Tag Archives: records

…..news letter #851 – 6…..

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

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

…..pick of the week…..

rega

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

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

behemoth

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

File Under: Metal
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bombino

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

File Under: Tuareg, Desert Blues
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fatherjohnmisty-gods_1800x

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

 File Under: Indie Rock
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joan of arc

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

File Under: Indie Rock
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megadeth

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

File Under: Metal
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phair

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

File Under: Indie Rock
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whip smart

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

File Under: Indie Rock
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whitechocolate

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

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

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

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

File Under: Rock
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uniform

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

File Under: Metal
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…..Restocks…..

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

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…..news letter #850 – wah…..

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

…..picks of the week…..

che

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

File Under: Chamber Pop, Psych, Japan
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cups

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

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

agitation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

File Under: Country
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basil

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

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

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

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

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

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

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

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

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

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

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

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

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

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

File Under: Reading

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

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

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

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

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

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

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

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

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

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

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

File Under: Blues, Gospel

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

…..news letter #849 – shop…..

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If you ever visit our actual webpage to read this list, you might notice a new button on the menu bar. We’ve added a webshop. Now those of you not located in Edmonton, or those wondering if we’ve still got copies of the International Harvester box set in stock or maybe a Planar 6, can just hop on to our site and check. We won’t likely have EVERYTHING on there but who knows. For now we are focusing on the things you can’t walk into your local drug store to buy other big releases will also wind up on there too as we move forward. It’s still a work in progress and we are slaving away to add inventory to the site, but it’s slowly coming together and we thought, it might be easier to share it with everyone and get feedback as we go. You can also place pre-orders for some upcoming releases or put things on hold for pick up in store. We hope you enjoy!

File Under: Web, Shop

…..new arrivals…..

coleman

Ornette Coleman: The Atlantic Years (Rhino) 10 LP Box
Ornette Coleman recorded one of the greatest bodies of work in jazz during a 22-month-long burst of creativity. Between 1959 and 1961, the saxophonist/composer released six studio albums on Atlantic Records that helped usher in the avant-garde, free jazz movement. Those albums, along with more than two hours of session outtakes, are featured together in the ten LP box set The Atlantic Years, all with newly remastered audio by John Webber at AIR Studios. Several of these titles are long out-of-print on vinyl. The Ornette Coleman Legacy, featuring six songs originally released for the first time in 1993 as part of the CD box set Beauty Is A Rare Thing, makes its vinyl debut. The albums featured in the set are: The Shape Of Jazz To Come (1959), Change Of The Century (1959), This Is Our Music (1960), Free Jazz: A Collective Improvisation (1960), Ornette! (1961), Ornette On Tenor (1961), The Art Of Improvisers (1970), Twins (1971), To Whom Who Keeps A Record (1975), and The Ornette Coleman Legacy (1993). The ten LPs are pressed on 180g vinyl and presented in replica European-style 1960s jackets in a side-loading slipcase. A 12 x 12 booklet with new liner notes written by renowned author-music critic Ben Ratliffand rare pictures taken by legendary jazz photographer Lee Friedlander round out the essential package.

File Under: Jazz
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cityofdaughters

Destroyer: City of Daughters (Merge) LP
Reissue on RED vinyl !! In the hallowed Destroyer discography, the early trinity of City Of Daughters / Thief / Streethawk: A Seduction holds an important place; for not only does it document Dan Bejar’s evolution from lo-fi bedroom tyro to bona fide master of the rock album, it also contains a massive percentage of superlative Destroyer “classics.” 1998’s City of Daughters features some of the first steps out of the demo-tapey experimentation of earlier recordings, with songs like “Comments On The World As Will” refining the sound of that stripped-down earlier work, and the seminal “No Cease Fires” offering us the first taste of just what a full-band Destroyer might conjure. 2000’s Thief naturally went further down that road, and from the opening strums of “The Temple” to the arty quirk of “Queen of Languages” to the gentle, jagged comedown of the title track, it soon became clear that Dan Bejar was master of a singular songcraft– and one that was only just getting started.

File Under: Indie Rock
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thief

Destroyer: Thief (Merge) LP
Reissue on Orange vinyl !! In the hallowed Destroyer discography, the early trinity of City Of Daughters / Thief / Streethawk: A Seduction holds an important place; for not only does it document Dan Bejar’s evolution from lo-fi bedroom tyro to bona fide master of the rock album, it also contains a massive percentage of superlative Destroyer “classics.” 1998’s City of Daughters features some of the first steps out of the demo-tapey experimentation of earlier recordings, with songs like “Comments On The World As Will” refining the sound of that stripped-down earlier work, and the seminal “No Cease Fires” offering us the first taste of just what a full-band Destroyer might conjure. 2000’s Thief naturally went further down that road, and from the opening strums of “The Temple” to the arty quirk of “Queen of Languages” to the gentle, jagged comedown of the title track, it soon became clear that Dan Bejar was master of a singular songcraft– and one that was only just getting started.

File Under: Indie Rock
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doiron

Julie Doiron: Desormais + Heart & Crime (Jagjaguwar) LP
Julie Doiron’s stunning album Désormais, originally released via Jagjaguwar in 2001, marked a departure from the Canadian artist’s grunge pop releases in the ’90s. Like its title might suggest, the intimate record is sung almost entirely in French. Across its 10 tracks, Doiron builds a disarming and warm atmosphere – through minimally-composed fingerpicking, her soft voice steers a wounded sound. Even for the English-speaking listener, the cohesion of the LP’s subdued, immersive atmosphere looms. Heart and Crime, released in 2002, traverses much of the same territory. It’s a companion to its predecessor, similarly vulnerable and scarce compositionally, save for flickers of brass or a piano line flitting in or out. Again, its weight comes from its somber simplicity, in Doiron’s wistful voice and lyricism. Désormais and Heart and Crime serve as visceral time capsules for Doiron’s own personal history. It’s fitting, then that the records are also distinct placeholders within the Jagjaguwar canon. Désormais and Heart and Crime came at a time just as the label began to widen its scope. Doiron’s work was amongst the first in a new era of Jagjaguwar artists that expanded the label’s roster and aesthetic, ushering in new and diverse definitions of their early dedication to emotional dissonance. Désormais was limited to CD and the Heart and Crime vinyl has long since been out of print. This 2LP reissue replicates each album’s original art and has been specially designed to create the illusion of two front covers.

File Under: Indie Rock
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enigk

Jeremy Enigk: Return of the Frog Queen (Sub Pop) LP
Jeremy Enigk performed with legendary indie rock band Sunny Day Real Estate from 1993 to 2000. In 1996, following the band’s first breakup (which lasted from 1995 to 1997), Enigk released his first solo album, Return of the Frog Queen. Representing a major shift in sound, it features backing from a 21-piece orchestra as he performs striking, dramatic, chamber-pop compositions that demonstrate the full breadth of his talents as a singer, musician, and songwriter. The album was produced by Greg Williamson, who also produced Sunny Day Real Estate’s 1998 comeback album, How it Feels to Be Something On. Return of the Frog Queen has been out of print since its original 1996 pressing. This reissue includes the original album, remastered in 2018, plus digital bonus tracks from Enigk’s 1996 live session on Seattle radio station The End.

File Under: Indie Rock
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feelalright

Feel Alright: In Bad Faith (Pleasance) LP
Calgary-based garage rockers Feel Alright release their latest LP In Bad Faith. The album marks the full-length follow-up to 2011’s hilariously titled Hahahahahaha, though the group also released the “Oahu Ohio” 7-inch in 2012. In Bad Faith was recorded at frontman Craig Fahner’s home studio with fellow musicians Brady Kirchner and Matthew Learoyd, then mixed by Pat Kearns at his Mojave Desert cabin. Some of the songs were edited and adjusted over the course of months, while others were written and laid to tape unexpectedly quickly. “When I started Feel Alright, I was living in the US and I started writing and recording music as a means of conjuring an idealized sense of home from a distance,” Fahner tells Exclaim! “In Bad Faith feels very much like a negotiation of what it’s like to actually be in that home — seeing it as a container of warmth, comfort, conflict, turbulence, love, death, food, sleep… The songs run the gamut between nostalgic power pop love songs to darker ballads reflecting on what it’s like to go home again, when you know you can’t go home again.”

 File Under: Indie Rock
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kassin

Kassin: Relax (Luakabop) LP
A not-so funny thing happens when you get divorced: your friends ask for advice on how to deal with their own relationship struggles. Maybe that’s why Alexandre Kassin’s new album, Relax, has two songs about this incredible heartbreak. First there’s “A Paisagem Morta,” a dark bossa nova tune about those initial moments once the breakup is final, when you begin to rediscover yourself. “The lyrics are about trying to keep things happening,” says Kassin, a leading producer and instrumentalist in Brazilian music. Then there’s “As Coisa Que Nos Nao Fizemo,” a mid-tempo song about divorce. Here, above twinkling chimes and stilted drums, Kassin keeps the vibe loose, reflecting upon the ways he and his former partner failed each other. In a way, these songs are therapeutic; Kassin himself went through a very bad divorce. “It’s just now getting better,” he says. Relax isn’t all gloom and doom, though. Across 11 tracks, Kassin flirts with Latin rhythms, Brazilian pop, and straight-ahead soul, using this varied sonic array to tell imagined tales of death, drug usage, politics and fate. On the deeply personal “Momento De Clareza,” Kassin sings of his sixth sense. In 1996, he and his band were slated to fly on the TAM Transportes Aéreos Regionais Flight 402, which struck two buildings and several houses and killed all 95 people on board. Kassin was finishing an assignment and had the foresight to leave sooner than expected, eluding the ill-fated flight by a day. The contrast here is intriguing: the arrangement itself feels bright and danceable, yet the theme is incredibly sullen. Such is the dichotomy of Relax, a record that speaks directly to the yin and yang of everyday life, and the uncertainty that comes with simply existing. Despite their upbeat, pop-centric arrangements, Kassin tackles heavy, thought-provoking themes. “Estricnina,” or Strychnine in English, is a self-described “strange tale.” “It’s a person propositioning another to take Strychnine,” Kassin says. “It’s an experimental samba with dark lyrics and happy sounds.” Similar in theme, “Comprimidos Demais” is about a couple that uses pills to control their mood; “O Anestesista,” Kassin says, is the most politically charged song on Relax. “In this climate,” he continues, “we wish we had a personal anesthetist to help you forget about what’s going on.” In the end, Relax isn’t Kassin’s most conceptual release. This one’s rooted in dreams and surrealism, but it’s still grounded enough to reach listeners where they are. “I wanted to make something with different arrangements and different aesthetics,” Kassin concludes. “I wanted to explore a different, diverse world.”

File Under: Electronic, Brazil, Bossanova
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lattimore

Mary Lattimore: Hundreds of Days (Ghostly) LP
Memories – places, vacancies, allusions – are fundamental characters in Mary Lattimore’s evocative craft. The Los Angeles-based harpist recorded her breakout 2016 album, At The Dam, during stops along a road trip across America, letting the serene landscapes of Joshua Tree and Marfa, TX color her compositions. In 2018, from a restorative station – a redwood barn, nestled in the hills above San Francisco’s Golden Gate Bridge – emanates Hundreds of Days, her second full-length LP with Ghostly International. The record sojourns between silences and speech, between microcosmic daily scenes and macrocosmic universal understandings, between being alien in promising new places and feeling torn from old native havens. It’s an expansive new chapter in Lattimore’s story, and an expression of mystified gratitude. A study in how ordinary components helix together to create an extraordinary world.

File Under: Classical, Harp
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paepe

Bart De Paepe: Pagus Wasiae (Beyond Beyond is Beyond) LP
For over 10 years, Bart De Paepe has sated the appetites of psychedelic searchers with his label Sloow Tapes. A peerless curator, De Paepe has unleashed crucial underground transmissions ranging from paint-peeling Japanese rock to bedroom American Primitivism in microscopic editions. Those fortunate enough to have heard five or six of Sloow Tapes’ releases may be prepared for what “Pagus Wasiae”- De Paepe’s latest solo offering – has in store. The Stekene, Belgium-based artist’s Beyond Beyond Is Beyond debut, “Pagus Wasiae” trades in lysergic texture. Like Tangerine Dream’s early work, “Pagus Wasiae” casts off a ragged rock shore into a bubbling sea of electronics and navigates by dark starlight, leaving in its wake shadows and smoke. De Paepe charges waves of synth ambience, swirls clouds of electric guitar and summons subtle beats of the earth to make “Pagus Wasiae” a fully enveloping and dynamic listening experience-astral traveling without moving. Cluster, Taj Mahal Travellers, and Pink Floyd’s deepest space excursions may be waypoints to “Pagus Wasiae”, but ultimately the destination is the journey and Bart De Paepe has drawn a new map and laid it to tape for us to discover. – Jeff Conklin (WFMU)

File Under: Experimental, Kosmische, Psych
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pedro

Pedro the Lion: It’s Hard to Find a Friend (Jade Tree) LP
It’s Hard to Find a Friend is the debut full-length effort by Pedro the Lion; a solid indie rock album with plenty of lyrical talent to spare. Upon its release in 1998, the record was an instant hit, propelling singer/songwriter David Bazan into the consciousness of newfound fans around the globe and topping many critics’ lists, making it a must for any Pedro The Lion fan. 2018 is the 20th anniversary of the original release of the album and its been remastered for this new vinyl reissue from Epitaph Records. In early 2006, Bazan retired the Pedro The Lion moniker to continue on with solo work under his own name. In December of 2017 Bazan announced that Pedro The Lion will reunite after eleven years for a new album and a worldwide tour.

File Under: Indie Rock
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quiet slang

Quiet Slang (Beach Slang): Everything Matters But No One is Listening (Polyvinyl) LP
There’s something almost cheeky about the title of James Alex’s new project: Quiet Slang. As the name implies, Alex is embracing minimalism, smothering the fuzz in favor of a cello, a piano, and his voice. In October 2017, Quiet Slang released We Were Babies & We Were Dirtbags, an EP comprised of two Beach Slang songs and two covers from The Replacements and Big Star. Consider it an introduction to what Alex calls “chamber pop for outsiders,” because it simply serves as prelude to Everything Matters But No One Is Listening, a collection of 10 Beach Slang covers. The project’s seeds were planted just six months after Beach Slang’s formation, when Alex was asked to a solo Tiny Desk Concert for NPR. “That was just me, my guitar and a clumsy excuse for charm. But, yeah, the response was beautifully unexpected and really nudged my thinking,” he says. “Even now, at almost every show we play somebody’s like, ‘I got turned onto your band from that NPR thing. You should make a record like that.'” A successful solo tour solidified the idea in Alex’s mind, but he says he wasn’t content to make a “campfire record,” elaborating that he “wanted it to have more weight than that.” Alex linked up with longtime co-producer Dave Downham for the project, who worked with him in bringing on cellist Dan Delaney and pianist Keith Giosa. Rounding out the crew were Stacey Downham, Matt Weber, Charlie Lowe and New Jersey quartet The Warhawks, who lent their voices to evoke what Alex describes as a “back alley choir.” The songs that spoke first and foremost to Alex were songs that he feels never quite achieved the vision initially had for them: “Future Mixtape for the Art Kids” and “Warpaint,” both from 2016’s A Loud Bash of Teenage Feelings. “Future Mixtape For the Art Kids” is a rousing document of rebellion on A Loud Bash of Teenage Feelings, but the subdued strings and soft piano of Quiet Slang reveal a love story among outsiders, a midnight connection in dim streets as beautiful as they are cruel. And while the gritted teeth of “Warpaint” remain in its quiet rendition, the empathy coursing through Alex’s call to strength and spirit here conquers his anger. “Warpaint,” and the album itself, closes with the last verse being played in reverse, a choice that helps to further distinguish Beach Slang from Quiet Slang. “I wanted the record to end not with a word, but a feeling,” he says, “even if it’s uneasy or hopeful or whatever. Just some weight of feeling.”

File Under: Indie Rock
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sleep

Sleep: The Sciences (Third Man) LP
If we had more than 2 copies of this on the shelf, it’d be the pick of the week, but thus far, our stock has been real scarce. But if you hurry, there’s a couple here right now. Sleep unleashes their first full-length album of new recordings since 1998 on Third Man Records. Years after the release of Volume One in 1991, Sleep’s Holy Mountain in 1992 and Dopesmoker in 2003, the sonic titans reaffirm their place at the top of the riff pyramid with the brand-new six-track double album masterpiece, The Sciences. Featuring guitarist Matt Pike (High On Fire), bassist/vocalist Al Cisneros (Om) and new drummer Jason Roeder (Neurosis), “This is Dopesmoker Beyond the Thunderdome, a lawless, yet demanding exploration of Sleep’s stock-and-trade, and hopefully just the hazy horizon of riffs to come” (NPR Music).

File Under: Metal, Stoner
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sunnySunny & The Sunliners: Smile Now, Cry Later (Big Crown) LP
When it comes to living legends in the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than vocalist, songwriter and bandleader Sunny Ozuna. Born and raised in San Antonio, where he still resides, Sunny became a star right out of high school in the late ‘50s and hasn’t looked back in the six decades since. Among countless other honors and notable achievements, Sunny was the first Latino artist to appear on Dick Clark’s American Bandstand (in 1963). His classic 45s regularly change hands for hundreds of dollars among collectors around the world, affirming his timeless appeal. Smile Now, Cry Later is a 12-song platter from 1966. As with most Sunny LPs, this is a mix of soulful originals – most notably, “Smile Now, Cry Later” and “Put Me In Jail” – and provocative, wide-ranging covers. Cases in point on the tributes side of this great album include the Sam & Dave shouter “Hold On I’m Comin'”; “Forever,” made famous by both the Marvelettes and Marvin Gaye, and a song that Sunny performs to this day; and the ‘60s Louis Prima crooner special “Just A Gigolo.”

File Under: Funk, Soul
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toralRafael Toral: Sound Mind Sound Body (Drag City) LP
In 1987, Rafael Toral began making his own compositions and solo recordings. Thirty years later, these recordings sound remarkably prescient and perfectly timeless – almost fresher today than when they were first released. Rafael has spent the time since then developing his conceptions, with continued explorations in the many records that have followed. On the 30th anniversary of his start, Drag City is reissuing Sound Mind Sound Body and Wave Field, his first two long out-of-print albums, on vinyl for the first time. Sound Mind Sound Body was partly inspired by exploring some of the working principles of Brian Eno and Robert Fripp, extrapolated by Rafael via a unique signal path leading out of his guitar. He paid notice to the massive impact of discreet gestures, creating slow-moving tones and spacious orchestral resonances, drifting and droning with glacial majesty, hardly recognizable as guitar much of the time. The first of these pieces were recorded in 1987, and in 1994, they were released on Portugal’s AnAnAnA, with material evolved in the years between, producing a remarkable equilibrium over an hour’s listening. Further evidence of the necessity for gradual development exists in subsequent reissues: for the 1998 Moikai reissue, “A E 1” was recorded, and for this edition, “A E R 7 E” was rerecorded and the material for “A E 2” was recorded for the first time ever – all from original processes as noted, and none of which will cause the listener to notice a change in the otherworldly atmosphere.

