlike their previous transmissions on Where To Now? and Köln’s LL.M., the pair’s dancefloor urges are dissolved in favor of suggestively mutable ambient frameworks this time, leaving the kicks in the club whilst they appear to float overhead like the dead kid embarking his Bardo in Gaspar Noé’s Enter The Void (2010). Unshackled from dancefloor needs, but still inspired and feeding off its spirit and romance, the pair respectfully acknowledge the undercurrents of jungle, dubstep, ambient techno, and deep house which feed into their home city’s late-night economy, dowsing their tributaries back to dub and rendering the findings in a quiet, modestly lush ambient haze with a flawlessly anesthetizing effect. In firm but gentle style they feel out eight interlinked headspaces, drifting like spectral flaneurs from the Diversions-like opener “uwëm/creation” to intercept telepathic thoughts from Teutonic friends in the percolated subs and drizzly ambient clag of “sd/tl”, before arriving at the most arresting moment in their catalog thus far with the masterfully widescreen yet immersive “bly” and its sublimely smeared timbral thizz. The second half of the record subsequently describes a more inward journey from wistful loops in “u+00B1” to the sylvan two-step of “gwabh” and “curve”, featuring Echium, ultimately culminating in the echo chamber melt of “dred”. RIYL: Jan Jelinek, Huerco S, Detroit Escalator Company, The Connection Machine. Master and lacquer cut by Pole at Scape Mastering.

File Under: Electronic, Ambient
Listen Here

paradoxNeil Young: Paradox (Reprise) LP
A free-spirited tale of music and love, Neil Young and his band of outlaws sow seeds of strange mischief and musical wonder under Western skies in the dreamlike 2018 Netflix film Paradox by Daryl Hannah in her directorial debut. Paradox (Original Music from The Film) features music from Neil Young + Promise Of The Real, Young with an Orchestra recorded on the MGM Soundstage, Young backed by drummer Jim Keltner and bassist Paul Bushnell, and several solo electric guitar passages. Willie Nelson contributes narration on the album opener “Many Moons Ago in the Future.” All of the music was recorded spontaneously with no overdubs and provides the soundtrack to Paradox, the film. The 22-track 2LP collection features brand new music composed especially for the film plus covers of Willie Nelson, Lead Belly and The Turtles.

File Under: Rock
Listen Here

REGRM020LP_PRODChristian Zanesi: Grand Bruit/Stop! l’Horizon (Recollection GRM) LP
Christian Zanési on Grand Bruit (1991): “The great mobile sound bodies have an ordinary yet amazing ability to place the listener-traveler within, as if he or she was inside a giant double bass, in this case a train stroked by a double bow: the rails and the air. In 1991, I explored this phenomenon during my daily commute from the studio to my home. I used only a 21 minutes recording and treated it as a single sound object. I then processed and enhanced it as a photographer would have done, immersing it in successive ‘baths’. The title I chose for this singular form was Grand Bruit.” Christian Zanési on Stop ! l’horizon (1983): “Saturday morning, nine o’clock as I reach the studio. No one here. I only turn on the spotlights as the fluorescent tubes are too noisy. I switch the power on, shut the door, unplug the telephone. I then switch the mixing desk on, which sends an electronic impulse into the amps. The four speakers react individually with a very brief and low hiss. A kind of presence. I haven’t listened to anything since the evening before and my ear is refreshed by a night’s sleep. I feed the original mix into the master recorder and sit down in the center. Remote control: PLAY With the first sound I close my eyes. The studio instantly vanishes. Another place, a much larger space opens up. I enter it. I have the very distinct feeling that music is merely a ‘great noise’, chiseled inside with a thousand details. It opens up like a living organism to let my hearing wander across it. A magnetic relation quickly occurs and all the sounds that constitute this great noise draw me towards the East. I accept this direction. Later, much later, I reach a distant point on the horizon which pulls me towards it.”

File Under: Early Electronic

STAGO120LP_PRODVarious: Dusty Ballroom Vol 1 (Stag-o-Lee) LP
Aloha dear Aficionado — welcome to Dusty Ballroom! It was in late 2008 in the heart of Berlin when the three passionate record lovers and partners in crime — Der Staubfinger, Elmo Lewis, and Ilo Pan — decided to launch a new series of vinyl-only club shindigs. Their aim was to break with the usual one-style-all-night-long-fixation that was served at most other vintage dances around at the time. Their ears were spread and minds wide-open for a vast variety of what they call the roots of their musical culture. Together they went on an ongoing trip — traveling back in time, digging deeper on the most dusty and faraway vinylistic shores, exploring heaps of lost treasures, black pearls, and entertaining flotsam — always looking for the perfect beat to hop with. Ever since blending styles ranging from 1920s Charleston, ’30s swing and jazz though ’40s jump blues, ’50s rockabilly, mambo, cha cha, Cumbia, or calypso to ’60s surf, big beat, ska, rocksteady, soul, mod, garage, psychedelia, early ’70s funk, Afrobeat, boogaloo, Bollywood, and the whole world of mystic exotica they were eager to please a growing crowd of crazy cats, joyful jivers, and dirty dancers. Magic moves, consenting smiles, and some strange liqueur was what they got in return. Almost ten years have passed now and they still can’t stop celebrating that steamy vinyl bounce once a month at the hottest venues in town — often supported by the most far-out vintage live bands of our time… Enjoy this wild aural selection of many different styles that should work perfectly for both — your booty shaking needs as well as your listening pleasures! 17 tracks recorded between 1966-1962. Features Enid Mosier & Her Trinidad Steel Band, The Olympics, Bill Black’s Combo, Dorothy Collins, Jonah Jones, Gene & Eunice, Sil Austin, The Isley Brothers, The Shirelles, The Duals, Fatso & Flaire, Ruth Brown, Robert Parker, The Soupy Sales Show, Irene Lopez with Rio Gregory & His Band, Jamaica Johnny And His Milagro Boys, and Barbara George.