File Under: Electronic, Ambient
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toral1Rafael Toral: Wave Field (Drag City) LP
In 1987, Rafael Toral began making his own compositions and solo recordings. Thirty years later, these recordings sound remarkably prescient and perfectly timeless – almost fresher today than when they were first released. Rafael has spent the time since then developing his conceptions, with continued explorations in the many records that have followed. On the 30th anniversary of his start, Drag City is reissuing Sound Mind Sound Body and Wave Field, his first two long out-of-print albums, on vinyl for the first time. Wave Field, released in 1995, was a departure from the first album into new composition methods involving the dirty textures of rock guitar, sounding in the open ears of many listeners (like Jim O’Rourke, who issued the disc in the US on Dexter’s Cigar) as a synthesis of disparate elements – a nexus where Alvin Lucier, Sonic Youth, My Bloody Valentine and Eno blend together. Here, the clangorous potential of the guitar was emphasized, giving a metallic edge to the two extended pieces and “radio edit” coda. The jacket paid subtle tribute to My Bloody Valentine, which, along with the radio edit, suggested a harmony between musical directions as wildly disparate as minimalist experimental and rock. Today, such a paradoxical intent is more widely considered as a part of the artist’s purview. This allows the sounds of Wave Field and Sound Mind Sound Body to sit perfectly among the forward-reaching music of today – as it continues to evolve in our ears, moving ever towards the next conception of listening space.

File Under: Electronic, Ambient
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umiliani

Piero Umiliani: Musica Dell’Era Tecnologica (Dagored) LP
Dagored present the first time reissue of Piero Umiliani’s Musica Dell’Era Tecnologica, originally released in 1972. This killer experimental LP recorded by maestro Piero Umiliani in his legendary Soundworkshop Studios in Rome is on every serious electronic/Italian library wantlist. Enter the fourth dimension with Musica Dell’Era Tecnologica! 180 gram vinyl; Edition of 500. “Piero Umiliani has taken things too far with Musica Dell’Era Tecnologica. Way too far. And since he dares to visit innermost heliospheres and microscopic galaxies that are deemed outright crazy to even the most diehard composer of Moog and synth material, he succeeds in his own, very peculiar way …” –ambientexotica.com

File Under:
 OST, Library
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wayfarerWayfarer: World’s Blood (Profound Lore) LP
World’s Blood is black metal of the American West. Wayfarer recorded the album in the Winter of early 2018 at The Thousand Caves in New York under the watchful production of Colin Marston. A reflection of the Rocky Mountains and high plains of their native Colorado, this album tells a story that is uniquely American. Drawing influence as much from the dusty, dark Americana of the “Denver Sound” and the scores of epic Westerns as they do the fury and melody of black metal, the band brings something original to the table with a sound that is at once aggressive and honest. The album paints a hallucinatory picture of the Western frontier, and the haunting presence of the blood in the soil from a culture lost to time. First brought together in 2012, the members of the band aimed to create something original, in order to contribute back to the pantheon of the great and timeless music that shaped them as people. Releasing their debut album Children Of The Iron Age in 2014, which was later picked up by Prosthetic Records, they would tour alongside the likes of Dreadnought, Falls of Rauros, Anicon, Velnias, and Haunter. Their second album Old Souls was released in 2016 and continued the band’s progression to a sound not easily confined by genre tags, more refined and decidedly darker. World’s Blood marks Wayfarer’s debut with Profound Lore Records, as they step into their own in the music underground with their strongest and most fully realized vision to date.

File Under: Metal
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luke winslowLuke Winslow-King: Blue Mesa (Bloodshot) LP
Luke Winslow-King’s’ latest album is an example of craftsmanship at the highest level, radiating a warmth and timeless elegance. Adept at mixing country, blues, R&B, rock ‘n’ roll, and folk influences intuitively and masterfully, Luke shapes a mood from many sources and shepherds it to a unifying place of acceptance and hope. ‘Blue Mesa’ is both stately and approachable, manifestly proficient but deeply personal. Includes a download code.

File Under: Folk, Country, Blues
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woodenshjipsWooden Shjips: V (Thrill Jockey) LP
In tomorrow? Wooden Shjips, long-time leaders of the contemporary psychedelic movement, expand their sound with V. , augmenting their already rich sound with laid back, classic summer songs written by singer/guitarist Ripley Johnson as an antidote to the pervasive anxiety both political and natural. The music is a balm against the noise and negativity. Lead single “Staring At The Sun” is a nearly 8 minute laid back, slowly building narrative, whose lyrics tell of a gentle push and pull between the desire for sun and escape and the tug of anxiety, with peaceful resistance winning the day and guiding the tone. Johnson also gives us a few of his signature traveling songs such as “Eclipse,” and “Red Line,” both showcases for the stellar rhythm section of Omar Ahsanuddin and Dusty Jermier. Their unparalleled sense of groove and restraint leaves ample room for Nash Whalen’s keyboard flourishes.

File Under: Psych
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outerVarious: Outer Himmilayan Presents (Sacred Bones/Dark Entries) LP
Dark Entries and Sacred Bones team up to release the early discography of UK synth-punk and Deathrock label Outer Himmilayan Records. Between 1979 and 1982, Nick Blinko and Martin Cooper’s Outer Himmilayan Records released 7-inches by three short-lived bands – The Magits, Soft Drinks, and S-Haters – who would nonetheless cast a massive shadow on the UK’s burgeoning post-punk/anarcho punk scene. Outer Himmilayan Presents collects all of the music found on those original records, along with rare and unreleased tracks by all three bands. It’s a snapshot of a period of frenzied creativity by some of the UK’s most thrilling experimental punks.

File Under: Punk
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…..Restocks…..

Boards of Canada: Music Has The Right to Children (Warp) LP
David Bowie: Hunky Dory (RCA) LP
James Brown: I Got The Feelin’ (Polydor) LP
James Brown: It’s A Mother (Polydor) LP
James Brown: There it is (Polydor) LP
Cavern of Anti-Matter: Hormone Lemonade (Duophonic) LP
Kenny Dorham: Afro-Cuban (Blue Note) LP
El Michels Affair: Enter the 37th Chambers (Fat Beats) LP
Henry Cow: Leg End (Recommended) LP
Henry Cow: Unrest (Recommended)LP
Henry Cow: In Praise of Learning (Recommended) LP
Johann Johannsson: Theory of Everything (Music on Vinyl) LP
Johann Johannsson: McCanick (Milan) LP
Joy Division: Preston 28 February 1980 (Get Back) LP
Mississippi Fred McDowell: Mississippi Delta Blues (ORG) LP
Meters: Struttin’ (Josie) LP
Modern Lovers: s/t (Music on Vinyl) LP
Roberto Musci & Giovanni Venosta: Water Messages on Desert Sand (Recommended) LP
No Age: Snares Like A Haircut (Drag City) LP
Sarah Shook & The Disarmers: Sidelong (Bloodshot) LP
Sarah Shook & The Disarmers: Years (Bloodshot) LP
Sleep: Holy Mountain (Earache) LP
U2: All That You Can’t Leave Behind (Universal) LP
U2: Pop (Universal) LP
White Zombie: La Sexorcisto (Music on Vinyl) LP

 

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…..news letter #848 – bam…..

 

Heavy week! So many big releases in this week, I hope your wallet has had time to recover from Record Store Day! And with that, I’ll leave you to it, I’ve got boxes piling up around here…

…..picks of the week…..

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Visible Cloaks: s/t (Musique Plastique) LP
The music of Visible Cloaks — the duo of Spencer D and Ryan Carlile, previously known as just “Cloaks” — has been bubbling under the surface of the already rich situation of experimental electronic song-smiths that exists in Portland, OR., and with only a handful of limited CDRs, a few tape releases (the most recent of which came out last year on Cameron “Sun Araw” Stallones’ Sun Ark Editions) and a string of albums released exclusively in Japan, we’ve had to rely on catching them live to find out where they’d been exploring, and what new environments they’d recreate for us. Visible Cloaks “live in a weird zone where corporate Japanese ambient music meets fourth world pop abstraction” (Michael Klausman, Other Music). The collision of synthesized and acoustic sounds, and genres usually associated with either — from Eno or Steve Roach’s ambience to Javanese Gamelan —, are intertwined so effortlessly and effectively that trying to parse out distinct sources is of foolhardy focus. Just as Haruomi Hosono created the magical space between India and Japan with Cochin Moon, Visible Cloaks are building unique worlds and it’s our pleasure to be able to visit them. Their debut LP includes the studio recorded pieces from the Sun Ark tape as well as previously unreleased material.

File Under: Ambient, Electronic
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aguirre-taj-mahal-travellers-aug-74-2lp.jpg

Taj Mahal Travellers: Aug ’74 (Aguirre) LP
Aguirre Records present a reissue of Taj Mahal Travellers’ August 1974, originally released in 1975. A monumental work by the Japanese experimental music ensemble. In April 1972 a group of Japanese musicians set off from Rotterdam in a Volkswagen van. As they crossed Europe and then made their way through Asia they made music in a wide range of locations. They also paid close attention to the changing scene and to differing ways of life. Midway through May they reached their destination, the iconic Taj Mahal on the bank of the Yamuna river in Agra, India. The Taj Mahal Travellers had fulfilled physically the promise of the name they adopted when they formed in 1969. The double album August 1974 was their second official release. The first July 15, 1972 is a live concert recording, but on August 19th, 1974 the Taj Mahal Travellers entered the Tokyo studios of Nippon Columbia and produced what is arguably their definitive statement. The electronic dimension of their collective improvising was coordinated, as usual, by Kinji Hayashi. Guest percussionist Hirokazu Sato joined long-term group members Ryo Koike, Seiji Nagai, Yukio Tsuchiya, Michihiro Kimura, Tokio Hasegawa, and Takehisa Kosugi. The enigmatic Takehisa Kosugi, whose soaring electric violin was such a vital element in their music, had been a pioneer of free improvisation and intermedia performance art with Group Ongaku at the start of the ’60s. Later in that decade, before launching the Taj Mahal Travellers, he had become known internationally through his association with the fluxus art movement. During the mid-70s the Travellers disbanded and while his colleagues more or less stopped performing as musicians Kosugi continued to reach new audiences across the course of several decades as a composer, regular performer, and musical director for the acclaimed Merce Cunningham Dance Company. August 1974 captures vividly the characteristic sound of the Taj Mahal Travellers, haunting tones from an unusual combination of instruments, filtered through multiple layers of reverb and delay. Their music has strong stylistic affinities with the trippy ambience of cosmic and psychedelic rock, but the Taj Mahal Travellers were tuning in to other vibrations, drawing inspiration from the energies and rhythms of the world around them rather than projecting some alternative reality. Films of rolling ocean waves often provided a highly appropriate backdrop for their lengthy improvised concerts. Licensed from Columbia Japan. Remastered and lacquer cut by Rashad Becker.

File Under: Ambient, Experimental, Improv, Essential Grooves
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…..new arrivals…..

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7FO: Moment (Metron) LP
Having previously released a cassette on RVNG International, and a 7’’ single on Bokeh Versions in 2017, this is 7FO‘s debut full length vinyl release. The tracks, recorded between 2012 and 2017, have been tweaked, remastered and recorded to vinyl for the first time. The mysterious Japanese producer recorded the tracks at home, processing guitar sounds, using a sampler, synthesizer and junk equipment. Following in the footsteps of the ambient giants of his native land, 7FO’s music continues this illustrious heritage whilst offering something fresh, modern and beautifully rendered. He describes his own sound as ‘gorgeous sustained tones and dreamlike oscillations that drift through the inorganic/electronic world reverberating through our subconscious creating sonic fables in our minds’.

File Under: Electronic, Ambient
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Courtney Barnett: Tell Me How You Really Feel (Mom + Pop) LP
Grammy and Brit nominated Australian singer/songwriter Courtney Barnett follows up her critically acclaimed debut Sometimes I Sit And Think And Sometimes I Just Sit (2015) and top 10 collaborative record, Lotta Sea Lice (2017) with Kurt Vile with her second studio effort Tell Me How You Really Feel. One of the most distinctive voices in music, Barnett is known for mixing witty observations with unflinching self-assessment. And although all of the cleaver turns of phrase and an eye for story telling are still here; this new collection ushers in a more serious and outwardly tone which captures the current social landscape while retaining moments of intimacy and warmth. The songs feel comforting and emphatic yet still simmer with a raw energy and the ability to make the listener really think. Scathing lead single “Nameless, Faceless” takes an ax to internet trolls, chauvinist pigs and even has Kim and Kelley Deal from the Breeders on vocals during the head flattening chorus.

File Under: Indie Rock
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Beach House: 7 (Sub Pop) LP
Beach House released B-sides and Rarities in 2017, which served as a proverbial “cleaning out the closet” to pave way for a new creative process. Their approach in the creation of 7 was rebirth and rejuvenation. Victoria Legrand and Alex Scally used to limit themselves to what they thought they could perform live, but this time that limitation was ignored. Also, instead of one long studio session, Beach House recorded when inspired batches of songs, which resulted in 5 mini-sessions over the course of 11 months. Unlike the last four albums, 7 didn’t have a producer in the traditional sense. Spacemen 3’s Sonic Boom (Peter Kember) became a significant force on this record by shedding conventions and helping to keep the songs alive, fresh, and protected from the destructive elements of recording studio overproduction and over-perfection. The band’s trusted live drummer from 2016 to the present, James Barone, played on the entire record, helping to keep rhythm at the center of a lot of these songs. “Looking back, there is quite a bit of chaos happening in these songs, and a pervasive dark field that we had little control over. The discussions surrounding women’s issues were a constant source of inspiration and questioning. The energy, lyrics and moods of much of this record grew from ruminations on the roles, pressures and conditions that our society places on women, past and present. The twisted double edge of glamour, with its perils and perfect moments, was an endless source (see “L’Inconnue,” “Drunk in LA,” “Woo,” “Girl Of The Year,” “Last Ride”). In a more general sense, we are interested by the human mind’s (and nature’s) tendency to create forces equal and opposite to those present. Thematically, this record often deals with the beauty that arises in dealing with darkness; the empathy and love that grows from collective trauma; the place one reaches when they accept rather than deny (see “Dark Spring,” “Pay No Mind,” “Lemon Glow,” “Dive,” “Black Car,” “Lose Your Smile”).” – Beach House

File Under: Indie Rock
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The Breeders: Last Splash (4AD) LP
In October 2017, The Breeders announced their return to 4AD, along with a new album, All Nerve, released in March 2018. The label is also reissuing their previous four albums on vinyl including Pod (1990), Last Splash(1993), Title TK (2002) and Mountain Battles (2008). Following the departure of Tanya Donelly, the breakup of The Pixies, and the return of Kelley Deal to the fold, The Breeders’ hit the alternative big time with their second record Last Splash and its hit singles “Cannonball,” “Divine Hammer,” and “Saints.” The last Breeders album of the ’90s, as Kelley suffered and recovered from drug addiction and Kim found a new outlet in The Amps, Last Splash went platinum and brought Kim Deal’s massive songwriting talents out from behind the shadow of Black Francis once and for all.

File Under: Indie Rock
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The Breeders: Pod (4AD) LP
In October 2017, The Breeders announced their return to 4AD, along with a new album, All Nerve, released in March 2018. The label is also reissuing their previous four albums on vinyl including Pod (1990), Last Splash (1993), Title TK (2002) and Mountain Battles (2008). Though ostensibly a side project of The Pixies’ Kim Deal and Throwing Muses’ Tanya Donelly, The Breeders’ debut, Pod, has held up as a classic of late 80s/early 90s off-kilter alternative pop, surpassing the contemporaneous work of their main bands. Though Deal would really hit the big time three years later with the Breeders’ follow-up, Last Splash, and Donelly would do the same with her next band, Belly, Pod is the band’s finest, most coherent album and perhaps the high point in both of their careers. Engineering by Steve Albini and Kurt Cobain citing it as one of his favorite records certainly doesn’t hurt matters either.

File Under: Indie Rock
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The Breeders: Title TK (4AD) LP
In October 2017, The Breeders announced their return to 4AD, along with a new album, All Nerve, released in March 2018. The label is also reissuing their previous four albums on vinyl including Pod (1990), Last Splash(1993), Title TK (2002) and Mountain Battles (2008). Following the release of their definitive off-kilter alternative pop records Pod and Last Splash, Kelley Deal fell into drug addiction and Kim Deal found a new outlet in The Amps. Nine long years later The Breeders re-emerged with their third album Title TK (“title to come”) which The Guardiancalled, “a welcome return to punky pop that knows how to flex some melodic muscle.” It was produced by Steve Albini and yielded the singles “Off You”, “Huffer” and “Son of Three.”

File Under: Indie Rock
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Jennifer Castle: Angels of Death (Idee Fixe) LP
A sublime meditation on mortality and memory, ghosts and grief, Angels of Death casts a series of spells against forgetting and finality, in the form of mystic-minimalist country-soul torch songs about writing, time travel, and spectral visitations. Ontario songwriter Jennifer Castle wrote and recorded this breathtaking follow-up to the acclaimed Pink City (2014) in a 19th century church near the shores of Lake Erie, where her family also lived and experienced a constellation of losses that inhabit these bruised musings. The arrangements of these remarkable recordings hang in the air like the angels they describe, hovering aloft on pedal steel, strings, and keys. Sonically, songs like “Crying Shame” and “Grim Reaper,” in their disciplined atomization of chords and carefully chosen words, are refined to the point of being barely there. Space is sculpted in silence, and the songs resemble gossamer webs, visible only at an angle, sunlight refracting through dew. Castle’s voice is an instrument of exquisite ethereality and expressive linearity, limpid and narrow and pure as a mountain brook. Angels of Death was produced by Castle and longtime collaborator Jeff McMurrich. Although augmented at subsequent Toronto sessions by other notable players such as Victoria Cheong and Isla Craig on backing vocals and Stew Crookes on pedal steel, the core band comprised Paul Mortimer on lead guitar, David Clarke on acoustic guitar, Jonathan Adjemian on organ/piano, Mike Smith on bass (he also wrote the string arrangements), Robbie Gordon on drums, and Castle on guitar and vocals. Much of it, and most of Jennifer’s vocal tracks, were recorded live in the church over one cold weekend; “the moon,” Castle reflects, “was a member of the band.”

 File Under: Indie Rock
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Cybe: Tropisch Verlangen (Stroom) LP
A techno-nature synthesis for an East-West confrontation/a musical travelog from a Dutch musician searching for inspiration in the East in the early ’80s. Stroom on the release: “After travelling to India, Indonesia, Thailand, Bali and Java in his younger days, Cybe released three cassette tapes. Tropisch Verlangen now compiles a series of ten wonderful handcrafted analogue electronics from those tapes, sounding like lush fields of electronic wheat swaying in voltage-controlled wind. It reads as a musical travelogue from a Dutch musician from Haarlem, who listened to way too much Gong and went searching for inspiration, sound recordings and instruments in the East in the early eighties.”

File Under: Electronic, Ambient
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Colin Fischer: V Le Pape (Geej) LP
V Le Pape is Colin Fisher’s debut album for Geej Recordings. Fisher, a mainstay of the Toronto experimental music scene, has spent the last fifteen years, quite blowing minds as a multi-instrumentalist, improvisational performer. Perhaps best known as one half of the esteemed duo Not the Wind, Not the Flag, he has forged a unique position somewhere between avant jazz virtuoso and a psychedelic shaman of ecstatic performance. Fisher is a constant fixture at everything in Toronto worth going to. He is also constant collaborator, attractive to popular musicians who need something more than just a great player, and he has recorded with Caribou, The Constantines, and Many Arms.. But now he is on his own, and Geej is thrilled to share his spectacular talent to the world.V Le Pape was made entirely using guitar and an array of looping and effect pedals. At first listen one might think that Fisher is part of a growing new wave of Ambient/New Age producers, but that would be to fundamentally skip over what makes Fisher so singular. The album was completely improvised and recorded live off the floor there are no overdubs, no multi tracks, no second takes., and while the music nods to some other heroes of treated guitar; David Torn, Fred Frith, Alan Holdsworth and Fennesz, Fisher is able to construct something unique. V Le Pape lives somewhere between ambient texture and freeform modal exploration. But all of it is immediate, spontaneous and free. Guitar playing as improvisational divination comes naturally to Fisher who has spent the last decade studying Tarot., which he uses as an interpretive guide. He’s used the image of The Pape (The Pope) for this record as it symbolizes what Fisher calls ‘a spiritual respiration, a sense of a living bridge” The Pape is a communicator, perhaps between himself and a new audience, perhaps between the universe and his instrument. For Fisher improvisation is composition, there is no distinction between what is written and what is performed as he says that “the framework of Improvisation is biological, if we are incongruent from our senses, we are not acting in relationship with dynamic stimulus and we are therefore detached from the world…. improvising is acting in the world”Fisher’s interest in the connection between elemental music and organic well being has led him to work with jazz legend Milford Graves. Graves, whose pioneering work on rhythm and biology, has had a deep impact on how Fisher sees symbiotic harmony between music and the organism. Fisher is also a certified teacher of Alexander Technique, a strategy popular with artists which stresses psycho-physical unity. Colin Fisher is the real deal, he lives every day, all day as a musician, tirelessly practicing and honing. It is a rare gift, but it is also a second nature, as Fisher puts it “music is an expression of your biological self”. V Le Pape is a record documenting a musician at being.

File Under: Experimental, Ambient, Improv
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Joanne Forman: Vaults of the Moon (Séance Centre) LP
We humans, the nascent beings that we are, still haven’t quite figured out the full potential of music. Dancing, meditating, emoting, protesting; these are all pretty basic. But what if we communicated more complex ideas with music? What if we codified all of our activities with music? This idea came to composer Joanne Forman when she was commissioned to create the soundscape for an environmental exhibition of sculpture called Artifacts from an Alien Civilization in 1987. The sculptures, elaborate ruins that had been found on the moon, begged the question: who created them and for what purpose? Joanne Forman imagined that Earth’s moon was a vacation spot for advanced beings from another galaxy. Cave Vaults of the Moon became a collection of sonic texts describing the fun things that went on there; earth-viewing, collecting information, building and playing. In her mind the sculptures in the exhibit were the remnants of a deserted playground of moon castles. Forman’s playful score for voice, Ensoniq Mirage, Juno 106, flute, guitar and effects, wafted through the exhibit every day for a month and then lay dormant for nearly 30 years. Unearthed here, Cave Vaults of the Moon sounds prescient and timeless, as if the Wicker Man had been scored by Pep Llopis, and we now have the opportunity to reimagine the messages contained within it. Restored and remastered and cut using DMM.

File Under: Ambient, Experimental
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Frog Eyes: Violet Psalms (Paper Bag) LP
In tomorrow… Seventeen years after their teetering debut, Vancouver band Frog Eyes unveil their eighth and final album Violet Psalms – a giddy lament; a gnashing jubilee; a rain-drenched allocution on hope vs. horror, paradise vs. pride, Marx and Brexit and bad acid trips. No guests, no engineers. A self-invention. Violet Psalms began with its frantic, reverb-drenched guitar, squiggling over a modulation pedal. Next Carey Mercer and Melanie Campbell concocted the drum parts – imagining them an onomatopoeia then recording them in fragments, kickdrum by kickdrum, tom by tom, with tailored effects. “The goal was to disorientate,” Mercer explains, but also to work by instinct, gut – a cut-up of music and image, songs that coil back and kiss. The band pruned as they went, adding Terri Upton’s bass parts, taking other parts away. Whereas past LPs used piano, Shyla Seller worked with shimmering synths – chords like bleeding watercolor, shadows casting on a wall.

File Under: Indie Rock
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Gnod: Chapel Perilous (Rocket) LP
In more than a decade on the planet this singular Salford-birthed entity have married intrepid musical exploration with psychic fearlessness – not to mention a tendency to leave any tag or bracket one attempts to place on them utterly redundant. In a sense, the latest adventure bearing this title evolved both from the lengthy European tour that the band embarked upon in the wake of their stripped-down and paint-stripping 2017 opus Just Say No The Psycho Right-Wing Capitalist Fascist Industrial Death Machine. Recording in Supernova studio in Eindhoven with Bob De Wit, the band found themselves free not only to lay down two tumultuous tracks that they had been honing and hammering into shape on the road – the pulverising fifteen-minute opener ‘Donovan’s Daughters’ and the bracingly brutal ‘Uncle Frank Says Turn It Down’ – but to sculpt more abstract material, utilising dubbed-out repetition, furious riff-driven rancour, bleak soundscapes and experimentation to create an invigorating tableau of dys-topian dread and unflinching intensity. Wherever Gnod go in 2018 and beyond, expect reality to be reinvented anew, whatever the consequences.

File Under: Psych
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Jonny Greenwood: Bodysong. OST (XL) LP
Bodysong. is Jonny Greenwood’s first original score for a film, and makes up the soundtrack to a BAFTA winning documentary film of the same name, directed by Simon Pummell. Originally released in 2003, the reissue has been remastered by Christian Wright. With artwork by Stanley Donwood. Available on single gatefold LP and CD. “I started using modes of limited transposition in the music for Bodysong,” Greenwood once told The Quietus. “[I did this] partly as a way to tie lots of disparate styles of music together – the jazz musicians could improvise using them, the laptop could be restricted to these notes – and so it just helped create some continuity. Always nice to have a set of limits or rules to work against too.”

File Under: OST, Radiohead
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Distant_Voices_Front_Cover_1024x1024Lacy/Takahashi/Kosugi: Distant Voices (Aguirre) LP
Aguirre Records present a reissue of Distant Voices, Steve Lacy’s rare Japanese collaboration album, originally released in 1976. Renowned for remarkable solo concerts that confirmed his mastery of the soprano horn and that carried its instrumental language into previously unexplored regions, Lacy also loved to collaborate with musicians who could inspire him to stretch the boundaries of his own artistry. During the summer of 1975 Lacy toured Japan, and on June 24th he entered a Nippon Columbia studio in Tokyo with Yuji Takahashi and Takehisa Kosugi, two adventurous kindred spirits, guaranteed to fire Lacy’s creative imagination. The fascinating outcome of that dynamic session is Distant Voices, an album without parallel in Lacy’s extensive discography. Composer Iannis Xenakis was so impressed when he heard Yuji Takahashi playing piano in 1961 that he later wrote music especially for him. His repertoire extends back to Bach and Purcell yet for Takahashi, music has remained an open quest and a process of discovery. Takehisa Kosugi on the other hand has been a legendary figure in the international avant-garde since the mid-1960s when his work was endorsed by the fluxus movement. In Japan he was by then already well established as leading practitioner of experimental music and intermedia performance art. At the time Distant Voices was recorded Kosugi had also developed a following for his electric violin playing with the Taj Mahal Travellers, a group whose sound had strong stylistic affinities with psychedelic rock and space music. Subsequently other audiences worldwide came to know Kosugi through his long association as a composer, performer, and musical director with the Merce Cunningham Dance Company. On 24th June 1975 Takahashi sat at a grand piano, with celeste and vibraphone alongside him and small bells attached to his hands. Kosugi was equipped with violin, flute, mouth organ, an electronic modulator, porcelain bowls and at times he used his voice. Lacy played soprano saxophone, of course. Now and then he pressed the mouth of the instrument against the skin of a kettle drum. He occasionally fiddled with a transistor radio, and also found uses for a stepladder, a toothbrush, and a spinning wheel. This was in no sense a routine musical session. Distant Voices preserves a unique occasion when three singular musicians joined together to embrace the unknown. Licensed from Columbia Japan. Remastered and lacquer cut by Rashad Becker. 180 gram vinyl.

File Under: Improv, Experimental, Jazz, Taj Mahal Travellers
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11183_JKTStephen Malkmus & The Jicks: Sparkle Hard (Matador) LP
Sparkle Hard is the new album from Stephen Malkmus & The Jicks. Available from Matador Records, it is their first album in over four years, following Wig Out At Jagbags. Produced by Chris Funk the album was prefaced by “Middle America,” with Malkmus’ wry wordplay and sunny wang create an ode to underdogs everywhere, with bittersweet words of encouragement for the ramshackle character on their receiving end. Only SM & the Jicks can craft this kind of rightly low-key anthem, a perfect three-minute-thirty-second country-speckled gem about life’s questions big (the inevitable passage of time; aging) and small (getting shitfaced; blushing the colour of Robitussin). The album is light ’n’ breezy, head-down heavy, audacious, melancholic and reflective, good time and bodacious, and it pulls off the smartest trick: it’s both unmistakeably The Jicks and – due to the streamlining of their trademark tics and turns, plus the introduction of some unexpected flourishes (Auto-Tune! A fiddle! Guest vocalist Kim Gordon! One seven-minute song with an acoustic folk intro!) – The Jicks refashioned. If 2014’s Wig Out At Jag Bags balanced the lengthy prog workouts of Pig Lib with Mirror Traffic’s sparky pop moments, then Sparkle Hard bears less obvious direct relation to what’s come before. It also has turbocharged energy and enthusiasm by the truckload.

File Under: Indie Rock
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massiveattackMassive Attack: Heligoland (Virgin) LP
Bristol based trip hop pioneers Massive Attack are a hugely influential force in British music. Formed out of the legendary Wild Bunch Soundsystem the group combined elements of hip hop, funk, dub and rock into one stunning package. Massive Attack released the three stunning ’90s albums Blue Lines (1991), Protection (1994) and Mezzanine (1998) while only producing the two albums 100th Window (2003) and Heligoland (2010) in the subsequent 15 years. Heliogoland is the elusive duo’s long awaited fifth and final studio effort to date. The release features an all-star cast of guest vocalists including Damon Albarn, Hope Sandoval, Martina Topley-Bird, Guy Garvey and Tunde Adebimpe. Long time cohort Horace Andy returns alongside founding members Robert Del Naja (3D) and Grant Marshall (Daddy G). Alborn also plays bass on “Flat Of The Blade” and keyboards on “Splitting The Atom” while Portishead’s Adrian Utley plays guitar on “Saturday Come Slow.”

File Under: Electronic, Trip Hop
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Sam McClellan: Music of the Five Elements (Séance Centre) LP
Music is the healing force of the universe. It’s an ancient idea bandied about by Pythagoras and Plato. In the last century, music as medication has been explored by musicians as diverse as Albert Ayler, Spacemen 3 and Pauline Oliveros. Nowhere did this concept gain more traction than in the so-called realm of New Age Music, an entire movement of synth droners and echoey flautists recording home-baked healing mantras on 4-track. In recent years, thanks to cassette collecting devotees and open-minded music journalists, New Age has shed its flowing robes and is being mined for the truly incredible music that swells under its pastel surface. Musician/acupressurist Sam McClellan’s 1982 Music of the Five Elements is one of those revelatory discoveries, an unrivalled work of intense research and focus, simultaneously a near perfect work of art and a scientifically sound elixir for body and mind. After studying electronic composition at Hampshire College with Randall McClellan (no relation), Sam McClellan became intrigued with the possibilities of healing through music. He explored this idea by applying the ancient Chinese philosophy of medicine to the principles of musical composition. Using the pentatonic scale (the traditional scale of Chinese music), McClellan related each of the notes to one of the five elements (Wood, Fire, Earth, Metal Water), and created five variations for each. He experimented with tempo, beat, pitch, duration, and sound quality, studying the effect on people’s energy levels. Using the results of his tests he developed a comprehensive theory of sonic healing and spent the next year composing an album designed to help people achieve inner balance, reducing anxiety and energy depletion. Music of the Five Elements is not only the “acoustic massage” that McClellan set out to make, but is a fully realized and peerless piece of music. Taking cues from Minimalism, American Primitive guitar (Fahey & Basho) and even psychedelia, the album is a continuous sound voyage for voice, synthesizer, guitar, bowed bass, piano, effects and ciao (Chinese flute) all played by McClellan himself. Although divided into sections, the journey is best undertaken as a whole, without distraction. As McClellan himself wrote in the original liner notes: “The optimum effect of Music of the Five Elements will be achieved if each side of this recording is played through, from beginning to end without interruption. Music of the Five Elements, when used as a meditational or body work tool, rather than entertainment, will increase in effect over time. Overplaying or improper use, however, may eventually diminish its designed effect” The prescription for this album: play it loud and heal yourself. Remixed and remastered from the original reels and cut using DMM for the purest dose possible

File Under:
 Ambient, New Age
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Pablo's+Eye+-+Spring+BreakPablo’s Eye: Spring Break (Stroom) LP
Pablo’s Eye is the science of studio pressure, when engineer becomes artist. Appropriating left and right as well as front and back, Pablo’s Eye uses the mixing desk to examine and exhaust the possibilities of moments. Pablo’s Eye is a record of that examination and exhaustion, but it is also a record of its own inner space. By means of depth placement, psychoacoustics and spatial fug, Pablo’s Eye is experienced in the deeper reaches of the body, bypassing the conscious part of the mind entirely. Pablo’s Eye is the turning of recorded music inside out to show its seams. It interrogates a song, stripping down the body of the song to reveal its bones. Pablo’s Eye is in the interstices of music, it plugs the gaps, fills the holes. Pablo’s Eye seeks out the concealed mechanisms, it is a song’s hidden agenda. For this compilation, it was decided to present the softer air-beatings of Pablo’s Eye. More than anything, Pablo’s Eye is a temporary atmosphere, like a taste or a dream…

File Under: Electronic, Ambient
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268x0wParquet Courts: Wide Awake! (Rough Trade) LP/DLX LP
Wide Awake! is New York’s Parquet Courts’ fifth record since their formation eight years ago. The album is filled with Parquet Courts’ traditional punk rock passion, dynamic rhythmic propulsion and exceptional songwriting yet explores new ground and influences from Grace Jones, Townes Van Zandt, Parliament, Augustus Pablo to 80s American punk like Big Boys, Minute Men, The Dicks and Flipper. “The ethos behind every Parquet Courts record is there needs to be change for the better, and the best way to tackle that is to step out of one’s comfort zone’’ guitarist/singer A Savage says of the unlikely pairing with producer Danger Mouse. ‘‘I personally liked the fact that I was writing a record that indebted to punk and funk, and Brian’s a pop producer who’s made some very polished records.” The songs, written by Austin Brown and Andrew Savage, are filled with their traditional punk rock passion, as well as a lyrical tenderness, but are elevated to even greater heights by the dynamic rhythmic propulsion of Max Savage (drums) and Sean Yeaton (bass). Ultimately then the message contained in Wide Awake! is complex. “In such a hateful era of culture, we stand in opposition to that — and to the nihilism used to cope with that — with ideas of passion and love,” Brown says. For Savage, it comes back to the deceptively complex goal of making people want to dance, powering the body for resistance through a combination of groove, joy, and indignation. “Expressing anger constructively but without trying to accommodate anyone.” Austin Savage says they played on the duality between rage and glee like Youth of Today, Gorilla Biscuits and Black Flag. “I needed an outlet for the side of me that feels emotions like joy, rage, silliness and anger,” For Austin Brown, death and love were the biggest influences. One of the most courageous songs on the new record is “Death Will Bring Change,” a moving elegy, with a chorus not unlike the Rolling Stones’ “You Can’t Always Get What You Want,” only this time, London’s Bach Choir were 15 twelve year olds from the upper east side recorded at 9am on a Saturday. * Album opener “Total Football” is named after the eponymous theory of soccer pioneered by the Dutch that requires every player to be able to play every position on the field. It also has shout-outs to iconic individualists the painter Cy Twombly, the poet Mina and sculptor Eva Hesse. Title track “Wide Awake” brings the band’s mission into full focus. It aims to achieve the deceptively complex goal of making people want to dance, while powering the body for resistance through a combination of groove, joy, and indignation.

File Under: Indie Rock, Punk
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flashback-perth-county-conspiracy-s-t-lpPerth County Conspiracy: s/t (Flashback) LP
First LP reissue. 180 gram vinyl; Gatefold Sleeve; Includes 16-page booklet and insert. Flashback present a reissue of The Perth County Conspiracy’s self-titled album, originally released in 1970. Despite having completed their debut for Columbia just weeks earlier, in August 1970 Cedric Smith, Richard Keelan, Michael Butler, and other Conspirators recorded another album, exclusively for Canadian radio broadcast. For this recording they’d assembled a fine batch of new material, as well as striking arrangements of songs by Bob Dylan, Donovan, and Smokey Robinson. Warm, atmospheric, and slightly mystical, it’s a lost psychedelic folk classic.

File Under: Psych, Folk
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pulsePink Floyd: Pulse (Pink Floyd) LP
Originally issued in 1995, Pulse was compiled by producer James Guthrie using various performances from Pink Floyd’s 1994 Division Bell tour across the U.K. and Europe. Featuring original members David Gilmour, Nick Mason and Richard Wright, the album reached No. 1 in both the U.S. and U.K. and includes a smattering of hits and The Dark Side of the Moon performed in full, as well as a whole side dedicated to the show’s encore. This 180g 4LP reissue was remastered from the original analog tapes by James Guthrie, Joel Plante and Bernie Grundman with the original artwork recreated by Aubrey Powell of Hipgnosis and Peter Curzon, who worked on the original art with the late Hipgnosis co-founder, Storm Thorgerson. The set comes complete with four unique inner sleeves and a 52-page hardback photo book, all encased in a thick card slipcase.