File Under: Party Times, Exotica

JMAN096LP_PRODVarious: Spiritual Jazz 8: Japan Part One (Jazzman) LP
Part one of two double LP versions. Textured, gatefold sleeve; Obi strip. Jazzman Record’s latest examination of esoteric, modal, and progressive jazz of the 20th century has taken them to Japan. The liberating force of jazz has been created and felt all around the world, but few nations on earth embraced the jazz message with the passion and intensity of Japan. From the dawn of the jazz age to the present day, Japanese audiences have been renowned tastemakers, enthusiasts, and champions of the music — in the 1980s, Japan was the biggest per capita market in the world for jazz records, and it has even been said that Japanese jazz fans kept the jazz record industry alive through the lean years of the 1970s, when the music fell from commercial favor in the land of its birth. But while the jazz aficionados of Japan are celebrated as sophisticated fans and consumers of the music, comparatively little is known outside Japan of the remarkable and abundant music produced by generations of Japanese jazz musicians. Numerous Japanese jazzers have found enormous success on the international stage — Toshiko Akiyoshi, Sadao Watanabe, Teramasu Hino, and many others are household names among jazz listeners all over the world, and with good reason. But if such global figures are put aside, the stunning heritage of Japanese jazz remains poorly understood outside Japan. As a result, the work of many celebrated Japanese jazzmen has remained largely unknown to international audiences, and the extraordinary scope and depth of Japanese jazz has not been widely recognized. Compiled for the Spiritual Jazz series in collaboration with the celebrated collector and DJ Yusuke Ogawa (Deep Jazz Reality, Tokyo), this set aims to correct that omission by uncovering the uniquely deep sound of esoteric, modal and progressive jazz from Japan — music of the heart, soul, and Japanese spirit. Part One features: Mitsuaki Kanno, Tadao Hayashi, Minoru Muraoka, Takeo Moriyama, Koichi Matsukaze, Sadao Watanabe & Charlie Mariano, Shungo Sawada, New Direction For The Arts.

File Under: Jazz

JMAN097LP_PRODVarious: Spiritual Jazz 8: Japan Part Two (Jazzman) LP
Part two of two double LP versions. Textured, gatefold sleeve; Obi strip. Jazzman Record’s latest examination of esoteric, modal, and progressive jazz of the 20th century has taken them to Japan. The liberating force of jazz has been created and felt all around the world, but few nations on earth embraced the jazz message with the passion and intensity of Japan. From the dawn of the jazz age to the present day, Japanese audiences have been renowned tastemakers, enthusiasts, and champions of the music — in the 1980s, Japan was the biggest per capita market in the world for jazz records, and it has even been said that Japanese jazz fans kept the jazz record industry alive through the lean years of the 1970s, when the music fell from commercial favor in the land of its birth. But while the jazz aficionados of Japan are celebrated as sophisticated fans and consumers of the music, comparatively little is known outside Japan of the remarkable and abundant music produced by generations of Japanese jazz musicians. Numerous Japanese jazzers have found enormous success on the international stage — Toshiko Akiyoshi, Sadao Watanabe, Teramasu Hino, and many others are household names among jazz listeners all over the world, and with good reason. But if such global figures are put aside, the stunning heritage of Japanese jazz remains poorly understood outside Japan. As a result, the work of many celebrated Japanese jazzmen has remained largely unknown to international audiences, and the extraordinary scope and depth of Japanese jazz has not been widely recognized. Compiled for the Spiritual Jazz series in collaboration with the celebrated collector and DJ Yusuke Ogawa (Deep Jazz Reality, Tokyo), this set aims to correct that omission by uncovering the uniquely deep sound of esoteric, modal and progressive jazz from Japan — music of the heart, soul, and Japanese spirit. Part Two features: Four Units, Tohru Aizawa, Keitaro Miho, Tee & Company, Takeo Moriyama, Kiyoshi Sugimoto, Toshiko Akiyoshi, and Yoshio Ikeda.

File Under: Jazz

…..Restocks…..

AMM: AMMMusic (Black Truffle) LP
Courtney Barnett: Sometimes I Sit and Think (Mom + Pop) LP
Breeders: All Nerve (4AD) LP
Destroyer: ken (Merge) LP
Godspeed You Black Emperor: Asunder (Constellation) LP
Godspeed You Black Emperor: F#A# (Constellation) LP
Godspeed You Black Emperor: Lift Your Skinny Fists (Constellation) LP
Godspeed You Black Emperor: Slow Riot (Constellation) LP
Hot Snakes: Audit In Progress (Sub Pop) LP
Hot Snakes: Automatic Midnight (Sub Pop) CS
Johann Johannsson: IBM 1401 (4AD) LP
Laughing Hyenas: Merry Go Round (Thirdman) LP
The Men: Drift (Sacred Bones) LP
OST: Neon Demon (Milan) LP
Pavement: Brighten The Corners (Matador) LP
Pharoah Sanders: Izipho (Everland) LP
Sigur Ros: Agaetis Byrjum (XL) LP
Sigur Ros: Meo Suo I Eyrum (XL) LP
Spacemen 3: Playing With Fire (Space Age) LP
Vampire Weekend: s/t (XL) LP
Vampire Weekend: Contra (XL) LP
Kurt Vile: Wakin’ on a Pretty Daze (Matador) LP
Kurt Vile: B’lieve I’m Going Down (Matador) LP
Kamasi Washington: The Epic (Brainfeeder) 3LP
Gillian Welch: Harrow & The Harvest (Acorn) LP
Various: Acid Nightmares (Numero) LP

Tagged , , , , , , ,

…..news letter #840 – rama…..

Finally! The first real ‘big’ releases of the year! Hot Snakes, Preoccupations and Jack White in one week! And other cool stuff in and on the way. By the by, if you haven’t already looked, the Record Store Day list is out. Please look and let us know if there’s something on there you are gonna want, LET US KNOW ASAP!

…..picks of the week…..

hot snakes

Hot Snakes: Jericho Sirens (Sub Pop) LP
After a 14-year hiatus from the studio, Hot Snakes kick down the door with their new album, Jericho Sirens. The record blasts out of the speakers with the furious “I Need a Doctor,” inspired by Rick Froberg’s experience needing a doctor’s note in order to miss an important work function. Throughout Jericho Sirens, Froberg commiserates with the frustration and torrential apathy that seems to be a fixture in our daily lives, while also reminding us that we have no fucking clue. “Songs like ‘Death Camp Fantasy’ and ‘Jericho Sirens’ are about that,” he says. “No matter where you look, there’re always people saying the world’s about to end. Every movie is a disaster movie. I’m super fascinated by it. It is hysterical, and it’s a self-fulfilling prophecy. It snowballs, like feedback, or my balls on the windshield.” Musically, the album incorporates the most extreme fringes of the Hot Snakes sound (the vein-bulging, 78-second “Why Don’t It Sink In?” the manic, Asian Blues on speed of “Having Another?”), while staying true to longstanding influences such as the Wipers, Dead Moon, Michael Jackson, and Suicide on propulsive tracks such as “Six Wave Hold-Down.” Other moments like the choruses of “Jericho Sirens” and “Psychoactive” nod to Status Quo and AC/DC.

File Under: Punk, Rock, Rocket From The Crypt, Drive Like Jehu
Listen Here

musciRoberto Musci & Giovanni Venosta: Water Messages on Desert Sand (RER) LP
Water Messages on Desert Sand was the very first sound creation from the Italian avantgarde duo of Roberto Musci and Giovanni Venosta. A classic work in the genre, released by Chris Cutler’s Recommended Records in 1987. Back in the mid Eighties, Musci & Venosta, both on sampler, synthesizer, guitar, piano, effects and tapes were masters in overlaying and constructing rhythmic and harmonic pictures of transparent sound from electronic, acoustic and documentary source, taking ethnic field recordings (from Africa, Indonesia, Asia, India) as their thematic centre. “Water Messages” finds place In the realm of Eno-Byrne “My Life in the Bush of Ghosts” but far more accomplished and developed. A rich moving and still very stimulating work and an essential purchase for anyone interested in adventurous modern art informed by ethnic music and sound explorations. In two words: Highly Recommended!

File Under: Experimental, Ambient
Listen Here

…..new arrivals…..

czarfaceCzarface & MF Doom: Czarface Meets Metal Face (Silver Age) LP
Rising from the wreckage of a war torn planet, Czarface joins forces with MF Doom in the epic Czarface Meets Metal Face! Blending Doom’s trademark abstractions and Czarface’s in-your-face lyrical attack, this album is ripe with cartoon violence, societal observations and pop culture musings. Over banging beats provided by The Czar-Keys, the armored team give you the witty unpredictable treats any hip-hop fan can sink their fangs into. Expect beats, rhymes, and metal as Czarface controlled by Wu-Tang Clan powerhouse Inspectah Deck and 7L & Esoteric team up with everyone’s favorite villain, MF Doom. With track titles like “Nautical Depth”,”Meddle With Metal”, “Astral Traveling” to “Madness of Badness” this album packs a punch with 16 brand new tracks. Add that with features from Open Mike Eagle and Jedi Mind Tricks’ Vinnie Paz, we promise you mind-bending metaphors and brain-melting beats as this powerful pairing sounds off in March 2018!

File Under: Hip Hop
Listen Here

dabrye

Dabrye: One/Three (Ghostly) LP
Combining the loose swagger of Detroit hip-hop (Slum Village) and the minimal glitch ethos of modern hybrid IDM (Chocolate Industries, Schematic), 2001’s One/Three is a concise, albeit bizarre study in abstract beatscapes. Under his Dabrye alias, Tadd Mullinix couples his oddball sense of humor with his love for the hip-hop instrumental, grinding out compelling cut-up beats that are as strangely listenable as some of the skittering R&B symphonies heard on pop radio lately. The first LP in a trilogy of the Dabrye sound, One/Three diminishes the space between the cerebral and the sexual in this blend of abstract electronics and attempts to tie the immediate past to the way-far future, with more than pleasurable results.

File Under: Hip Hop, Electronic
Listen Here

dabrye23

Dabrye: Two/Three (Ghostly) LP
Tadd Mullinix first made a name for himself as Dabrye in the early 2000s with a pair of instrumental albums combining the rhythmic finesse of Detroit hip-hop with the ingenuity of electronic music. But instrumental beats were only a temporary goal, a way for Mullinix to catch the ears of MCs. On Two/Three, his second Dabrye album for Ghostly, Mullinix brought together a formidable crew of local and national talent to make the statement he’d always intended. Released in 2006, Two/Three offered a fevered vision of rap’s future that remains just as intoxicating a decade on. Ahead of the long-awaited conclusion of Dabrye’s hip-hop trilogy in 2018, Ghostly is reissuing Two/Three. Dabrye’s move towards rap began in 2004 with the album’s first single, “Game Over” featuring Jay Dee and Phat Kat. An early inspiration of Dabrye’s, Jay Dee invited Mullinix to his crib in 2002 for a listening session during which he picked the “Game Over” beat to rap on. Crucially everyone involved was in accord that despite perceptions of their respective work this would be a hardcore rap song. Together with Kat, Jay delivered a one-two lyrical punch on “Game Over” that no one saw coming. Detroit made the world go round and everyone’s head spun. “Game Over” set the tone for the album and, over the next few years, became a Detroit anthem. Moody, propulsive, and above all ambitious, Two/Three emerges from a sonic stew of Detroit and UK dance music, Jamaican sound clashes, and hip-hop sampledelia. The guests, a who’s who of the mid-’00s underground rap scene, engage in a raucous rhyming session that pays as much attention to the realities of the streets as it does world events. MF Doom, Wildchild, Vast Aire, Beans, and AG represent for the various coasts while local talents – Waajeed, Ta-Raach, Invincible, Finale, Kadence, Guilty Simpson, Big Tone, Phat Kat, and Jay Dee – bring Two/Three alive with an infectious energy. In between bursts of raw rap and hard beats, Dabrye showcases detailed instrumentals that evoke bleak industrial futures, underwater meditations, and smoky late night sessions.