File Under: Rock
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relicsPink Floyd: Relics (Pink Floyd) LP
50 years on from its original pressing, Pink Floyd reissue their 1971 compilation album Relics on heavyweight 180g vinyl, remastered from the original analog tapes in 2018 by James Guthrie, Joel Plante and Bernie Grundman. The band’s very first compilation album includes singles, B-sides and tracks from Pink Floyd’s first three albums The Piper At The Gates Of Dawn, A Saucerful of Secrets and More. Also featured is the then-previously unreleased Roger Waters song, “Biding My Time,” which was recorded in July 1969 and made its debut here. Relics was also the first album to include “Arnold Layne” and “See Emily Play,” which previously had only been released as singles, and the original studio recording of “Careful with That Axe, Eugene,” the B-side of “Point Me At The Sky” in 1968. Keeping true to the original artwork, the sleeve features the black and white drawings by Nick Mason, carrying the iconic subtitle A Bizarre Collection of Antiques & Curios. All tracks are the original stereo versions, which sit alongside the Syd Barrett-era, mono mixed singles “Arnold Layne” and “See Emily Play.”

File Under: Rock
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speedy

Speedy Ortiz: Twerp Verse (Carpark) LP
“Necessary brattiness” is the motto for Speedy Ortiz’s dauntless new collection of songs, Twerp Verse. The follow-up to 2015’s Foil Deer, the band’s latest indie rock missive is prompted by a tidal wave of voices, no longer silent on the hurt they’ve endured from society’s margins. But like many of these truth-tellers, songwriter, guitarist and singer Sadie Dupuis scales the careful line between what she calls being “outrageous and practical” in order to be heard at all. “You need to employ a self-preservational sense of humor to speak truth in an increasingly baffling world,” says Dupuis. “I call it a ‘twerp verse’ when a musician guests on a track and says something totally outlandish – like a Lil Wayne verse – but it becomes the most crucial part. This record is our own twerp verse, for those instances when you desperately need to stand up and show your teeth.” Twerp Verse was tracked in Brooklyn DIY space Silent Barn, mixed by Omaha legend Mike Mogis (Bright Eyes, Rilo Kiley) and mastered by Grammy-nominated engineer Emily Lazar (Sia, Haim, Beck). The record pulls from the most elastic pop moments in Squeeze’s Argybargy and the seesawing synth-rock of Deerhoof and the Rentals. With Dupuis on guitars, vocals, and synths, supporting guitarist Andy Molholt (of psych pop outfit Laser Background) now joins Speedy veterans Darl Ferm on bass and Mike Falcone on drums – and together they accelerate the band’s idiosyncrasy through the wilderness of Dupuis’ heady reflections on sex, lies and audiotape. As public pushback against the old guards reaches a fever pitch – in the White House, Hollywood and beyond – the band fires shots in disillusioned Gen Y theme “Lucky 88,” and casts a side-eye towards suitors-turned-monsters in the cold-blooded single “Villain.” Closing track “You Hate The Title” is a slinky traipse through the banality of this current moment in patriarchy – in which survivors are given the mic, but nitpicked over the timbre of their testimonies. “You hate the title, but you’re digging the song,” Dupuis sings wryly, “You like it in theory, but it’s rubbing you wrong.” Tuned smartly to the political opacity of the present, Twerp Verse rings clear as a bell.

File Under: Indie Rock
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tuttlesTrampled By Turtles: Life is Good on the Open Road (Banjodad) LP
After 15 years of traveling together in close quarters and commanding festival and club stages around the country, the six musicians who make up Trampled by Turtles – Dave Simonett, Tim Saxhaug, Dave Carroll, Erik Berry, Ryan Young, and Eamonn McLain – went nearly a year without all being in the same room. Simonett, the band’s lead singer and songwriter, released a critically acclaimed and highly personal album, Furnace, with his band Dead Man Winter. Other members kept busy with their own side projects in the Twin Cities and their hometown of Duluth, MN, allowing new musical ideas to grow. Tracking for their new album, Life is Good on the Open Road, was completed in just six days at Pachyderm Studio in Cannon Falls, MN and mixed the following week. The band produced the album themselves with the help of Pachyderm’s house engineer, Nick Tveitbakk, recording everything live to tape. Life is Good on the Open Road is the sound of freedom washing over the group like a sunrise, a new day rising. When discussing the album, both Simonett and Berry toyed with the phrase “return to form,” suggesting that it captures something pure and essential about the Trampled by Turtles sound. “Tim said something kind of interesting – he said, ‘This is the most Trampled by Turtles record we’ve ever made,'” says Berry. “He’s right.” The band weaves their instruments together like a seamless tapestry, laying down a bed that seems to float underneath Simonett’s expressive voice. Each song seems to tell its own story, from tales of nights gone wrong to love that’s been lost and dreams that need chasing, and the group shifts in unison from tender ballads to barn burning hair-raisers, sometimes in the same song. Simonett’s lyrics, which have grown ever sharper over the years, occasionally rise up to shoot an arrow directly through the heart. Although no songs directly address the band’s time apart, there are metaphors that speak to the experience of putting Trampled by Turtles to bed and waking it back up again.

File Under: Rock
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vsnaresVenetian Snares & Daniel Lanois: s/t (Timesig) LP
No collaboration is unlikely when the end goals are the same. A meeting of two artists who illustrate different corners of the musical landscape, come together to create a new statement that takes their collective strengths to higher elevations and encompasses new terrains. So it is on the first collaborative journey of Canadian musicians Venetian Snares (aka Aaron Funk) and Daniel Lanois. What started as mutual respect for one another’s work, led to several years of a creative germination resulting in an eight-track full-length exploration. The path began in 2014, after Lanois reached out to Funk as a fan of his work. The project started to take root in Summer of 2016, after Aaron hung around Toronto between shows. Taking his gear to Lanois’ studio, the two began to play for the first time together in what would prove to be a formative moment in their creative journey together. “I love making music with Dan, he has a real understanding of how to create a world and build what may exist within that world,” Funk explains. Recorded live in a former Buddhist temple-turned-studio in Toronto, Venetian Snares x Daniel Lanois travels to new zones in what Lanois describes as “a body of work driven by exploration.” Like all the best collaborations, it’s brought something new out of both musicians. Equipped with their production acuity, they let their natural workflow guide them through uncharted waters. Funk laid the groundwork with drums while Lanois rode the pedal steel, weaving their sounds together in a new sonic tapestry. The two ultimately landed at their destination, their work ready to be shared with those willing to explore.

File Under: Electronic, Ambient
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heart ofsaturdayTom Waits: The Heart of Saturday Night (Anti) LP
Expanding beyond the folk and pop stylings of his first album, Tom Waits’ masterful second studio effort, Heart of Saturday Night (1974) further established his growing reputation as a versatile and distinctly American songwriter. Its bluesy jazz arrangements featured bass, drums, saxophone and Waits on piano. The title track, a melancholy ode to Saturday night rituals, and the tenderly romantic hymn-like “San Diego Serenade” are enduring classics covered by an array of artists from Diana Krall and Nancy Griffith to folk hero Eric Anderson. The album also features “Diamonds on My Windshield,” the first of what would become a signature for Waits – the spoken word-poetry song. Waits delivers the evocative lyrics throughout as pure beat jazz in the stylings of Kerouac, Langston Hughes and Bob Kaufman.

File Under: Rock, Pop
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nighthawksTom Waits: Nighthawks at the Diner (Anti) LP
After signing with Asylum Records in the early 1970s, Tom Waits recorded a series of acclaimed albums whose noir tales about the after-midnight underworld transformed the seedy into the sublime in songs laced with both dark humor and profound longing. Decades and several musical evolutions later, Waits’ Asylum years still hold a special place in the hearts of many fans. Waits’ first seven albums on Asylum have been remastered and will be re-released via Anti-Records. Produced by Bones Howe and recorded in front of a live audience at the Record Plant recording studio in Los Angeles, CA in 1975, Nighthawks at the Diner debuts some of Tom Waits’ greatest classics like “Warm Beer, Cold Women” and “Eggs and Sausage” with a crack jazz ensemble – Pete Christlieb (tenor saxophone), Bill Goodwin(drums), Jim Hughart (upright bass) and Mike Melvoin (piano, guitar) – backing him up and some of the greatest stage banter ever committed to record.

File Under: Rock, Pop
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a2308568208_16

Riley Walker: Deafman Glance (Dead Oceans) LP
“I was under a lot of stress because I was trying to make an anti-folk record and I was having trouble doing it. I wanted to make something deep-fried and more me-sounding. I didn’t want to be jammy acoustic guy anymore. I just wanted to make something weird and far-out that came from the heart finally. I was always trying to make something like this I guess, trying to catch up with my imagination. And I think I succeeded in that way – it’s got some weird instrumentation on there, and some surreal far-out words. I’m lucky enough to have some people who are playing on it who had a big part in shaping the songs and writing with me. Cooper Crain, the guy who engineered it, and played all the synthesizers. And when the flute guy, Nate Lepine came in, that was really something that made it special. The producer was this guy LeRoy Bach. I love LeRoy, he’s a really talented guy. He did the last record too. And it’s more Chicago-y sounding. Chicago sounds like a train constantly coming towards you but never arriving. That’s the sound I hear, all the time, ringing in my ears.” – Ryley Walker

File Under: Folk
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up0kx0zgvhbl0fajmmwbVarious: Technicolor Paradise Rhum Rhapsodies & Other Exotic Delights (Numero) LP
It was a musical cocktail born in a marketing meeting: Two parts easy listening, one part jazz, a healthy dollop of conga drums, a sprinkling of bird calls, and a pinch of textless choir. Serve garnished with an alluring female on the album jacket for best results. Exotica! The soundtrack for a mythical air conditioned Eden, packaged for mid-century, tiki torch-wielding armchair safariers. Be it mosquito-bitten torch singers, landlocked surf quartets, fad-chasing jazz combos, mad genius band leaders, D-list actors, or a middle aged loner programming bird calls into a Hammond, Exotica was always more concerned with what geography might sound like over who was conducting. Captured across three albums (or three compact discs) are 48 (or 54) curious examples of the short-lived genre’s reach, each summoning their own sonic visions of Shangri La, bringing their versions of the Pacific, Africa, and the Orient to the hinterlands of America. Technicolor Paradise is where one makes it, after all.

File Under: Exotica
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…..Restocks…..

Amen Dunes: Freedom (Sacred Bones) LP
Arctic Monkeys: Tranquility Base Hotel + Casino (Domino) LP
Badbadnotgood: III (Arts & Crafts) LP
Childish Gambino: Camp (Glassnote) LP
Childish Gambino: Awaken, My Love! (Glassnote) LP
The Clash: London Calling (Legacy) LP
Sam Cooke: Mr. Soul (Music on Vinyl) LP
Darkthrone: Circle the Wagons (Peaceville) LP
Darkthrone: Panzerfaust (Peaceville) LP
Nils Frahm: All Melody (Erased Tapes) LP
Nils Frahm: Spaces (Erased Tapes) LP
Fugazi: In on the Killtaker (Dischord)LP
Fugazi: The Argument (Dischord)LP
Godspeed You Black Emperor: F#A# (Constellation) LP
Gong: Radio Gnome Invisible Trilogy (Charly) BOX
Jon Hopkins: Singularity (Domino) LP
Jesus Lizard: Liar (Touch & Go) LP
Sugai Ken: On the Quakefish (Music for Insomniacs) LP
Massive Attack: Mezzanine (Virgin)LP
Massive Attack: Blue Lines (Virgin) LP
Neu!: s/t (Gronland) LP
Neu!: 2 (Gronland) LP
Neu!: 75 (Gronland) LP
Pink Floyd: Dark Side of the Moon (Pink Floyd) LP
Pink Floyd: Piper at the Gates of Dawn (Pink Floyd) LP
Slowdive: Souvlaki (Music on Vinyl) LP
Sunn o))): Monoliths & Dimensions (Southern Lord) LP
Visible Cloaks: Reassemblage (RVNG Intl) LP
Visible Cloaks: Lex (RVNG Intl) LP
White Zombie: La Sexorcisto (Music on Vinyl) LP
Wolves in the Throne Room: Live at Roadburn 2008 (Roadburn) LP
Various: WTNG 89.9 Solid Bronze (Numero) LP
Various: W2NG89.9 (Numero) LP

 

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…..news letter #847 – LPS…..

Well, thanks again UPS for delivering half a shipment today. At least it’s only Thursday, so we should see the rest of it tomorrow. Anyway, LOTS of great stuff this week. Already out of our meager supply of the new Sleep, hopefully we’ll get more very soon. Arctic Monkeys is in, but Beach House is likely going to be late. Lots of neat little piles of used stuff coming in lately too. We’re pricing up as quickly as we can. Come, dig, buy. And thanks to everyone who came out to the show last week. A good time was had by all!

….picks of the week…..

davachi

Sarah Davachi: Let Night Come On Bells End The Day (Recital) LP
In tomorrow… Recital present the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you’ve never been there, doesn’t really scream “avant-garde” (Calgary is the rodeo capital of the world). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel. There are few people that have the diligence and resolve to take their time with music… especially in a live context. Recital label head Sean McCann: “The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty.” Let Night Come On Bells End The Day follows the release of her “sound-wheel” LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On, recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion. Two pillars of this album are “Mordents”, which may hints of her love for progressive rock music — and “Buhrstone”, comparable to a somber funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics. Includes three 9″x9″photo-prints by Davachi; Includes CD; First edition of 600.

File Under: Ambient, Drone
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msuci

Roberto Musci/Giovanni Venosta: Urban & Tribal Portraits (Soave) LP
Peter Sarram on the release: “While a number of the recordings that comprise this particular work have been (relatively) available — through a ReR anthology that also included tracks from the other Musci/Venosta collaboration, Water Messages On Desert Sand (1987) as well as some integrated in the Music From Memory compilation, Tower Of Silence (MFM 014LP, 2016), released under Musci’s name only this is indeed the first time one can listen to this fundamental work as it was meant to be heard. . . . Urban And Tribal Portraits reaffirms the idea of postmodern pastiche as a multimedia multisensory experience and sound as an ecosystem that is both aleatory and concrete, ephemeral and durable. In these binary paradoxes, a radical notion of the nature of collaboration, that is both chance induced and conversely conceptually worked out, is also established. . . . Urban And Tribal Portraits re-politicizes the notion of pastiche, engaging as it does in a kind of eco-practice, turning the process rather than the musical object into the poetic focus of the work. . . . Like much Italian experimental music from that magical decade of the ’80s this is not your dad’s fourth world music, with all of its ambiguous aestheticism of ‘unifying’ some not so well-defined primitivism of ‘world ethnic styles’ with the futuristic sounds of whatever ‘advanced electronic techniques’ were the platter du jour. In this sound the 8-bits of the E-Mu Emax is as primitive as the Jews Harp while the electronically treated Pygmy chants turn out to be as futuristic as the multi-timbral capacities of the OB-8. From the funk ostinatos of ‘El Lamento De Los Ayatollah’ where Venosta showcases his straight piano playing to the rarefied queer guitar arpeggios in ‘Tamatave’, the peaceful ripples in ‘Dialogue Between A Dreamer And Others’, the playfulness of ‘Starfish & Kangaroos’ or the post-punkish This Heat/Cabaret Voltaire aggression in ‘The Fear Of A Soldier’ this is destabilization as praxis, a shifting of the  ground. . . . A DIY bricolage: a de-structuring of everyday sound objects towards new uses fed by local eco-situated experiences, transformative of performance and listening. Surrealist ‘musicking’ indeed.”

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

abate

Maurizio Abate: Standing Waters (Black Sweat) LP
In tomorrow… With Standing Waters Maurizio Abate recovers the discourse started with Loneliness Desire And Revenge but with a different narrative sensitivity. The symbolic air that you breathe suggests a personal and universal experience in which thoughts and perceptions remain as enveloped in an eternal cosmic wheel. It’s a condition that flows sincerely into an emphatic introspection and identification between the stasis of an inner soul and the flowing vitality of stagnant aquatic landscapes. In this direction the music of Abate always condenses multiple ranges of different emotional spectra evoked by profound naturalistic references. The airy openings of the strings, the distant whispers of the harmonica, cascades of phrasings calmer or more torrential can lead into the magnificent climax of nostalgia. The string arrangement for violin and cello by Lucia Gasti introduces in a dimension of idyll, in elegiac passages of touching poetry almost of chamber music but at the same time wet by the pastoral and bucolic moods of autumn landscapes; they are paintings imbued with different flavors and colors that recall the light and the candor of the Venetian tones or the moving paintings full of meaning. In the darkest and saddest moments, the open chords are like suspensions of unresolved questions and torments, but the cathartic finale with a free and minimalist piano prelude to possible future glares, almost alludes to the idea that even where there’s stasis the sun can still shine the hope for the new on the clearing of the pond. There remains the feeling with that stylistic “freedom of expression”, dear to the visionaries Fahey and Basho, but there is also a clear interpretation of the expressive possibility of the lead guitar, absolutely lyrical and contemporary for refinement of the crystalline sound, which places this work in parallel with the basic acoustic tests of others great like Jim O’Rourke, Jack Rose, or James Blackshaw.

File Under: Guitar, Psych, Folk
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arcticArctic Monkeys: Tranquility Base Hotel + Casino (Domino) LP
Arctic Monkeys return with their sixth album, entitled Tranquility Base Hotel & Casino. Produced by longtime collaborator James Ford and frontman Alex Turner, the highly anticipated 11-track effort was recorded in Los Angeles, Paris and London. Their first release since 2013’s massively successful AM finds the band intent on continuing to explore new musical terrain with each album. Tranquility Base Hotel & Casino ups the ante in a big way; it is a bold and brilliant album reflecting Turner’s ever more comprehensive creative vision. LP includes the album on 180 gram heavyweight vinyl housed in a gatefold sleeve; a 16 page booklet; and a download card.

File Under: Indie Rock
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ben

Jorge Ben: Tropical (Oficial Arquivos) LP
In tomorrow… “One of Brazil’s greatest songwriters, Jorge Ben rarely dwelled on any particular musical style, even the ones he helped create. By the mid 1970s, Ben had already innovated several groundbreaking new twists on the classic samba sound, in the process creating many tunes that became epoch-defining hits for South America’s biggest country — not to mention the world at large. For 1977’s Tropical, he made the controversial decision to rework an album’s worth of his most beloved songs in the new, disco and funk influenced Afro-Samba style he was exploring at the time. As a result, classics like ‘Chove Chuva,’ ‘Taj Mahal,’ and ‘Mas Que Nada’ get polished updates, alongside deeper rarities like ‘Georgia’and ‘Jesus de Praga,’ making Tropical a sensual, sultry counterpoint to other Jorge Ben collections.”