 File Under: Hip Hop, Electronic
Listen Here

dabrye33

Dabrye: Three/Three (Ghostly) LP
When Tadd Mullinix began exploring hip-hop under the name Dabrye 20 years ago, he soon honed in on a startling vision of what the genre could be: ingenious, refined, daring. This vision came to life across two albums for Ghostly – 2001’s One/Three and its 2006 follow-up Two/Three – with each record further positioning the Michigan producer as one of his generation’s best, equally comfortable creating minimalist instrumental meditations or sharp rap salvos. In the late 2000s, following critical acclaim and accolades from both peers and inspirations (including the late Jay Dee with whom Mullinix collaborated before his untimely passing), Mullinix put the Dabrye moniker on ice and dedicated himself to other genres and ideas. All the while the influence of his work on a new generation of electronic musicians continued to make itself felt in subtle but meaningful ways. All this changes as Dabrye makes his long-awaited return with Three/Three, a razor-sharp rap album that brings to completion a prophetic trilogy. Mullinix’s incisive productions provide the backdrop for equally acute rhymes that run the gamut from intergenerational observations and being your best self to back alley deals and having fun in the ride. Guests include indie rap legend Doom, whose previous collaboration with Dabrye remains a point of reference for many, Wu Tang storyteller Ghostface Killah, L.A word fanatic Jonwayne, and Long Island’s rugged surrealist Roc Marciano. Most importantly Three/Three is, much like its predecessor, an unfettered celebration of Detroit-area talent with Guilty Simpson, Phat Kat, Kadence, Quelle Chris, Danny Brown, Shigeto, Clear Soul Forces and more all lending their touch to Dabrye’s return. The blend of American and British dance music, hip-hop sampling, and Jamaican sound clash energy that underpinned Two/Three remains a quiet, guiding principle. At the same time Mullinix rejoices in a refreshed perspective, having had time to incubate ideas and find clarity in the distance between albums and the evolution of scenes. The beats are looser and less angular, more embracing of repetition. Organic techniques inspired by soul and jazz round off some of the harsher sonics. The resulting broad palette of tracks reflects both this evolution and the range of the Dabrye persona: relaxed headnod (“Tunnel Vision”); nervous, slow-motion electro (“The Appetite”); glacial motifs (“Emancipated”); jazzy, cut-up funk (“Sunset”); minimal brutalism (“Electrocutor”); intricate layering (“Culture Shuffle”).

 File Under: Hip Hop, Electronic
Listen Here

dabryeinst

Dabrye: Instrmntl (Ghostly) LP
2002’s Instrmntl is a continuation of the beat experiments Tadd Mullinix aka Dabrye began with One/Three and a bridge to the diverse textures that would define Two/Three four years later. About half of its nine tracks (ten if you lived in Japan) were created at the same time as One/Three while the rest were newer or made specifically for the album. Once again Mullinix looked outside of hip-hop to techno, house, and drum & bass for stylistic and technical ideas while embracing the blissful minimalism of a good hip-hop instrumental and the rhythmic nuance of Detroit. Despite the similarities between Dabrye’s debut and this follow up, Mullinix didn’t simply replicate what had made One/Three so arresting. He pushed and pulled further between the two cornerstones of his approach to reveal more potentials. Instrmntl takes you deeper into electronic depths – the rugged synth stutter of “Won,” the tumbling, wobbling bass in “No Child Of God,” the electro get down of “Prospects (Marshall Law)” – while also treading more organic grounds by letting samples breathe and moods unfurl at a gentler pace (“Take Me Home,” “Evelyn” and “You Know The Formula Right?”). And then there are the moments where this push and pull finds balance and the result becomes more, as it does on the mournful march of “D-Town Tabernacle Choir” and the twinkling daydream of “This Is Where I Came In.” At just over 30 minutes, Instrmntl offers a snapshot of a time when potentials seemed infinite, when lines could be drawn between jazz, ragga jungle, techno, and hip-hop and the resulting shape divined an exciting future.

File Under: Hip Hop, Electronic
Listen Here

final tour

Miles Davis & John Coltrane: Final Tour (Columbia) LP
Miles Davis and John Coltrane first collaborated in 1955, when Davis recruited the tenor saxophonist alongside pianist Red Garland, bassist Paul Chambers and drummer Philly Joe Jones. This “first great quintet” debuted on record with ‘Round About Midnight, Miles’ first album for Columbia Records in 1957. These early recordings showcased the stunning contrasts between Miles’ spacious, melodic lines and Trane’s cascading high-energy solos, famously described by the critic Ira Gilter in 1958 as “sheets of sound.” While the quintet disbanded shortly after the release of ‘Round About Midnight, Coltrane was back in Miles’ ensemble in early 1958. A year later, the Miles Davis Sextet (Davis, Coltrane, Chambers, saxophonist Julian “Cannonball” Adderley, pianist Bill Evans and drummer Jimmy Cobb) recorded the historic Kind Of Blue, the best-selling jazz album of all time. That same year, Coltrane built upon the modal jazz ideas of Kind Of Blue (based on scales or “modes” instead of chords) on his fifth studio album Giant Steps, released by Atlantic Records in 1960. Giant Steps established Coltrane as one of the most innovative bandleaders of the genre, and it became clear that his rising star would take him in a different direction than Davis. Even so, Miles could not immediately find a suitable replacement for a Jazz At The Philharmonic tour of Europe organized by jazz impresario Norman Granz, and persuaded his bandmate to join him one last time. It was Trane’s first trip to the continent, and his intense, exploratory playing often baffled audiences (who responded vocally). Nonetheless, these early performances from that European tour – Miles and Trane’s last outing together before Coltrane passed away in 1967 – showcased both musicians’ incredible influence on the changing sound of jazz. The beautiful music they made together at Copenhagen’s Tivolis Koncertsal on March 24, 1960 is presented here for the first time from the original ¼” analog tapes recorded by national broadcasters in Sweden.

File Under: Jazz
Listen Here

decemberists

Decemberists: I’ll Be Your Girl (Capitol) LP
The Decemberists explore a new sound with a new producer on their inspired eighth studio album I’ll Be Your Girl. The acclaimed Portland, Oregon-based band worked with producer John Congleton and embraced influences such as Roxy Music and New Order to spark a new creative path as evidenced on synth-driven lead single “Severed.” “The songs tend to the darker, more absurdist side of things and feature a lot of nice vintage synth work by Jenny and Chris, some heavy drumming from Mr. Moen and, of course, the sort of baroque bass work you’ve come to expect from Nate Query. All in all, everyone acquitted themselves quite nicely,” explains the band.

File Under: Indie Rock
Listen Here

woods

Dungen & Woods: Myths 003 (Mexican Summer) LP
For the third Marfa Myths release, we’re proud to present seven all-new songs written and recorded by Stockholm’s psychedelic masters Dungen and adventurous Brooklyn indie-folk pioneers Woods. In the case of Dungen and Woods, the two bands were tour mates in the summer of 2009, traversing America and bonding with one another in the process. The familiarity with one another’s music and personalities was already well in place, but the eight years that passed between the tour and the making of this record reveal that nothing was lost in the interim. That this is the most music assembled for a Marfa Myths release to date is telling of a rare and special connection between Dungen and Woods, reignited by the circumstances of the occasion. Myths 003 showcases a seamless merging of two bands following the same track to different locations throughout their career, as if they’d been playing together for decades, an exhilarating and buoyant example of how shared experiences can foster truly wonderful music.

File Under: Indie Rock
Listen Here

green druid

Green Druid: Ashen Blood (Earache) LP
Brooding. Atmospheric. Isolationist. With weighty riffs summoning the Lovecraftian horrors of the cosmos, Green Druid’s music entrances listeners with tales of the Old Blood and of dismal worlds too soon forgotten. Hailing from the land of Denver, Colorado – the first US city to legalize marijuana, Green Druid worships at the feet of the monolithic amplifier, and performs holy communion with the tremorous onslaught of murky tones that emanate from its maw. Ordained at the allowed altars of Sleep, Electric Wizard and all things THC, Green Druid’s full length debut album, Ashen Blood, descends upon the ears of the worthy in early 2018.

File Under: Stoner, Metal
Listen Here

hendrixJimi Hendrix: Both Sides of the Sky (Reprise) LP
Jimi Hendrix’s Both Sides of the Sky is the third volume in a trilogy of albums intended to present the best and most significant unissued studio recordings remaining in the music legend’s archive beginning with Valleys of Neptune (2010) and followed by People, Hell and Angels (2013). This dynamic third release completes the spectacular recording event in epic fashion with 13 studio recordings made between January 1968 and February 1970, 10 of which have never before been released. Hendrix’s desire to push the boundaries of blues music can be heard throughout and Both Sides of the Sky additionally highlights his mastery of studio production and increasing use of these facilities as a proving ground for new sounds, material, and techniques. Pressed at QRP, this 180g 2LP set sounds amazing on vinyl. Many of the album’s tracks were recorded by the trio that would come to be known as Band of Gypsys: Jimi on guitar/vocals, Billy Cox on bass, and Buddy Miles on drums. For their first-ever recording session on April 22, 1969, Hendrix turned to their shared musical root, delta blues. Their previously unreleased, uptempo reworking of Muddy Waters’ “Mannish Boy” opens the album and sets the tempo for what follows. “Lover Man” was a favored Hendrix original and the guitarist was determined to realize a finished master. Previous attempts by the original Experience had yet to yield this for Hendrix but this December 1969 effort by the Band Of Gypsys – complete with its homage to the popular Batman theme song – was his strongest effort to date. “Hear My Train A Comin'” features drummer Mitch Mitchell and bassist Noel Redding from the original Jimi Hendrix Experience. This original blues composition had become a staple of Hendrix’s concerts. This previously unreleased April 1969 recording captured the furious power and dynamic tension that made the song so memorable. Previously unheard recordings of “Stepping Stone,” “Jungle,” “Cherokee Mist” (which features Hendrix on both electric guitar and sitar) as well as the January 1968 recording of “Sweet Angel” provide further highlights. Both Sides of the Sky also features an assortment of notable guest musicians. Stephen Stills befriended Hendrix at the June 1967 Monterey Pop Festival. In September of 1969 Stills was invited to a Hendrix session at the Record Plant in New York. Stills burst into the session with a song Joni Mitchell had recently composed, titled “Woodstock.” Joined by Hendrix and Buddy Miles, the trio recorded this version first – months before Crosby, Stills, Nash & Young released their popular rendition of Mitchell’s song. Stills would also contribute “$20 Fine,” an original song that featured Hendrix on multiple guitars, Mitchell on drums, Stills on organ and lead vocals and Duane Hitchings (Buddy Miles Express) on piano. Another of the album’s unique band creations sees Hendrix and Johnny Winter on guitar, backed by Billy Cox and drummer Dallas Taylor of Crosby, Stills, Nash & Young. An excerpt of their rendition of Guitar Slim’s “Things I Used To Do” was initially heard as part of a 1990 nationally syndicated radio program and accompanying box set, but here it is presented in full, newly mixed by Eddie Kramer for Both Sides of The Sky. On “Georgia Blues,” Jimi is reunited with his old bandmate Lonnie Youngblood (vocals/sax) from his pre-fame days in Curtis Knight & The Squires. Briefly issued as part of the 2008 Martin Scorsese Presents the Blues series but out of print for nearly a decade, this special recording is once more available to Hendrix fans throughout the world on all audio formats. Both Sides of the Sky was produced by Janie Hendrix, John McDermott, and Eddie Kramer. Kramer served as recording engineer on every Jimi Hendrix album made during the artist’s life. In order to preserve the integrity and continuity of the Hendrix legacy, this same team has produced every Jimi Hendrix audio and visual release since 1996.