File Under: Brasil, Samba
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bodyThe Body: I Have Fought Against It… (Thrill Jockey) LP
With each release, the duo of Lee Buford and Chip King continue to defy the constraints of what it means to be a “heavy” band, seamlessly combining composition or production approaches from hip hop, pop, classical, as well as rock and electronica resulting in a rich and utterly singular sound. On I Have Fought Against It, But I Can’t Any Longer The Body challenged themselves again by turning their compositional approach on its head, choosing to build the record on their own samples rather than recording the basic tracks of drums and guitars and processing those. The results carry the listener towards the brink of emotional and musical extremes. I Have Fought Against It… conjures the sublime from an unexpected and incomparable variety of sounds. The Body are known for their intense, abrasive live shows, whose waves of dissonance create an abiding dread or an overwhelming sense of terror. They create a volume of sound almost unfathomable from a duo and are unaffected by instrument choice: guitar and drums, or keyboard and synthesizers. Inventive producers, the duo expand their recorded sound palate with regular contributions from the likes of Chrissy Wolpert (Assembly of Light Choir), and Ben Eberle (Sandworm), arranged with help of longtime engineers Seth Manchester and Keith Souza (Machines With Magnets). Wolpert’s ethereal calls and Eberle’s vicious growl are augmented by Lingua Ignota’s Kristin Hayter, whose impassioned voice features on the viscerally emotional “Nothing Stirs.” On “Sickly Heart Of Sand,” vocal trade-offs between King and Hayter’s are punctuated with the howls of Uniform’s Michael Berdan. With The Body’s keen sense of balance, the ferociousness of these extreme performances are underpinned by the elegance of string swells and pensive, even melodies from a lone piano. For The Body, any source of inspiration is fair game to achieve their distinct atmosphere of unbearable dread, pain, and sadness. “Partly Alive” places rolling drum figures, commonly found in pop, and transforms them with a backdrop of horns, skittering synthetic hi hats, and pitched feedback. The oppressive groove of “An Urn” pulls beat arrangement and melodic ideas from disparate electronic influences. Their eclectic sampling choices are both musical and literary from singjay star Eek-A-Mouse to a reading of Bohumil Hrabal to the Clarice Lispector quote on the album’s artwork and beyond. The album title, an excerpt of Virginia Woolf’s suicide letter, is an apt moniker for the pervasive themes of loss, desperation and loneliness throughout. Carefully selected samples and literary references bolster the album’s emotional heft. I Have Fought Against It, But I Can’t Any Longer proves how truly adventurous and diverse a creative force The Body has become. The Body continue to push the boundaries and definition of what is heavy music, their ingenuity unparalleled.

File Under: Metal
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boli

Boli Group: NPDS (Posh Isolation) LP
Boli Group is a new ensemble spearheaded by Copenhagen-based composer and producer Asger Hartvig. Responsible for some of the most fearless and intriguing works to come from the city in recent years, Hartvig is as imposing as he is mysterious, and his debut release for Posh Isolation makes no concessions. Hartvig is perhaps best known for his work with the group Synd Og Skam. And though less known, Brynje 1&2 is just as exceptional. Taking both technology and classicism as allegories, each group charts routes in and out of pop music, somehow arriving at an observer’s distance to the distinct stylistic choices in the process. The label Visage has published the best of this, and the logic has certainly been carried into Boli Group LP, the latest offering from Hartvig and his distinguished ensemble of Nina Cristante, Holger Hartvig, Thea Thorborg, and Cæcilie Trier. N.P.D.S. is willingly dramatic, though it never plateaus into melancholia. Hartvig pirouettes at the edge with the sorrowful string arrangements and the pristine timbre of the piano, the immediacy of the acoustics always binding the listener tightly to the risk. Pastoral and meditative, the electronics don’t tamper with the delicate fabric being woven. They always register as supportive and understated. The synthetic hum, occasionally yielding a doleful melody as it does, manages to imbue a naiveté to this contemporary and subtly idiosyncratic chamber music. The album’s secret, barely kept through the minimalism, is its distinct folk noir quality in holding it.

File Under: Experimental, Chamber
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juri

Juri Camisasca: Evoluzione Interiore (Black Sweat) LP
Four long and vaporous unreleased tracks that document the Juri Camisasca’s first mystical afflatus, bringing to light the moments of “collective meditation” of some events in 1978, including the recordings drawn from the exhibition “L’evoluzione interiore dell’Uomo”, which took place at the Villa Reale in Monza. After his participation in the Telaio Magnetico project in 1975, and in parallel to his contribution in works like Franco Battiato’s Juke Box (1978) and Lino Capra Vaccina’s Antico Adagio (1978), and in Raul Lovisoni and Francesco Messina’s Prati Bagnati Del Monte Analogo (1979), a more general syntony of Camisasca for different aspects of Eastern philosophies seemed to conceive his first personal form of music as a “celestial ocean” in which to break the eternal divine love. The mantra nature of deep drones of a natural reverberated harmonium literally introduce you to another level of consciousness; harmonic chants of dhrupad inspiration expanding the ethereal voice in the transcendental plot of all, while Roberto Mazza’s oboe intervenes to paint this perfect osmotic sound echoing motifs of ancient medieval saltarello. For Camisasca, “the vibration of sound is something primordial which contains the mystery of creation”; and in this sense “the musician is a medium through which the Nature is expressed”. This makes Evoluzione Interiore an intense minimalist work where singing generates a universal and archetypical spiral of purity and candor that suggests the Pandit Pran Nath’s lesson as well as dialogues in concept with the mutability flux of seminal works as Terry Riley’s Persian Surgery Dervishes (1972), Peter Michael Hamel’s The Voice of Silence (1973) and Nada (1977), or with research on the overtones as that of Roberto Laneri’s Prima Materia. Includes liner notes with archival photos.

File Under: Experimental, Drone
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caretaker4

The Caretaker: Everywhere at the End of Time Stage 4 (History Always Favours the Winners) LP
In tomorrow… The Caretaker slips beyond recognition in the first “post awareness” stage of Everywhere At The End Of Time. The ability to recall singular memories gives way to confusions and horror. It’s the beginning of an eventual process where all memories begin to become more fluid through entanglements, repetition, and rupture. Though the metaphoric device of worn-down ballroom 78s and Jack Nicholson’s descent into madness in The Shining (1980), The Caretaker connotes the transitory cognitive breakdown of moderate into severe late stage dementia. Memories of the good times are recollected in glitching pyknoleptic flashes as the music struggles to follow consistent lines of thought, instead fluctuating between a fractured mosaic of ideas and elusive emotive gestures, but still occasionally able to gather coherent thoughts. In aesthetic, the sieve-like mind state of Stage 4 vacillates a serene sort of psychedelia with utterly paranoid and petrifying mental subsidence. Smudged traces of sublimated musical hall memories give way to shocking tracts of atonality and discord with runaway rhythmic logic, perpetually tumbling farther into states of mind perhaps best compared with K-Hole-like dimensions or the babble of after-hours psychonautic journeys. The concision of previous stages is here replaced with wandering, side-long tracts. Three of those are titled “Post Awareness Confusions” and correspondingly explore and reflect agitated, irritable mindsets as they navigate an ephemeral, confusing complexity of structures. The other piece is called “Temporary Bliss State” and starkly contrasts the other parts in a coherently lush traverse of ambient crackle and glittering melody… Artwork by Ivan Seal. Mastered and cut by Lupo. Double-LP comes in gatefold sleeve.

File Under: Ambient, Ballroom
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chains

Chaines: The King (Slip) LP
The King is a remarkably absorbing collection of abstract torch songs by Cee Haines, aka Chaines, a Manchester-based artist in possession of a starkly singular sonic language, who has collaborated extensively with the London Contemporary Orchestra and had their work performed at The Roundhouse, Union Chapel, Printworks, and Tate Modern. Leading a thematic expansion of Chaines’s OST (2015), their second solo release yields a phantasmic and richly evocative soundtrack-esque series of works written over the past three years, including exclusive versions of their commissions by the London Contemporary Orchestra and Union Chapel, all serving to frame an intimate yet beautifully elusive portrait of a unique artist coming into their own. In eight parts, Chaines draws a mercurial line that connects the almost bestial intimacy of purring strings and whispered vocals in “For Your Own Good” to something like Scott Walker-invoking-Fantasia in “Eraserhead”, conjuring a mutably surreal and mystic atmosphere that keeps listeners teetering between knife-edge suspense and sublime relief as they scale from delectably detailed avant-garde psychedelia in “Knockturning” to a bout of Grouper-as-spectral-jazz diva styles of Population 5120, and all in a way that makes the exploded hyaline castles in the sky dimensions of Airship seem totally feasible next to the cavernous avant-techno impulses of Carpathia. Never following a linear path, Chaines is as likely to incorporate doom-laced chamber motifs and asymmetric techno rhythms as operatic vocals and microscopic sounds, always with a sensitivity to the metaphysics of space and spirit which coolly sets their work apart. Held up beside Slip’s celebrated recent releases, Chaines find themselves amid exemplary, boundary-morphing company, whose diversity finds a common strength in the will to express something of a pathos beyond easy comprehension, yet which can be felt and understood immediately and instinctively by anyone with an open mind and a thirst for the new. Artwork by Chaines. Mastered by Giuseppe Ielasi.

File Under: Electronic, Experimental
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deuterDeuter: Princess of Dawn (Black Sweat) LP
Private press library recordings of the early ’70s. Together with Florian Fricke and Peter Michael Hamel, Deuter is certainly mainly responsible for the fruitful encounters between European sensibility and Eastern aesthetics in the German music of the 1970s. Soundtrack was originally produced by Kuckuck in 1973 not for an official and public release, but as a “library” recording to be used for films, TV, and radio. As a library recording. it respects the canonical and typological structure of the genre with 26 short sonic fragments, sequences imagined and conceived like fulminating illuminations. There’s still a solid electronic vocation that, however, has put aside the most disruptive effluvia of D (1971) of pure “kraut” ancestry. In fact, the album is more like an ideal passing bridge between some ritual instances of the previous Aum (1972) and the following successful phase of Deuter during the period when he stays in the Bhagwan Shree Rajneesh’s ashram in Poona realizing, in parallel to a renewed inner life, masterpieces like Celebration (1976), Haleakala (1978), Ecstasy (1979), and Silence Is The Answer (1981). Musically speaking, Soundtrack presents itself as a heterogeneous work with nocturnal, cinematic, galactic and atmospheric-environmental implications. Electronics remains the predominant factor but can vary from mantra drones of more ceremonial and meditative “space-relax” tones of some tracks (“Triad”, “Deep Sea”, “Gothic Velvet”, or “Evening”) to the most amused formulations of pulsating analog synths that in the hands of Deuter become “toy-equipment” to modulate and explore (“Desert Rock”, “Synth Effect”, “Flea Dance”, or “Laser”). There is no lack of acoustic moments more ethnically inspired with Arabian and Indian (“Reed”, “Arabia”) or devotionally solar themes (“Tom Bombaddils Dance”), evoking an air of diffuse peace then completely conquered in the beloved India.

File Under: Ambient, New Age, Library
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distant

Distant Animals: Lines (Hallow Ground) LP
Distant Animals is the artistic output of Daniel Alexander Hignell, a researcher and sound, video, and performance artist from England. He has recorded, written, performed, and researched numerous socially-oriented sound works across Europe, often choosing to work with a diverse range of collaborators, including visual artists, choreographers, theologians, lawyers, and political activists. Drawing upon the works of La Monte Young, Morton Feldman, Eleh, and Mauricio Kagel, Lines employs a highly conceptual approach to its genre, incorporating the notion of the drone as both a compositional method, a spiritual approach, and a participatory tool for engaging its audience. The album contains a pack of four postcards, documenting a land-art intervention undertaken during the creation of the score. Included in each pack is an individually hand-stamped and numbered print, created by artist Layla Tully. 180 gram vinyl.

File Under: Ambient, Drone, Minimalism
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dwarfs

Dwarfs of East Agouza: Rats Don’t Eat Synthesizers (Akuphone) LP
Akuphone in collaboration with Annihaya present Rats Don’t Eat Synthesizers, the long-awaited second album by The Dwarfs Of East Agouza. Hailing from the Agouza district of Cairo, Egypt, this brilliant trio consists of Alan Bishop (acoustic bass, alto sax), Maurice Louca (keyboards, drum machine), and Sam Shalabi (electric guitar). Following their acclaimed first album Bes, this new full-length is composed of two hypnotic journeys: “Rats Don’t Eat Synthesizers” and “Ringa Mask Koshary” which were recorded in Cairo in September of 2015. Mesmerizing electric guitar parts, frenetic beats, both supported by the deep sound of Alan’s acoustic bass create a new magical Egyptian soundscape. LP comes in a beautiful hot-foil stamped sleeve that magnifies the red metallic rats and a wonderful printed inner sleeve; Includes download code. 33 RPM. Edition of 1000.

File Under: Jazz, Egypt, Sun City Girls
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emoElectronic Modular Orchestra: s/t (Soave) LP
Electronic Modular Orchestra: from Neil Young to Stravinsky. Curiosity is the element that allowed the birth of this project. Gabriele Bombardini, Nicola Peruch, Matteo Scaioli, and Max Vicinelli are musicians who have decades of experience in all fields of music. The desire to combine seemingly distant sounds such as the use of old analog synthesizers, a pedal steel that recalls the American folk tradition, and the modular synthesis that leads back to the so-called concrete musical research, was the challenge to face. Freedom of expression, contemporary quotations, improvisation, Stravinsky, Bartok, Reich, psychedelic rock, jazz, all that is musical emotion is taken as a stimulus for this research.

File Under: Electronic, Experimental
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floresMiguel Flores: Primitivo (Buh) LP
In tomorrow… Miguel Flores is, alongside musicians such as Arturo Ruiz Del Pozo, Luis David Aguilar, or Manongo Mujica, one of the most important representatives of that period that spans from mid-70s to mid-80s, when experimenting musically in Peru united modern composing techniques of avant-garde music and the search of the sounds of mother land. A drummer turned into a multi instrument player, who began by playing rock from mid ’60s on, with groups such as The Loop’s, Thee Image, and most pointedly with PAX, iconic hard rock band of the ’70s, Miguel Flores tackled Peruvian folk music by 1974 with his group Ave Acustica, which included non-conventional musical techniques into their performances. Those were times when folk music was widely promoted, as a consequence of the policies of Juan Velasco Alvarado’s nationalistic policies. The appearance of the Talleres de la Canción Popular, headed by Celso Garrido Lecca, in 1974, was decisive to brood a new generation of folk and new song groups. In this environment, and after leaving PAX, Miguel Flores goes deep into his interests in folk and sound experiments as well as free jazz, his attempts to fuse what was considered could not be fused, being rejected by all sides equally. Upon his return to Lima, after an intense tour to Japan in 1980, Miguel Flores was commissioned by choreographer Luciana Proaño to write the score for her new contemporary performance Mitos Y Mujeres. Miguel Flores called Corina Bartra, Arturo De La Cruz, Manuel Miranda, and Aberlardo Oquendo to play the music which brought together folklore and psychedelia, free jazz, electronics, tribal music and ashaninka chants. A hypnotic sound stretches a bridge between ancient and avant-garde, the spirit of psychedelic rock, free jazz and pure sound experimentation. The studio recording of what was the score for Mitos Y Mujeres was kept away for more than 30 years. Now finally has its first edition on LP. This LP is part of Buh Records’ Sounds Essentials Collection, curated by Luis Alvarado.

File Under: Experimental, World, Improv

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jelinek

Jan Jelinek & Computer Soup: Improvisations & Edits (Faitiche) LP
Faitiche present the first vinyl issue of Improvisations And Edits, Tokyo 26.09.2001, originally released on CD in 2002 on Soup-Disk. Jan Jelinek and the Japanese trio Computer Soup (Satoru Hori – trumpet; Osamu Okubo – toys and electronics; Kei Ikeda – toys and electronics) present eight tracks, all recorded one afternoon in the trio’s living room in Tokyo. They are excerpts from a joint group improvisation that subsequently underwent rudimentary editing, on which Jelinek and Computer Soup worked separately. Jelinek met the three musicians at his first concert in Japan in 2001, at Tokyo’s Yellow club, where Computer Soup performed as the support act. Delighted by their free improvisation on pocket-sized electronic toys, trumpet, and oscillators, he arranged to meet Hori, Okubo, and Ikeda a few days later for a session at their apartment. The resulting three-hour recording formed the basis for Improvisations And Edits. A few days later, Jelinek returned to Berlin. Over the following months, they separately chose passages from the recording that were then edited and assembled into an album. Formed in Tokyo in 1996 as a quintet (including Shusaku Hariya and Daisuke Oishi), Computer Soup began by performing with acoustic instruments on the streets of Shibuya. Ikeda und Okubo soon switched instruments, and from then on, the group’s minimalistic but densely woven sound was defined by electronic toys, oscillators and Satoru Hori’s trumpet. Includes download code; Edition of 500.

File Under: Electronic
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jelinek1

Jan Jelinek: Zwischen (Faitiche) LP
Faitiche release a short version of the radio play Zwischen (German for “between”). Devised and produced by Jan Jelinek for German public broadcaster SWR2, Zwischen brings together twelve sound poetry collages using interview answers by public figures. Each collage consists of the brief moments between the spoken words: silences, pauses for breath, and hesitations in which the interviewees utter non-semantic sound particles. These voice collages also control a synthesizer, creating electronic sounds that overlay and merge with the voices to make twelve acoustic structures. We all know the speaker’s fate: you falter, you mispronounce, there are breaks, silences, and false starts. This results in delays, a language noise compared by Roland Barthes to the knocks made by a malfunctioning motor. Such gaps can be disconcerting, standing as they do for a failure of the speaker’s rhetorical skills. But what happens when they become a constitutive, poetic factor? Zwischen consists of twelve answers to twelve questions. The answers were all recorded in interview situations. From the speech of the interviewees — all eloquent public figures — the pauses are extracted and edited together. The result is a series of sound collages of silence. But this silence is deceptive, as it is only meaning that falls silent. What remains audible is an archaic body language: modes of breathing, planning phases, seething word particles in search of sense that can break out into onomatopoeic tumult or drift off into sonorous noise. In a further step, each of the twelve collages controls a modular synthesizer via its amplitude and frequency. Supposedly defective speech acts conduct synthetic sounds and the speakers regain their composure — not via the spoken word, but through sound. The opening questions in the various interviews are answered by: Alice Schwarzer, John Cage, Hubert Fichte, Slavoj Zizek, Joseph Beuys, Lady Gaga, Ernst Jandl, Karlheinz Stockhausen, Marcel Duchamp, Friederike Mayröcker, Yoko Ono, and Max Ernst. Jelinek extends his thanks to Frank Halbig and SWR2. Includes download code; Edition of 500.

File Under: Electronic
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ragnar

Ragnar Johnson: Crying Bamboos (Idealogic Organ) LP
In tomorrow… Crying Bamboos is a translation of the pidgin description of the sound of sacred flutes: “Mambu i cry, i cry, i cry”. Sacred flutes are blown to make the cries of spirits by adult men in the Madang region of Papua New Guinea. Pairs of long bamboo male and female flutes are played for ceremonies in the coastal villages near the Ramu River. There are seven male initiation flute cries from Bosmun, four flute cries from Bak: Borai with occasional single garamut percussion and two flute cries from Kaean, one with vocals and hand drums. The flute players were of the last generation to have learned this skill during a complete cycle of male initiation. These previously unreleased recordings were made by Ragnar Johnson in 1979. Notes by Ragnar Johnson and Jessica Mayer; Photographs by Ragnar Johnson. Tape to digital transfer and mastering by Dave Hunt at Dave Hunt Audio, London; Cut by Rashad Becker at Dubplates and Mastering, Berlin.