File Under: Rock
Listen Here

mobyMoby: Everything Was Beautiful, and Nothing Hurt (Arts & Crafts) LP
Everything Was Beautiful, and Nothing Hurt is a glowing tapestry exploring spirituality, individuality and the brokenness of humanity and finds Moby returning to his orchestral, soul, trip-hop and gospel roots. Featuring LA-based soulstress Raquel Rodriguez, lead single “Like a Motherless Child” is a re-work of the well-known spiritual with origins in the slavery of the American South. The track describes the void left when one feels separated from a parent, higher power or similar guiding force. Over the years this powerful song has been reinterpreted by the likes of Odetta, Lena Horne, Mahalia Jackson and Van Morrison. Moby also curated a playlist of artists that influenced the recording of his fifteenth studio album which includes Baby Huey, Marianne Faithfull, Grace Jones, Soul Makossa, Mulatu Astatke, Liquid Liquid, Fresh Four, Sly And Robbie, Simple Minds, James Brown, Talking Heads and Gil Scott-Heron.

File Under: Electronic, Pop, Trip Hop
Listen Here

monstermagnetMonster Magnet: Mindfuck (Napalm) LP
Monster Magnet put the pedal to the metal with Mindfucker, their tenth studio effort which mastermind Dave Wyndorf stated is “full-ahead Detroit-style, early 70s, MC5 and Stooges type of rock.” In terms of power driven stoner rock these gentlemen from New Jersey belong to the measure of all things. But Mindfucker is different, a step forward and a step back at the same time to the almighty roots of beat music. Wyndorf seeks and finds timeless songs here, kindled by the unpretentious protopunk era and manipulates his guitar with rich virility and the drive of his shifty soul throughout. Pumping and scratching at every turn, all things are in constant motion with a sound of groovy straightforwardness, always heading for the essence of the song. Up tempo, savage in both sound and spirit, Mindfucker is the real deal. The album has the potential to surprise and to whip up the love for the genre, while still giving the sludgies and stoner freaks exactly what they wish for in a new Monster Magnet album.

File Under: Stoner Rock, Psych
Listen Here

last jediOST: Star Wars: The Last Jedi (Disney) LP
In Star Wars: The Last Jedi, the Skywalker saga continues as the heroes of The Force Awakens join the galactic legends in an epic adventure that unlocks age-old mysteries of the Force and shocking revelations of the past. After creating the scores for the seven previous Star Wars films, five-time Academy Award-winner John Williams returned to compose and conduct his signature sweeping music for The Last Jedi. As with Star Wars: The Force Awakens, audiences can expect to hear quotations from earlier Star Wars themes. For Williams, incorporating the previous themes is part of the fun of scoring the Star Wars movies and helps create what he calls “the fabric of the films.” Many of the characters also have their own musical themes. Williams explains, “Rey has a theme, Kylo Ren has a theme, Finn has one, Rose has one…These thematic elements infuse the whole score and are part of what moves the film along, giving its sonic outline. In the Star Wars films, the orchestra can be as extrovert as it wants to be at given times, so it really becomes a big part of the fun and imagination of it all.”

File Under: OST
Listen Here

preoccupationsPreoccupations: New Material (Flemish Eye) LP
Preoccupations’ songs have always worked through themes of creation, destruction, and futility, and they’ve always done it with singular post-punk grit. The textures are evocative and razor-sharp. The wire is always a live one. But while that darker side may have been well-explored, that’s not quite the same as it being fully, intensely lived. This time it was, and the result is New Material, a collection that broadens and deepens Preoccupations to a true mastery of their sound. In it lies the difference between witnessing a car crash and crashing your own, between jumping into an ocean and starting to swallow the water. “It’s an ode to depression,’ singer Matt Flegel says plainly. “To depression and self-sabotage, and looking inward at yourself with extreme hatred.” Typically resilient, the months leading up to recording New Material brought a new order of magnitude to feelings that had been creeping up on Flegel for some time. New Material builds a world for that feeling, playing through its layers and complexities while hiding almost nothing. That inscrutable side is part of the magic, here, and a necessary counterweight to the straight-jab clarity of Flegel’s lyrics. You can deep-dive the lyrics or zone into a riff; you can face it or you can get lost in it. Opener “Espionage” kicks off with a clattering, rhythmic echo that gives way to sprinting percussion and a melody in the orbit of Manchester’s classics. “Manipulation” explores the futility of going through the motions, balancing a droney, minimal march with a thunder roll that brings it to the brink, and to the doomed romantic declaration, “please don’t remember me like I’ll always remember you.” “Dissaray” bursts up like a blackened confetti cannon, the song’s undeniably bright melody dancing over a refrain of “disarray, disarray, disarray” and literally nothing else. The hunt turns into a search-and-destroy mission on “Decompose,” a tense, speedy, “blow yourself up and start again” type of song. If the through-line unifying Preoccupations’ work is a furious, almost punishing cyclical quality, New Material does offer some relief. Closer “Compliance” may not seem revelatory on first listen, but it is deeply elemental, a crucial finale and the band’s first standalone instrumental. Flegel acknowledges it is more affecting to him than any other song on the record. It’s not redemption, more like a forced reprieve.