File Under: World, Field Recordings
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ken

Sugai Ken: Tele-n-Tech-Da (Discrepant) LP
Japanese artist Sugai Ken presents a kaleidoscopic radio play inspired by the traditional Japanese art of Mingei. In Sugai Ken’s own words: “In recent years I have been researching old Japanese culture and customs in order to deepen my musical production. I am still excited to find that there are many untouched roots yet to be discovered which only motivates me to pursuit my research further. As I dig deeper, I’m always struck with the general idea that ‘everything has its own ground’, otherwise known as rigid ideas and concepts. Indeed, it is important to have a clear ground to explore things from. Especially as our times are overloaded with too much information, things which are spoon fed to us will always be short lived, so for me it becomes a case of those rigid ideas becoming less flexible. One of the many benefits of computer music is being able to separate it from history/traditions and allowing you to simply enjoy mixing sounds and concepts, regardless of its original meaning. By being free from ‘having to’ make sense we can make creation much more enjoyable. When I made this album I put my priority in freedom, rather than being stuck with those rigid ideas and concepts. This way I could really enjoy and get deep into the ‘mixology’ of it all. Like my other works, Japanese is always a fundamental motif and I envision it like an imaginary radio drama by adding spontaneous dialogs throughout. I will be happy if listeners pay attention to these (and other) details and enjoy listening to my work.” Artwork by Evan Crankshaw. Mastered and cut by Rashad Becker. Edition of 500.

File Under: Electronic
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C0261EP_PROD

Will Long/DJ Sprinkles: Purple/Blue (Comatonse) 2LP
We live in an era when “change” is a soundbite to sell more of the same old ideas, and “revolution” has more to do with social trends than social change. Will Long’s deep house debut on Terre Thaemlitz’s Comatonse Recordings examines that pack of lies dubbed “change” from the sweaty dancefloor, sounding the aftermath of failure around attempts at equality in “progressive” societies. Made with a simple setup of rhythm composer percussion, polyphonic synth chords, and rack sampler vocals, these tracks have a minimal rawness that contends we’ve been wrong the whole time about how far the US — and the world — has come. Although they are sonically unlike anything Long has produced as Celer or his other aliases for minimal and ambient experimental audio, they share a stripped-yet-full sound that reacts against overproduction — within the dance music industry, and societies at large. DJ Sprinkles’ overdubbed contributions quite literally and psycho-acoustically resonate that intention, tactfully rending a farther, lush physicality and soulfulness through deftly applied daubs of glutinous sub-bass pressure, airy strings, and subtly shimmering FX, really bringing Long’s tracks to life in a whole other dimension; and via disciplined, stripped-down, full-bodied production values that rank as perhaps the deepest productions yet in the Sprinkles’ canon. They could be taken as a call for humbleness and meditative efficiency over cliched buildups and preening vanities, perhaps a comment on “deep” house as the equivalent of a fresh tattoo or sweatshop t-shirt slogan. Because, you know, it really does stand for a lot more. Tsuji Aiko has provided illustrations of the activists sampled featured on the front and back covers. Mastered by Terre Thaemlitz, cut by Dubplates & Mastering.

File Under: House, Electronic
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C0262EP_PROD

Will Long/DJ Sprinkles: Mint/Clay (Comatonse) LP
You may still be dazed from the first volume (C 026-1EP), but Will Long and DJ Sprinkles have already cued up their second session, with Mint / Clay landing on Terre Thaemlitz’s Comatonse Recordings. The format and aesthetic remains the same as Purple / Blue, namely two raw pieces by Will Long, backed with overdubs by Sprinkles, amounting to the deepest house this side of Larry Heard’s nuclear love bunker, all subtly executed and held up as a comparison to the aesthetics and intentions (or, ironically, the excess and lack of) of that sound in relief of current, conceptually-detached takes on the original, queer NYC deep house sound which Sprinkles was instrumental in shaping as a downtown DJ during that formative era. Again, Will Long, who’s best known for his experimental ambient work as Celer, proves that it ain’t what you’ve got but what you know and can do with it that matters. “Under-Currents” places sparing samples of T.R.M. Howard — a mentor of Jesse Jackson and founder of Mississippi’s Regional Council of Negro Leadership — amidst a dream sequence of carbonated hi-hats and lingering chords urged by a plump bass drum, whilst “Get In & Stay In” nods to civil right activist and current Georgia congressional representative John Lewis in a lush haze of crepuscular chromatics and loping swing. DJ Sprinkles goes on to contribute another pair of incredible overdubs, lending Long’s minimal elements a richer, fleshlier feel, whether with additional breakbeats, or nimbly lowering the bass and layering up spirited flutes and Rhodes. Quite crucially, the concept never gets in the way of the music, perfectly demonstrating the symbiotic nature of the music and politics in the way they most likely intended, especially for the DJs, dancers, and promoters who act as gatekeepers for this music. Tsuji Aiko has provided illustrations of the activists sampled featured on the front and back covers. Mastered by Terre Thaemlitz, cut by Dubplates & Mastering.

File Under: House, Electronic
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C0263EP_PROD

Will Long/DJ Sprinkles: Yellow/ Ivory/ Rust (Comatonse) 3LP
Will Long X DJ Sprinkles’ journey to the heart of deep house culminates in the third and final volume in a series of three, offering the broadest yet most subtle, spine-tingling session of the lot, presenting the former’s raw and ‘floor-ready originals backed by the latter’s inimitably sumptuous overdubs. Conceptually rooted in the queer, black politics of NYC’s late ’80s and early ’90s house scene — where Terre Thaemlitz cut her teeth as DJ Sprinkles — the series can be viewed as a vital reminder of that scene’s original values and sense of social democracy, especially when contrasted with the glut of contemporary, commodified representations of that music which sorely miss the mark, or weren’t even aware of the scene’s provenance to begin with. Make no mistake, though; this is no lecture or snub at younger producers making deep house. Rather, it is evidence of the original form’s latent potential to still generate rare, precious feelings which have been lost or glossed over with subsequent, detached and over-produced translations of its original syntax and intent. “Deep” is the key word here on many levels, from their poignant use of historical samples by civil rights pioneers Bayard Rustin, Jesse Jackson, and Kathleen Cleaver, to the unfiltered innocence of Will Long’s productions and Sprinkles’ corresponding, pensile overdubs, which make utterly incredible use of the frequency spectrum to reveal acres of space in the upper registers and, on the other hand, an honestly breathtaking application of layered sub-bass tones that are just impossible to describe. This one’s a little bit special… Mastered by Terre Thaemlitz, cut by Dubplates & Mastering.

File Under: House, Electronic
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malone

Kali Malone: Cast of Mind (Hallow Ground) LP
Kali Malone’s sophomore LP Cast of Mind investigates the use of harmony as a force of psychological impact through the exclusive use of the Buchla 200 synthesizer in combination with acoustic woodwind and brass instruments. The record begins as a cascade of battle calls from the wind instruments that shift between triumphant and anguished howls. While the other pieces pull from the septimal harmonic framework of the title track, they extract a more confined palette to depict their sonic identities indicated by the song titles. “Bondage To Formula” weaves synthesis, trombone, and bass clarinet in a delicate pattern, conjuring an ambiguous assimilation of the acoustic and synthetic. Dominated by columns of sawtooth waveforms, “Arched In Hysteria” unravels as a sharp and sober harmony perched on the border of violence, ringing in paranoia amongst a foundation of low beating oscillators. The record concludes in the rapture of “Empty The Belief”, swollen with undulating bassoon striving to intonate to the towering stability of machine-generated harmony. 180 gram vinyl.

File Under: Ambient, Drone
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blackpantheOST: Black Panther (Interscope) LP
In tomorrow… Marvel Studios’ Black Panther follows T’Challa who, after the death of his father, the King of Wakanda, returns home to the isolated, technologically advanced African nation to succeed to the throne and take his rightful place as king. But when a powerful old enemy reappears, T’Challa’s mettle as king – and Black Panther  – is tested when he is drawn into a formidable conflict that puts the fate of Wakanda and the entire world at risk. Faced with treachery and danger, the young king must rally his allies and release the full power of Black Panther to defeat his foes and secure the safety of his people and their way of life. Kendrick Lamar curated and produced the soundtrack album to Black Panther along with Anthony ‘Top Dawg’ Tiffith. In addition to the previously released “All the Stars” and “King’s Dead,” Black Panther The Album: Music From and Inspired By includes three more new songs with Lamar’s involvement: “Black Panther,” “Big Shot” (with Travis Scott), and “Pray For Me” (with The Weeknd). Other notable contributors include SZA, James Blake, Ab-Soul, Anderson .Paak, Vince Staples, Swae Lee, Schoolboy Q, 2 Chainz, Khalid, Future, Zacari and Mozzy among others. “Marvel Studios’ Black Panther is amazing, from its cast to its director,” Kendrick Lamar said. “The magnitude of this film showcases a great marriage of art and culture. I’m truly honored to contribute my knowledge of producing sound and writing music alongside [director] Ryan [Coogler] and Marvel’s vision.”

File Under: Hip Hop, OST
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palmPalm Unit: Hommage a Jef Gilson (Super Sonic Jazz) LP
Back in the day, French pianist, composer and all-round jazz superstar Jean-François Quiévreux, aka Jef Gilson, was up there alongside the likes of peers John Coltrane, Oscar Peterson, and Sun Ra. In a fitting homage to the decades-worth of sublime music, and his sad passing away in 2012, French quarter Palm Unit present a lively, honest tribute, upbeat, and contemporary re-interpretative vision of his legacy. Gilson has been noted for changing the face of bebop with free-jazz and Afro. Along the way, his big band featured the likes of Lloyd Miler, Bill Coleman, Michel Portal, and others. With his own recording studio and label Palm Records, Gilson released music from greats including Byard Lancaster, David S. Ware, François Jeanneau, and more. He also helped embed a more ethno style to the world of jazz, inspired by his visits to Madagascar, which resulted in the famous Malagasy jazz albums. Palm Unit, a wildly eclectic super-group of jazz greats, includes uKanDanZ’s saxophonist Lionel Martin, keyboardist Fred Escoffier from Le Sacre du Tympan, drummer Philippe ‘Pipon’ Garcia whose mostly known from his worth with the Erik Truffaz Quartet, and special guest Del Rabenja — who played alongside Gilson in Malagasy — on the Madagascar valiha harp. Palm Unit plays Gilson’s repertoire without any a priori, in a totally complex-free manner, reinventing it whilst preserving its original essence. The keyboards sound almost psychedelic (and often not that far from the style of Eddy Louiss on Jef Gilson’s ’60s albums), the sax scratches, mews, and wails, whilst the drums make the whole thing swing. Even Del Rabenja was surprised to rediscover the songs still sounding so modern, decades after they were created.

File Under: Jazz
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reuben

Reuben & The Dark: Arms of a Dream (Arts & Crafts) LP
In tomorrow… Reuben and the Dark’s sophomore album, Arms of a Dream, features the spirited folk outfit’s most vivid and enveloping music to date. Led by songwriter and vocalist Reuben Bullock, the album’s eleven songs explore the inversion of imagination and reality in the light of dreams. This is Reuben and the Dark at its most empowered, both heartened and broken-hearted, tracking a sound as momentous as the determination within. Produced by Stephen “Koz” Kozmeniuk, Adrianne “AG” Gonzalez and Graham Lessard, and mixed by Matty Green, Arms of a Dream pushes powerful imagery and lush sonic detail to the forefront. Where Funeral Sky, their stunning 2014 debut, lavished in low fidelity, the new album is a high definition dream.

File Under: Indie Rock
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ruizArturo Ruiz Del Pozo: Native Compositions (Buh) LP
In tomorrow… By the end of the 1970s, a new generation of musicians who brought together ancestral and forefront, became visible in Lima as they searched for native sounds and the new tools of technology. Amongst them, we find Arturo Ruiz Del Pozo, composer who studied with Edgar Valcárcel. After studying at the National Conservatory in Lima he traveled to London in 1976 to register himself at the Royal College of Music where he took a master’s degree in electronic composition. Ruiz Del Pozo had left Lima with a bag full of Peruvian native instruments with the idea of utilizing them in his future compositions. In London he was taught by Lawrence Casserly, one the prominent figures of Britain’s electro acoustic composition; a musician who was fascinated by the interaction of instruments and electronic media way back from the times of his fundamental audiovisual experimentation group Hydra. Ruiz del Pozo utilized a series of concrete music resources learnt from Casserly. Based on sounds that came from native instruments and diverse manipulations to which these sounds were subject of, he obtained textures and sonorities, which, at the same time they invoked rituals, they opened a new field of experimentation; a collage of sounds of Andean reminiscence, echoes and abstractions, which will entrance you an unprecedented sound universe. These recordings were named Native Compositions (Composiciones Nativas) and they were released in a cassette tape format in 1984 by the author himself. More than 30 years later Buh Records rescued these recordings to inaugurate its Essential Sounds (Sonidos Esenciales) collection, dedicated to publishing strange and fascinating artifacts of Peruvian experimental music of this period, in a CD edition (2015), which was quickly sold out. Now the label presents its first release on vinyl.

File Under: Electronic, Musique Concrete
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seacakeSea & Cake: Any Day (Thrill Jockey) LP
The Sea And Cake deliver a refreshingly intimate collection of elegantly arranged, singular pop songs. For over two decades and 11 albums, The Sea And Cake have honed a sound all their own, comprised of delicate, intertwining guitar patterns, syncopated rhythms, and airy melodies. Masters of subtlety, their compositions have continually evolved – through minute alterations in texture, unusual approaches to lyrics, and creative production choices. Any Day is testament to The Sea And Cake’s artistry, song craft, and utterly unique sound. The results are intimate songs that speak to the searcher in all of us. Through shifting instrumentation and sonic exploration, the band invites you into a world that is both familiar and unexpected. Written and recorded following the departure of bassist Eric Claridge, Any Day is The Sea And Cake’s first album recorded as the trio of Sam Prekop, Archer Prewitt, and John McEntire. The compositions throughout Any Day, while intricate as ever, rarely employ synthesizers; opting instead for the more organic sounds of stacked guitars and organs. The band were joined on the title track by Paul Von Mertens (a frequent collaborator with Brian Wilson) on flute and clarinet; and Nick Macri on double bass. Prekop delivers some of the most vocal-centric songs in the band’s catalog. His words are chosen and placed for their sound and cumulative meaning. This poetic, painterly approach invites a myriad of lyrical interpretations. One can derive varied personal meanings from each song. The heart of the album’s instrumentation is Prewitt’s intriguing choice of guitar effects, sparingly used to enhance his counter melodies. The combinations create a wealth of textures from surprisingly few instruments. From the distant coos of “Starling” to string like swells of “Into Rain,” Prewitt’s contributions are potent. McEntire’s deft hands behind the drums, bass, and mixing board enliven the album’s minimal approach with a nimble shimmer just as exquisite as the more densely layered earlier albums. Any Day captures The Sea And Cake’s distinctive aural alchemy, melding longing melancholy with hopeful excitement. In other hands the combination seems impossible, but for The Sea And Cake, it’s effortless.

File Under: Indie Rock
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soulafricaHal Singer/Jef Gilson: Soul of Africa (Super Sonic Jazz) LP
Super-Sonic Jazz present a reissue of Hal Singer and Jef Gilson’s Soul Of Africa, originally released in 1974. Considered one of the most important Afro-Parisian jazz records of the ’70s, Soul Of Africa sees Texas tenor sax giant Hal Singer team up with French pianist Jef Gilson, and his Afrocentric, big jazz band. Originally released in 1974 on legendary French imprint French Le Chant Du Monde, and reissued in 2008 on Dutch imprint Kindred Spirits, Super-Sonic Jazz Records provides yet another opportunity to get ahold of this driving, testament to spiritual, ethno-jazz. Full of rhythmic modal jazz, Soul Of Africa plays off the talents of Singer and Gilson with great panache, all the while supported by the sublime percussive talents of Gilson’s finely directed band. During the ’60s, Gilson was equal to the likes of Miles Davis, and was responsible for unearthing the talent Henri Texier, one of jazz’s unrivaled, brilliant bass players. His music spanned various modes of jazz, and was recognized primarily for his Malagasy works, inspired by his trips to Madagascar. Contemporary music fans will be familiar with his work, after a recent Four Tet project sampled, remixed, and compiled a selection of his work. Hal “Cornbread” Singer who, in his long career, played alongside Duke Ellington, Roy Eldridge, Billie Holiday, and far more, was a Mercury Records’ legend whose work with rhythm and blues, and jazz is unparalleled. Originally reissued by Dutchman Kees Heus, aka KC The Funkaholic, on his soulful, and eclectic imprint Kindred Spirits, this is another chance to get ahold of the classic release through his latest adventure, Super-Sonic Jazz. Running a parallel event at Amsterdam’s Paradiso club, Super-Sonic Jazz sets out to push the boundaries of music, through bringing together eclectic, and global rhythmic luminaries, with more contemporary, genre-agnostic musical forms. Comes in a heavyweight tip-on sleeve.

File Under: Jazz
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CREP054LP_CUTasos Stamou: Musique Con Crete (Discrepant) LP
Starting with an artist residency Tasos Stamou visited the Greek island over the course of three summers, collecting field recordings, performing with local musicians, producing electronic compositions and gathering old records and tapes of traditional music of the region. The project resulted in the assembling of a unique sound collage which reflects his personal experience as a music visitor to this part of the Mediterranean. Tasos Stamou is an electroacoustic music composer, performer, alternative music technologist, and tutor. During a decade of sound performances and recordings Tasos Stamou developed a unique style of live electroacoustic composition. Long and continuous pieces are created live using a “portable electroacoustic music studio”. His gear consists of acoustic (prepared strings, reeds, objects) and electronic instruments (handmade electronics, modular synthesizer systems soft synths). Based on sustained tonal textures and free improvised instrumental solos, his live compositions create a particular and unique atmosphere of ritual noise. Artwork by Tasos Stamou. Mastered by Rashad Becker. Edition of 300.

File Under: Electronic, Folk
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staplesVince Staples: Big Fish Theory (Def Jam) LP
In tomorrow… Vince Staples’ second studio album Big Fish Theory limited to 1,000 2-disc printed vinyl copies. With bass-heavy, Detroit techno-inspired production from Sophie, Justin Vernon, Flume, GTA + more and guest vocals from Kilo Kish, Kendrick Lamar, Juicy J, Ty Dolla Sign, Damon Albarn, Ray J + ASAP Rocky, Big Fish Theory features the singles BagBak, Big Fish + Rain Come Down. 2017, Def Jam.

File Under: Hip Hop
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sterile

Sterile Hand: s/t (Ecstatic) LP
Juan Mendez, aka Silent Servant, finds his ideal EBM vocal foil in Ori Ofir under their Sterile Hand moniker. The duo’s first vinyl round for Not Waving’s Ecstatic label is a dark and sleazy run of deviant industrial techno and pugilistic EBM cuts made over the last year. Following Silent Servant’s killer split 12″ with Not Waving and Pye Corner Audio in 2017, and two fierce 12″s with Marcel Dettmann and Phase Fatale in 2018, the L.A.-based artist behind Sandwell District and Jealous God is at the apex of his game right now, combining EBM and techno in faithful but inventive new ways. If there was anything previously missing from Silent Servant’s music, it’s only become apparent through the seamless and natural incorporation of Ori Ofir’s classic-styled but unique vocals. The two L.A.-based artists push each other down tightening alleys of EBM and industrial techno, with Ofir’s stark, blunted declamations haunting and highlighting the most fetid corners of Mendez’s rolled-steel productions.  It’s a style that works to cryptic, head-turning effect in the Voigt Kampff-like probe of “Personality Test”, then with increasing dancefloor force in the Nitzer Ebb-esquer flow of “The Hunter” and the punishing, gnashing bite of “Security”, whereas “Listen For Water” and the creeping figures of “Untitled” explore the esoteric powers and parameters of Sterile Hand in mesmerising psychoactive detail.

File Under: Electronic
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mississippi-tembo-chrisy-zebby-my-ancestors-lpChrissy Zebby Tembo & Ngozi Family: My Ancestors (Mississippi) LP
In tomorrow… “It could be argued that this is one of the greatest rock n’ roll records of all time! Straight from Zambia, we have My Ancestors. A tough rock and roll masterpiece like no other. Over-ridden fuzz guitars, pop melodies and even a Black Sabbathesque sounding song. Comes in an old school ‘tip on’ cover. Must be heard to be believed.”

File Under: Zamrock, Psych
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youn

Young Echo: s/t (Young Echo) LP
“Spread across two 180g discs, spanning 24 cuts and served in a gatefold sleeve designed by members and affiliates, the Young Echo LP is a capsule intended for cementation through time. It’s been almost five years since their last album. As a group, extended radio submissions, prolonged studio sessions and notorious club nights make up the cogs of time. Over the course of these years, the network has grown continually, both as one, and with singular, multi-directional paths from each of the 11 artists that make up the Young Echo collective, counting Jabu, Vessel, Kahn, Neek, Ishan Sound, Ossia, Manonmars, Bogues, Rider Shafique, Chester Giles and Jasmine towards the crew, with projects such as Bandulu, FuckPunk, O$VMV$M, Gorgon Sound and ASDA adding to the table in their individual ways. However, this record aims not to be judged on any single producer or vocalist. It is most effective as a whole, simply titled Young Echo. Of course each of the artists has an important part to play, but it is very much about the act of balance, accepting individualism to form a greater whole. A good example is the welcome addition of new energy coming from Jasmine (1/3 of Jabu) who injects endless space with her vocals, perfectly answered by the cool-killin’ wordplay of Manonmars — who makes his long awaited debut here — sharing stage with the immediate poetry of ASDA’s very own Chester Giles, along the mighty sound of Rider Shafique, and Bogues’ versatile style that can flit between rap & song within seconds. Five very different vocalists that could’ve tried to find a compromise, but instead choose to connect in different ways, finding their niche in the equal range of rhythms and sounds that sprawl in this shared space, the juxtaposition. Detuned soundsystem stylings, love songs swaying in hacked up ambience, skeletal dancehall, microphone technique, dread electronics, outsider pop, this record manifests the outcome of the shapeshifting anarchy which rears its head when no one idea can rule, embracing the diversities when one path must be made up of many.”

File Under: Electronic, Outsider, Experimental
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dutch waveVarious: Dutch Wave (Onderstroom) LP
The first chapter of Onderstroom digging into the history of Dutch minimal synth and wave. Who needs a big, expensive recording studio with all those fancy high-tech machines that only make your weary head spin when you can do it all by yourself at home in your (teenage) bedroom? Way back in the early eighties all you really needed was an idea, quite a bit of guts and some rudimentary equipment. You could basically do whatever you wanted. The means were limited, yet the sky was unbounded. It was the time of the Cold War nuclear threat, social unrest and mass unemployment but at the same time it was an era of infinite possibilities. The future was just around the corner. A lot of music that was being produced sounded just like that: a brave new world of sound and rhythm. Music was simply put on cheap cassettes, easily duplicated, and swiftly distributed in limited quantities into the big world outside. Tracks recorded in Amsterdam, Arnhem of Heiloo ended up in unimaginable destinations such as Brisbane or Buenos Aires. Prolific international underground scenes were informed of this new wave of Dutch electronic artists by means of word of mouth, fanzines, devoted underground tape traders, and sometimes that tiny bit of luck. As their predecessors of the (in)famous Dutch East-India Company (now cult) acts such as The Actor, Ende Shneafliet, Das Ding, Störung, S.M. Nurse, Nine Circles, Beatnik Love Affair, and Van Kaye + Ignit all explored their own paths. Some went straight into oblivion, others had a brief taste of modest upper-ground success. Mind: the names presented here are but the proverbial tip of the iceberg. Some of these early tapes became much sought-after collectors’ items; others gathered dust. The rest, well, is history. Now, decades upon decades later, Onderstroom digs again in history and surfaces with a selection of tracks that illustrate the rich past of electronic Holland. Call it minimal wave, synth-pop, or experimental electronics. Onderstroom call it the real Dutch treat. Features Nine Circles, Beatnik Love Affair, The Actor, Störung, Van Kaye + Ignit, S.M. Nurse, Ende Shneafliet, and Das Ding. Comes in a gatefold sleeve with metallic finishing; 180 gram vinyl.

File Under: Electronic, Minimal

tooslowVarious: Too Slow to Disco Brasil (How Do You Are) LP
In tomorrow… Too Slow to Disco take a dive into an often-overlooked side of Brazilian music: Brazilian soul, funk and AOR. The compiler of this Too Slow to Disco release, a giant of musical endeavor, is the young nephew of Brazil’s legendary soul icon Tim Maia, the “Colossus of Rio”, as he’s known: Ed Motta. At the end of the 1980s, Ed Motta burst upon the music scene as a major singer and one of the writers and producers in the band Conexão Japeri. He’s now fifteen albums into a career that hops from genre to genre, perhaps one of the savviest music makers and curators out there. He is a refined practitioner of jazz, funk, soul, AOR, and much else besides, having worked with everyone from Gilles Peterson to Roy Ayers, 4Hero, Seu Jorge, Patrice Rushen, Greg Phillinganes, Bo Diddley, Incognito, Ryuichi Sakamoto, and many other insanely talented musos. In this collector’s compilation, you’re coming on a kind of expert guided time travel mission — just picture yourself following Ed’s fingers as they trace along the sleeves in his massive library-sized vinyl vault. You’ll dart back through over two decades of music making, dancing in one style then the next from soul to funk to AOR, you’ll feel the air coming out of the horn section right the way through, and a mixologist’s golden touch tying everything together. The artists Ed has play-listed for you include über-obscure figures like Carlos Bivar or Gelson Oliveira & Luiz Ewerling — both of whose songs here derive from privately pressed albums — so rare they’re not even listed on Discogs! He’s also gathered together a real pantheon of Brazilian musical heroes like Rita Lee (who was part of Os Mutantes), Cassiano (one of the founders of Bossa Trio and Os Diagonais), and million sellers like Roupa Nova, lovingly referred to as “the Brazilian Toto”. And as ever with the Too Slow to Disco series, the artists might be new to you, but they’re always bringing a killer tune. Also features Filó Machado, Sandra De Sá, Altay Veloso, Junior Mendes, Don Beto, Lucia Turnbull, Guilherme Arantes, Biafra, Santa Cruz, Jane Duboc, Carlinhos e Soninha Queiroz, Zeca Do Trombone, Kiko Zambianchi, and Brylho.

File Under: Disco, Brasil, Slow Jamz

…..Restocks…..

Black Keys: El Camino (Nonesuch) LP
Black Keys: Attack & Release (Nonesuch) LP
Can: Tago Mago (Spoon) LP
Can: Soundtracks (Spoon) LP
Don Cherry: Complete Communion (Blue Note) LP
Elg: Vu Du Dome (Gravitas) LP
Brian Eno: Another Green World (Universal) LP
Grant Green: Idle Moments (Blue Note) LP
Johann Johannsson: Orphee (Deutsch Grammophon) LP
Kendrick Lamar: Damn (Aftermath) LP
Laraaji: Ambient 3 (Glitterbeat) LP
R.E.M.: Automatic For the People (Universal) LP
Andy Shauf: The Party (Arts & Crafts) LP
Horace Silver: Song For My Father (Blue Note) LP
Horace Silver: Cape Verdean Blues (Blue Note) LP
Soundgarden: Badmotorfinger (Universal) LP
Midori Takada: Through the Looking Glass (WRWTFWW) LP
Temple of the Dog: s/t (Universal) LP
Neil Young: Harvest (Reprise) LP
Various: Shaolin Soul 1 (Because) LP

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…..news letter #846 – may b…..

It seems so uneventful here now RSD out of the way. But we’re keeping busy! Lots of stuff being restocked. A bunch of new stuff. Buyin’ and pricing up used records. That new Sleep record shipped today, maybe it’ll show up tomorrow…. maybe… Come have a dig!

Also, next Friday, we have a little show going down… more details HERE

…..pick of the week…..

brown acid

Various: Brown Acid – The Sixth Trip (Riding Easy) LP
In tomorrow… Six volumes worth of licensed tracks released in just three years: doing the Dark Lord’s work isn’t an easy job, but somebody’s gotta do it, so here is Brown Acid – The Sixth Trip, with more lined up. The heads just can’t get enough obscure hard rock, heavy psych, and proto-metal from the late‘60s and ‘70s! This time around Riding Easy present ten deep cuts from across the continental USA and one from the neighbors up North. This trip kicks off with an outrageous number from Gold out of San Francisco circa 1970. The band used to open their sets with this over-the-top frantic jammer which is absolutely mind-blowing! Delving deeper into the depths, Canadians continue to prove that they could bang heads with the best of ‘em! Heat Exchange from Toronto released the rollicking ripper “Inferno” on the Yorkville label way back in 1968 and it’s still thumping almost fifty years later. Some more examples of the mind-melting tracks on this platter: Missouri isn’t a state that brought us a lot of heavy 45s, but there are a handful of outstanding tracks, one of which is the funk-laced anthem “Give Me Time” by Backwood Memory from Kansas City. Youngstown, Ohio, meanwhile, might have been the Hard Rock Mecca back in the day. Travis is yet another Youngstown group that aimed to get asses out of seats and out in the streets. Truth & Janey had their incredible proto-metal masterpiece 1976 album No Rest For The Wicked; released four years earlier, “Midnight Horseman” was a 45-only track, included here! Those are just some of the fruits of months worth of record digging and detective work included on this latest installment. This is the stuff that makes life worth living, at least until the next Trip…

File Under: Psych, Metal, Acid Rock
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…..new arrivals…..

arndells

Arndales: Shops (In The Red) LP
In tomorrow… Arndales hail from the Three Counties (Hertfordshire, Bedfordshire, Buckinghamshire) area of England, a hinterland bolted on to North London. Members of the band have also performed with Country Teasers, Art Brut, Collapsed Lung, Thrilled Skinny and others. They describe their music as “Three Counties Ug-Rock.” On their new album they have taken inspiration from the rich world of retail jargon. The main source of lyrical inspiration was a shared Google Doc where friends could deposit the latest nuggets of retail gobbledygook they’d heard at work. Opening track “Prestige Pricing” is named after the practice of deliberately inflating the price of a product to indicate it’s prestigious status. “Dark Store” takes its name from the customer-free supermarkets used to fulfill online shopping orders. Album closer “Theme from A Big 10-8 Place” is a cover of the Negativland song, transferring the narrative from the Bay Area to mid Bedfordshire, England.

File Under: Punk, Garage
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bpb

Bonnie ‘Prince’ Billy: Wolf of the Cosmos (Drag City) LP
“Sonata Mix Dwarf Cosmos by Susanna is a record that I’ve spent a lot of time with, and so this has been a long-imagined project, an attempt to understand or, better yet, experience the mysteries of that record. the lyrics are repetitive, almost like nursery rhymes for undead teenagers. Why is it so scary, why is it so sweet, why is it so comforting and disruptive at the same time. After Emmett and Cheyenne and I made Chijimi, I thought we were really onto something, and it felt like we’d made an ideal laboratory/process for reproducing the cosmos record. It’s taken a many years to get back into this lab, though. and I thought to expand the lab personnel by one, Chris Rodhaffer, would be a good way to fuck with the control.”

File Under: Folk
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cutworms

Cut Worms: Hollow Ground (Jagjaguwar) LP
Max Clarke has a knack for conjuring up warmth in his music, like endless summer or ageless youth. The 27-year-old’s debut LP, Hollow Ground, crackles with the heat of a love-struck nostalgia, woven together with a palpable Everly Brothers’ influence and retro sound. It reaches back into decades of plainspoken, unfussy, and squarely American storytelling and pulls it forth into 2018. Some of Hollow Ground bloomed from that same period of driven creativity that yielded his EP Alien Sunset; both “Like Going Down Sideways” and “Don’t Want To Say Good-Bye” find new life on the LP. The rest is new. There’s “Till Tomorrow Goes Away,” a sheepish love song, thrumming with twangy guitar and a two-step rhythm. “Cash For Gold” channels buoyancy; a doo-wop effect on the sleepy backing vocals build out the dreaminess of Clarke’s own affecting croon. Hollow Ground strikes the balance between cerebral and simplicity in his storytelling. His lyrics explore the raw realm of youth, its weightlessness and possibilities, but channeled through a lens of restraint. Someone who’s old enough to know better but still gets drawn back in to the romanticism of teenage feelings – and knows how to take the listener along, too.

File Under: Indie Rock
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drinks

Drinks: Hippo Lite (Drag City) LP
The latest from Cate Le Bon and Tim Presley as Drinks. “A month spent in an old mill in the under belly of France. River swimming thrice a day. Hot nights soundtracked by the rattle of randy frogs. Scorpion fear. In the sheets, on the face. Hours of bird watching—no phone service. No wifi. 3 DVDs. Jurassic Park 1, 2 & 3. Violin practice. Bread scoffing. Early morning coffee drinking before the sun was too hot to do anything but snooze in the thick walled house. Music in the afternoon after a dip in the river and a cold beer on the square. With all the ease and air needed, in this mysterious place, we made an album made for each other by one another with no hands, eyes or ears piercing the bubble other than our dear friend Steve who slid in under the door and took note of it all.”—Cate Le Bon

 File Under: Rock, Post Punk
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freak heat

Freak Heat Waves: Beyond XXXL (Telephone Explosion) LP
In the two years since their last release, Freak Heat Waves have continued a perpetual process of transformation. Shedding familiar influences from the heavily excavated histories of post-punk and krautrock, the band has now beamed into uncharted territory with the otherworldly sound of their third album, Beyond XXXL. Beyond XXXL is 11-song excursion, alien strains of synth-pop and glam-rock are sandblasted with smooth guitar solos, eerie electronics, and pulsating drum machines propelled into skull-shattering breakbeats. Deeply distorted vocals narrate the narcoleptic trip like a DJ Screw mixtape splicing together John Foxx, John Maus, and The Prodigy. The result is Freak Heat Waves’ most cohesive and captivating release to date, amplifying earlier melodic sensibilities while remaining singularly strange.

File Under: Post Punk
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ghastly

Ghastly: Death Velour (20 Buck Spin) LP
In tomorrow… While Finland’s Ghastly may be a new name to many, those who delve deeply enough into the death metal underworld, as 20 Buck Spin often does, will recall the band’s debut album Carrion Of Time released a few years back on cult tastemaker label Me Saco Un Ojo (Morbus Chron, Undergang, Phrenelith). A few years have passed and the band now resurfaces with their masterfully executed second album Death Velour. While there’s no question this is a pure death metal album, it could hardly be confused with most of the current bands making the rounds. The nightmarish hallucinatory sound Ghastly invokes conjures the horror of rotting in incomprehensible obscurity, passing into oblivion guided by a many-colored specter of strange origin across the Styx. An air of psych-induced weirdness and shrieking dread permeates the decomposed palette throughout the album’s cryptic duration. Like discovering a forgotten relic of mysterious brilliance from the early Finnish death metal scene, this album is a phantasm of blinding light onto the foreboding darkness of this mortal coil.

File Under: Metal
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grouper

Grouper: Grid of Points (Kranky) LP
In tomorrow… Not long after recording her tenth album Ruins, Liz Harris traveled to Wyoming to work on art and record music. She found herself drawn towards the pairing of skeletal piano phrasing with spare, rich bursts of vocal harmony. A series of stark songs emerged, minimal and vulnerable, woven with emotive silences. Inspired by “the idea that something is missing or cold,” the pieces float and fade like vignettes, implying as much as they reveal. She describes them as “small texts hanging in space,” impressions of mortality, melody, and the unseen—fleeting beauty, interrupted. Grid Of Points stands as a concise and potently poetic addition to the Grouper catalog. “Grid Of Points is a set of songs for piano and voice. I wrote these songs over a week and a half; they stopped abruptly when I was interrupted by a high fever. Though brief, it is complete. The intimacy and abbreviation of this music allude to an essence that the songs lyrics speak more directly of. The space left after matter has departed, a stage after the characters have gone, the hollow of some central column, missing.”  —Liz Harris

File Under: Ambient, Folk
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hopkins

Jon Hopkins: Singularity (Domino) LP
Jon Hopkins makes his long awaited return with Singularity, his first since the Mercury Prize-nominated 2013 breakthrough, Immunity. Singularity begins and ends on the same note: a universe beginning, expanding, and contracting towards the same infinitesimal point. Where Immunity charted the dark alternative reality of an epic night out, Singularity explores the dissonance between dystopian urbanity and the green forest. It’s a journey that returns to where it began – from the opening note of foreboding to the final sound of acceptance. Shaped by his experiences with meditation and trance states, the album flows seamlessly from rugged techno to transcendent choral music, from solo acoustic piano to psychedelic ambient. Its epic musical palette is visceral and emotionally honest: with a destructive opener full of industrial electronics and sonic claustrophobia and a redemptive, pure end on solo piano. Exploring the connectivity of the mind, sonics and the natural world, Singularity reflects the different psychological states Hopkins experienced while writing and recording. It’s a transformative trip of defiance from his initial sense of frustration at the state of the contemporary world to the ultimate conclusion that a true sense of peace and belonging can only come from nature. Singularity is intended to be listened to in one sitting, as a complete body of work.