File Under: Indie Rock
Listen Here

rosenstockJeff Rosenstock: Post- (Polyvinyl) LP
Jeff Rosenstock wrote POST- in a double-wide trailer in the Catskill Mountain town of East Durham, the snow-covered hills surrounding him like a landscape of blank pages. The serene, empty space was a big change of scenery for a guy who bounces around the world like a human comet, playing super-catchy, super-devastating shout-alongs to dedicated fans around the world. Written in the days after the 2017 Presidential inauguration, POST-‘s lyrics get (really) heavy but the melodies are so catchy and the builds are so big and bright that the end result is more of a rallying cry than a surrender. The album was recorded in a one-week, 86-hour marathon recording session with Jack Shirley (Joyce Manor, Deafheaven) at the Atomic Garden in East Palo Alto, CA. “The four of us stood in a room without headphones on and just played the songs live to tape, and after that we had some friends (Dan Potthast, Laura Stevenson, Chris Farren, PUP) fill out some of the sound,” explains Rosenstock. So, if the record feels even more unifying than usual, like a party that turns into a sleepover that turns into egg-n-cheese sandwiches on the beach that turns into a protest march that unites a gang of buddies for eternity, well, maybe that’s why. “POST- is a confirmation of Rosenstock as one of punk rock’s greatest, most effusive living songwriters.” – Pitchfork

File Under: Punk
Listen Here

suunsSuuns: Felt (Secret City) LP/DLX LP
There are those in our ranks who are touting this new triumphant collection from Montreal’s art-rock heroes Suuns as the most outright grooved record they’ve made. But hold it right there. Not so fast. Suuns have always had that deep groove on fucking lock, albeit oft-slithering within an austere and/or sneering veneer. Consider, if you will, how Kraftwerk had far more funk flowing through their wires and cables than most of we flesh bodies. Same goes for the necromancers of Suuns. And their world class drummer Liam O’Neill has heroically accepted the challenge of playing in and around programmed beats like a diabolical, sentient metronome. O’Neill’s kit is a bit more out front than it’s been in a hot minute and he’s as patient and ferocious as ever. Meanwhile, Singer/guitarist Ben Shemie’s sourmilk deliver is as frightening and enchanting as ever, but now coming from some deep area that feels like a human heart. And as alluded to by its title and neon-warm album art, Suuns’ Felt is gonna make you feel things. You’re gonna learn something about your body listening to cuts like on DJ Shadow-leaning, head-bobber “Look No Further” or “Make It Real,” which could be a radio signal of a lost Silver Apples cut – that is, before it becomes a doomsday siren breakup song. These four gentlemen could be making beats for 21 Savage or Migos. But for now, lucky for you, they’re ruthlessly set on being one of the planet’s finest, bravest bands.

File Under: Indie Rock
Listen Here

umilianiPiero Umiliani: Africa/Continente Nero (Dagored) LP
Dagored presents a double LP bundle of two first official Piero Umiliani reissues. Africa from Piero Umiliani’s M. Zalla moniker, originally released in 1972, and Continente Nero, released under Umiliani’s own name in 1975. The double LP bundle contains inserts with liner notes for each release; Edition of 500. From the liner notes for Africa, curated by Stefano Gilardino: “. . . Keep in mind the release year, January 1972, before approaching the matter covered in this precious jewel: the black rhythm of the incredible ‘Africa To-Day’, the ‘fourth world’ Jon Hassell-style of ‘Green Dawn’, the ‘exotic’ touch à la Martin Denny (‘Lonely Village’, ‘Echos’), the ‘Sortilège”s reference to the electronic new wave (really!), the folk influence (‘Rite’, ‘Folk-Tune’). With many years in advance, Umiliani synthesizes in Africa sounds and styles that will make then the fortune of well-celebrated and famous artists. . . .” From the liner notes for Continente Nero, curated by Luca Collepiccolo: “. . . The African continent rebuilt in ‘microsolchi’ by maestro Umiliani in 1975 is therefore a projection, an image that is influenced strongly by the affairs of overseas colleagues. All those artists from Duke Ellington to the Art Ensemble of Chicago, through Max Roach, who have been fundamental in the genesis of African-American culture . . . Over 40 years since its conception, it is a remarkable, pioneering work, a place of hypotheses and happy intuitions. . . .”

File Under: Library
Listen Here

jackwhiteJack White: Boarding House Reach (Thirdman) LP
Boarding House Reach is the eagerly anticipated new album from Jack White, the 12x Grammy Award-winner’s third solo LP and first all-new album in nearly four years. The record sees White expanding his musical palate with perhaps his most ambitious work thus far, a collection of songs that are simultaneously timeless and modern. Written and conceived while holed up in a spartan apartment with no outside distractions, Jack replicated the identical environment and used the same gear as when he was a 15 year old (a quarter-inch four-track tape recorder, a simple mixer, and the most basic of instrumentation) to pen sketches of the songs. The album explores a remarkable range of sonic terrain – crunching rock ‘n’ roll, electro and hard funk, proto punk, hip hop, gospel blues, and even country – all remapped and born anew to fit White’s matchless vision and sense of restless experimentation. Boarding House Reach is a testament to the breadth of White’s creative power and his bold artistic ambition. The 13-track set features White on vocals, acoustic and electric guitars and drums, organ, and synthesizers. He’s backed by a remarkable new lineup of musicians that includes: drummer Louis Cato (Beyoncé, Q-Tip, John Legend, Mariah Carey), bassists Charlotte Kemp Muhl (The Ghost of a Saber Tooth Tiger) and NeonPhoenix (Kanye West, Lil Wayne, Jay-Z), synthesizer players DJ Harrison and Anthony “Brew” Brewster (Fishbone, The Untouchables), keyboardists Neal Evans (Soulive, Talib Kweli, John Scofield) and Quincy McCrary (Unknown Mortal Orchestra, Pitbull), percussionists Bobby Allende (David Byrne, Marc Anthony) and Justin Porée (Ozomatli), and backing vocalists Esther Rose and Ann & Regina McCrary of Nashville’s beloved gospel trio, The McCrary Sisters, as well as longtime collaborators like drummers Daru Jones (Nas, Talib Kweli) and Carla Azar (Autolux, Depeche Mode, Doyle Bramhall II). Singer-songwriter C.W. Stoneking also appears, contributing a stirring spoken word performance to the album’s “Abulia and Akrasia.” Boarding House Reach is ushered in by the rapidly acclaimed new single, “Connected By Love,” b/w “Respect Commander,” and was produced by Jack White and recorded at Third Man Studio in Nashville, TN, Sear Sound in New York, NY, and Capitol Studios in Los Angeles, CA; the album was mixed by Bill Skibbe, Joshua V. Smith, and White at Third Man Studio in Nashville, TN.

File Under: Rock
Listen Here

saruVarious: Eccentric Soul: The Saru Label (Numero) LP
The 20th volume of Numero Group’s flagship Eccentric Soul series has all the boxes checked: Gun-toting, skip-tracing record producers, child stars, rip-offs, the “World’s Greatest Bail Bondsman,” swindles, soaring falsettos, and a dwindling rust-belt cityscape offering mere glimpses of hope before the record industry escaped for the coasts. Helmed by the O’Jays Bobby Massey, Saru was a creative vortex that pulled Cuyahoga County’s greatest talent in, making a strong case for Cleveland to contend with Detroit, Philly, and Memphis as America’s soul music capital. Includes obscure and unknown sides from the Out of Sights, the Elements, Pandella Kelly, David Peoples, Sir Stanley, the Ponderosa Twins, the Ba-Roz, Bobby Dukes, and of course, the O’Jays.

File Under: Soul

…..Restocks…..

Boards Of Canada: Geogaddi (Warp) LP
Broadcast: Work And Non-Work (Warp) LP
Can: Monster Movie (Mute) LP
Johnny Cash: With His Hot & Blue Guitar (Wax Love) LP
Felt: The Seventeenth Century (Cherry Red) LP
Flying Lotus: Youre Dead! (Warp) LP
Nils Frahm: Solo (Erased Tapes) LP
Kayranada: 99.9% (Sony) LP
King Gizzard & The Lizard Wizard: Flying Microtonal Banana (ATO) LP
Lamar; Kendrick: Damn (Collector’s Edition) (Aftermath) LP
Lcd Soundsystem: Sound Of Silver (DFA) LP
Massive Attack: Blue Lines (EMI) LP
Massive Attack: Mezzanine (EMI) LP
Meters: Fire On The Bayou (LP
MGMT: Oracular Spectacular (
Os Mutantes: s/t (Lilith) LP
Pink Floyd: A Collection of
Visible Cloaks: Reassemblage (RVNG Intl.) LP
Marlon Williams: Make Way for Love (Dead Oceans) LP
Townes Van Zandt: s/t (Fat Possum) LP

Tagged , , , , , , ,

…..new letters #820 – AnniversaRSD…..

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

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

….picks of the week…..

IMG_20171123_180627

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

Rega RP1s are $399 (reg. $449)

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

rega

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

…..Record Store Day Releases…..

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

Late but on the way… maybe tomorrow…

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

Tagged , , , , , , ,

…..new letters #819 – thuuuursday…..

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

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

…..pick of the week…..

roach

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

File Under: Ambient, Electronic
Listen Here

…..new arrivals…..

askew

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

File Under: Folk
Listen Here

hex

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

File Under: Post Rock
Listen Here

bird

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

File Under: Indie Rock
Listen Here

bajas

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

 File Under: Electronic
Listen Here

body

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

File Under: Metal
Listen Here

escapeism

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

File Under: Indie Rock, Experimental
Listen Here

feathers

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

File Under: Rockabilly
Listen Here

four tet

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

File Under: Electronic
Listen Here

frightnrs

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

File Under: Dub, Reggae
Listen Here

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

File Under: Soul
Listen Here

nin

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

File Under: Electronic, Rock
Listen Here

waits

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

File Under: Rock
Listen Here

dancehall

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

File Under: Reggae, Dancehall
Listen Here

mirwood

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

File Under: Soul, Northern Soul
Listen Here

blackmans

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

File Under: Reggae

…..Restocks…..

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

Tagged , , , , , , , ,

…..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…..

function.jpg

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

moondog.jpg

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

psychic.jpg

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

nuggets.jpg

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

Tagged , , , , , , , ,

…..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…..

418457903917

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

…..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

Tagged , , , , , , ,

…..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
Listen Here

…..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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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
Listen Here

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

Tagged , , , , , , ,
Advertisements