File Under: Electronic
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iceage

Iceage: Beyondless (Matador) LP
Beyondless is the fourth LP from Iceage, produced by the band and Nis Bysted, recorded all-analog by Mattias Glavå at Kungsten Studios Göteberg, and mixed by Randall Dunn at Avast Studios Seattle. Pay attention to the journey, from New Brigade, a juvenile delinquent take on post-punk, full of cold, distant condemnation, and onto the ecstasy of You’re Nothing, shedding the more aggressive hardcore influence and dragging in more light, a tendency followed on Plowing Into The Field Of Love. The intoxication is consistent, this has always been drunk music, but it’s less a stumbling confusion and more a sturdy heartfelt confession with each record. They have finally caught up with their ambition here. Their entire charm has always rested in their running ahead of themselves with blind confidence, taunting you to follow and you follow because wherever they are going is vital, is alive; on Beyondless they are treading with an assurance that is disarming, but there is no loss of charm, you are arm in arm now, whispering intimacies. Intimacies that recall other intimacies: something must have happened when Iceage heard Gun Club’s Miami. Some traumatic event! A wild band has not been tamed, but is in repose, retaining an edge but expressing something less definite, something about hurt or longing or regret. Attention must be directed toward the brilliant lyricism on Beyondless. In the evocations of beauty in profane imagery, in the plumbing of the depths of betrayal and criminality, there are suggestions of Jean Genet and the disgraceful slurring of Leonard Cohen. Love’s Forever Changes is an appropriate reference point for the record, orchestral touches to rock music that reached in a very affected/effected manner toward some transcendent experience. You can hear blissful catatonic evocations of the Waterboys, slurring face down on the bar some holy affirmations. Overall, the strongest suggestion is of the Stones in their Exile period, holed up in some decadent mansion attempting to pay tribute to American music from country honk brawls to sleazy soul revues to cocaine blues, it has this confident air of music written in the midst of excessive reveries.

File Under: Punk, Post Punk
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jurado

Damien Jurado: The Horizon Just Laughed (Secretly Canadian) LP
Like previous albums, Damien Jurado’s The Horizon Just Laughed started with a dream – though that’s where things change, as they often do. It is Jurado’s first self-produced album in a 20 plus year career, more personal and more rooted than even his Maraqopa trilogy, as though after so much time on the road he’s stumbled upon his home. The Horizon Just Laughed feels like a beautiful collage – its narrative pieced together through letters and postcards, with each part contributing to its greater whole, and providing snapshots of ones journey to find a sense of place and connection to a changing world. The 11 tracks were recorded with Alex Bush in Irvine, CA’s Sonikwire Studio in February and April 2017.

File Under: Indie Rock, Folk
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ltdLTD: s/t (In the Red) LP
In tomorrow… What happens when you put King Khan and Sean Wood from The Spits together? The results are Louder Than Death aka LTD. This mini-album is the first collaboration between the two titans of garage-punk and the results are as bonkers as you’d hope. Sci-fi inspired punk meets weirdo synth damage that’s as deranged and dumb as you’d hope. Since the recording of this debut release the band have added Aggy and Looch from the Magnetix to the line up and recorded an album (out later this year on In The Red) of blistering, whacked-out punk rock that is guaranteed to blow minds. Watch for the band on tour!

File Under: Punk, Synth, King Khan, The Spits
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montiMaria Monti: Il Bestario (Unseen Worlds) LP
Maria Monti is an Italian singer and actress with a noteworthy career, performing as a cabaret singer in the ’60s, an ambitious avant-garde folk artist in the ’70s, and starring in films by directors such Sergio Leone and Bernardo Bertolucci all the while. Monti’s 1974 LP Il Bestario is a rare item even in its native country. In addition to lyrics by the infamous poet Aldo Braibanti, Il Bestiario features arrangements and synthesizer from legendary avant-garde composer Alvin Curran, as well as the soprano saxophone of jazz-great Steve Lacy. The music of Il Bestiario is a prime example of “the new art-song” of the 1970s, as Curran calls it – lush, dynamic and full of intelligence and beauty. Sourced from the original master tapes and remastered by Taylor Deupree. Includes lyrics and poster insert. For fans of Juana Molina, Steve Lacy, Alvin Curran, Brigitte Fontaine, Ennio Morricone and Buffy St. Marie.

File Under: Psych, Prog, Jazz, Folk
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phairLiz Phair: Exile In Guyville (Matador) LP
2018 marks the 25th anniversary of Liz Phair’s landmark album Exile in Guyville and Matador Records is celebrating the occasion with the release of the extensive 7LP/3CD Girly-Sound To Guyville box sets and this standalone 2LP reissue of the original 1993 album remastered by Emily Lazar at The Lodge. Ever since her audacious debut, Exile In Guyville, landed in 1993, Liz Phair has been cipher for a certain kind of aesthetic. She’s been called “the female face of indie rock,” a “slacker poet of the first degree” and a “brainy bad girl,” but she forever remains America’s sardonic sweetheart. With Exile…, Phair created what’s considered a track-by-track response to The Rolling Stones’ Exile On Main St by reverse-engineering sexual objectification for the female gaze, all while keeping her tongue firmly in cheek. Fusing lo-fi production with a singer-songwriter sensibility, Phair helped shape what would become “indie rock” and defied expectations of what a female rock star could be. While her sexually provocative lyrics is what first enthralled the indie press, it was her fearless singing, her effortless hooks and the specificity of her lyrics that connected with fans.

File Under: Indie Rock
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phair1

Liz Phair: Girly Sound To Guyville (Matador) Box
2018 marks the 25th anniversary of Liz Phair’s landmark album Exile in Guyville and Matador Records is celebrating the occasion with the release of the Girly-Sound To Guyville: The 25th Anniversary box set. The extensive 3CD package contains the first official restored audio of all three 1991 Girly-Sound tapes from the original cassettes as well as the Exile In Guyville album remastered by Emily Lazar at The Lodge. Also included is a lavish, thick book, which contains a detailed oral history by Jason Cohen, and essays by Liz Phair and journalist Ann Powers. Ever since her audacious debut, Exile In Guyville, landed in 1993, Liz Phair has been cipher for a certain kind of aesthetic. She’s been called “the female face of indie rock,” a “slacker poet of the first degree” and a “brainy bad girl,” but she forever remains America’s sardonic sweetheart. With Exile…, Phair created what’s considered a track-by-track response to the Stones’ Exile On Main St by reverse-engineering sexual objectification for the female gaze, all while keeping her tongue firmly in cheek. Fusing lo-fi production with a singer-songwriter sensibility, Phair helped shape what would become “indie rock” and defied expectations of what a female rock star could be. While her sexually provocative lyrics is what first enthralled the indie press, it was her fearless singing, her effortless hooks and the specificity of her lyrics that connected with fans. Features:
• Exile In Guyville (remastered)
• Three pre-Exile/Girly Sound cassettes, restored from the original tapes and never before commercially released in their entirety: Yo Yo Buddy Yup Yup Word To Ya Mutha (restored from Girly Sound cassette 1), Girls! Girls! Girls! (restored from Girly Sound cassette 2), Sooty (restored from Girly Sound cassette 3)
• An extensive booklet containing an oral history by Jason Cohen including interviews with Liz Phair, Chris Brokaw, Brad Wood, John Henderson and more, an essay by Liz Phair, and an essay by journalist Ann Powers

File Under: Indie Rock
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reimerChris Reimer: Hello People (Flemish Eye) LP
Flemish Eye is proud to be carrying this posthumous double LP of previously unreleased material by close friend and hugely talented musician Chris Reimer. Chris Reimer was an adventurous and curious musician and composer whose talent was buttressed by generosity, compassion, empathy, gentleness and modesty. Reimer picked up the guitar at the age of eight and drums at the age of twelve. While in high school he formed a band with his closest friends, a group that would later evolve into the critically acclaimed Women. Women released two vital albums under Calgary’s boutique Flemish Eye label, Women (2008) and Public Strain (2010). After the dissolution of the band at the end of a tumultuous tour in October 2010, Reimer would go on to join San Francisco based act The Dodos as a touring guitarist. Throughout his time collaborating with other musicians, Reimer was also a solitary creator with a passion for ambient, noise, and drone sounds. He would spend countless hours spinning together listless guitar notes, subtle waves of washing sounds, or loops of glitches and distortion. Reimer also had an excitement for electronics and their manipulation of sound, frequently constructing his own effects pedals and synthesizer circuits. Noise making was his driving force and he longed to eventually compile a full album from his plethora of material. Chris Reimer passed away unexpectedly and peacefully in his sleep at his home on the morning of February 21, 2012 of a possible heart condition. His close friends and family, knowing of his desire to release his ambient work as well as the perfectionism which had prevented him from doing so in his lifetime, began to listen to his extensive archive of solo works. Over the past five years, Reimer’s family and close friends have been filtering through his extensive catalogue of recorded work spanning nearly a decade and are thrilled to finally present this double LP collection to the public. ‘ Hello People’ is a sometimes confrontational, at others warm and intimate , and always deeply personal document from a multi-faceted artist, compiled from a huge range of recordings spanning lush four-track projects to raw phone memos. Veering from ambient guitar-pedal soundscapes, to delicate acoustic melody and all the way to drone noise experimentation, ‘ Hello People’ takes the listener through an experience of composition and creation from the mind of a deeply talented spirit whose vision was cut short all too soon. The Chris Reimer Legacy Fund Society is a collective of Chris’ closest friends and family who have banded together to keep his tremendous spirit alive. We make a yearly donation to the Decidedly Jazz Danceworks Children’s Bursary Program, and fund the Chris Reimer Legacy Award at the Mount Royal University Conservatory of Music. We are a registered charitable society in the province of Alberta. cjjrlegacyfund.com.

File Under: Experimental, Women
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rival

Rival Consoles: Persona (Erased Tapes) LP
Ryan Lee West aka Rival Consoles presents his expressive new album Persona via Erased Tapes. The title was inspired by Ingmar Bergman’s film of the same name, specifically a shot in the opening credits of a child reaching out to touch a woman’s face on a screen, which is shifting between one face and another. This powerful image struck Ryan and it inspired the album’s main theme – an exploration of the Persona, the difference between how we see ourselves and how others see us, the spaces in between; between states, people, light and dark, the inner Persona and the outer persona. Recorded at his studio in south-east London, Persona benefits from Ryan’s exploration of a dynamic production process that combines analogue-heavy synthesizers, acoustic and electric instruments with a shoegaze-level obsession with effect pedals. A greater depth of emotion and confidence can be heard across the album. From the deconstructed movements on “Unfolding” that starts the record with a snap of delayed snares, the apocalyptic drones of the title cut and thundering drums in “Phantom Grip” to more restrained ambient feels of “Dreamer’s Wake,” “Rest” and “Untravel.” The latter transverses six beatless minutes of undulating melodies representing “a limbo space, a feeling of ennui, of not really ever being known to others and others not ever really being known to you.” “Be Kind” reveals a musical connection with fellow Erased Tapes artist Nils Frahm, with its minimal approach and improvisational nature. On the more complex sounding “I Think So” Ryan aims to replicate a color collage with sound. Like a musical kaleidoscope, a flashing and convoluted mass. Written after he saw Slowdive perform live last year, “Hidden” builds from whispers to landscapes of controlled noise. “Fragment” closes the album as an innocent sounding ambient piece, almost nursery rhyme like, yielding time for reflection on how the Persona has changed.

File Under: Ambient, Electronic
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spacemen3fireSpacemen 3: Playing with Fire (Superior Viaduct) LP
In tomorrow… Spacemen 3 began assembling their third album, 1988’s Playing With Fire, at perhaps the freest, most confident point in their career. Recording began with the band road-tested and rugged, even amidst the functional volatility that famously motivated their course. The sessions’ first offering came in the form of “Revolution,” a single of heroic Stooges-devotion and the most commercially successful release the group had to date. High expectations for the album were soon exceeded, as Playing With Fire would become Spacemen 3’s crowning studio achievement and cement their rightful place on the vanguard of otherworldly rock ‘n’ roll. An exquisite mix of stuttering tremolo guitars and wistful melodies, Playing With Fire sheds any trappings of revisionism and furnishes a nuanced grade of psychedelia. Epic entries like “Suicide” (named after the notorious NYC band) and the mesmeric “How Does It Feel?” catch Spacemen 3 at their celestial apex, the very point where their collective writing, performance and production would crest and wondrously splinter.Includes download card and new insert with liner notes by Marc Masters.

File Under: Rock, Psych
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spacemenrecuringSpacemen 3: Recurring (Superior Viaduct) LP
In tomorrow… 1990’s Recurring, the fourth and final studio album by Spacemen 3, is often considered the introduction of two brilliant solo projects (Spectrum and Spiritualized) rather than the work of a functioning band. While Spacemen 3’s departing statement surely reveals a deep divide within the S3 camp—each side of the LP was written by Sonic Boom and Jason Pierce separately and, unlike previous releases, the two do not play on each other’s songs—Recurring maintains a cohesive, dreamy feel with its chief sonic officers backed by fellow travelers Will Carruthers, Mark Refoy and Jon Mattock. Opening saga “Big City (Everybody I Know Can Be Found Here)” marries ambient haze with narcotized indie rock, while “I Love You” manages to arrange a beautiful flute alongside a defiantly throbbing bass track. “Hypnotized,” a reimagined fuzz-pop hymn, would become the group’s first entry in the UK Singles Charts. Recurring lays bare the essence of Spacemen 3’s persistent sound, rooted in both aural expansion and phenomenal songwriting. Includes download card and new insert with liner notes by Marc Masters.

File Under: Rock, Psych
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rossDiana Ross & The Supremes: Supreme Rarities (Third Man) Box
As the hometown girls who conquered the world, Diana Ross and the Supremes are inarguably the most successful, highest selling girl group of all time. From their inauspicious start as the long-forgotten Primettes, to their ascension past the moniker of “no-hit Supremes” through the ranks of Motown’s rank-and-file to globe-trotting superstars, this group is as pure and quintessential Detroit Motor City as you can get. Originally released on 2CD in in 2008, the Supremes Supreme Rarities from the Motown Lost & Found Series collects the rarities, outtakes and incomparable live recordings from this inimitable group of Rock and Roll Hall of Fame inductees. Listen to the story unfold from the innocent teenaged doo-wop of “You Can Depend On Me” from 1960 all the way through the slick, socially-conscious refinement of “I’m Livin’ in Shame” from 1969. Aside from a handful of forgotten vinyl releases decades ago, the majority of this material has not been released on vinyl. Until now. Third Man, in a unique partnership with Universal Music, has taken this double-CD and turned it into a glorious 4LP collection housed in an impeccably-designed slipcase, all watercolor pastel vibrant photos highlight how absolutely impeccable this group is. Of particular interest is that Supreme Rarities are the first Motown records ever pressed in the city of Detroit. Diana Ross attended high school at Cass Tech, a mere mile away from Third Man Pressing where this title was lovingly pressed, which is also just a mile away from the Brewster-Douglass Housing Projects where Ross and fellow Supremes Mary Wilson and Florence Ballard all grew up. The 48 tracks included here include the earliest Primettes tracks, invigorating covers of The Rolling Stones “Satisfaction” and the Beatles “I Saw Her Standing There”, along with renditions of hits for other Motown artists like “Mickey’s Monkey” and “Uptight (Everything’s Alright)” in addition to alternate vocal takes of stone cold certified smashes like “You Can’t Hurry Love” and “Someday We’ll Be Together.” And if you want the hits medley, “Come See About Me,” “Baby Love” and “Stop! In the Name of Love” will wonderfully whet your appetite.

File Under: Soul

turnerFrank Turner: Be More Kind (Interscope) LP
In tomorrow… Produced by Charlie Hugall (Florence And The Machine, Halsey) and White Denim’s Austin Jenkins and Joshua Block, Be More Kind represents a thematic and sonic line in the sand for Frank Turner. The new album combines raw political and personal universal anthems with the intricate folk and punk roar trademarks of Turner’s sound imbued with new, bold experimental shades. “I wanted to try and get out of my comfort zone and do something different,” says Turner. Originally, he contacted Jenkins and Block at their Niles City Sound studio in Fort Worth, TX with the idea of recording a soul album in the vein of Dexys Midnight Runners. He found they were equally enthusiastic when he changed his mind and decided he wanted to record a more rock-led album with tints of electronic pop. “I have an obscure corner of my music taste where I’m into glitch electronic music and Warp Records,” says Turner. “It’s not an electronic record but I got into arpeggiator synths.” While 2015’s Positive Songs for Negative People was cut in nine intense days, Be More Kind was made over a period of seven months giving Turner the opportunity to turn songs on their head, try different versions, and shake up the dynamics within his band. Turner and his band, The Sleeping Souls, were touring America in 2016 “when the world decided to go collectively nuts” and the songs that make up Be More Kind started to come together. “Somewhere in the record, there’s a convergence of the ideas of personal and political, which is a central theme of the album,” Turner says. One of the other driving themes of the album is empathy, even for your enemy. “You should at least be able to inhabit the mental universe of the people you disagree with. If you can’t do that, then how do you communicate with people other than through force of arms, which is something we all agree is a bad idea.” Lead track “1933” is a clattering, state-of-the-nation anthem. Furious and direct, it’s inspired by articles Turner saw that suggested the alt-right was punk rock. “That filled me with a mixture of incredulity and anger,” says Turner. “The idea that Breitbart or Steve Bannon think they have anything to do with punk rock makes me extremely angry.” The other theme in the track is summed up by the line, “If I was one of the greatest generation / I’d be pissed / I’d be screaming at my grandkids / that we already did this.” “These ideas are surfacing again that collectively as a species we’ve already shot down,” says Turner.

File Under: Pop, Rock
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…..Late RSD Arrivals…..

Tim Armstrong: A Poet’s Life (Hellcat) LP
Tim Buckley: Live at the Troubador (Real Gone) LP
Five Day Week Straw People: s/t (Morgan Blue Town) LP
The Kinks: Phobia (Friday Music) LP
Los Lobos vs The Shins: s/t (Third Man) LP
The Mekons: Never Been in a Riot (Superior Viaduct) LP
The Mekons: Where Were You? (Superior Viaduct) 7”
Nas: Illmatic Live (Mass Appeal) LP
Molly Nilsson: These Things Take Time (Night School) LP
Sorrow: Under The Yew Possessed (Night School) LP
Swans: Die Tur Ist Zu (Young God) LP
Various: 1+1=X (Erased Tapes) Box

…..Restocks…..

Boards of Canada: Geogaddi (Warp) LP
Boards of Canada: Music Has the Right to Children (Warp) LP
Bon Iver: For Emma, Forever Ago (Jagjaguwar) LP
Bon Iver: s/t (Jagjaguwar) LP
Bon Iver: 22, A Million (Jagjaguwar) LP
David Bowie: Welcome to the Black Out (RCA) LP
Czarface & MF Doom: Czarface Meets Metal Face (Silver Age) LP
Dead Kennedys: Give Me Convenience (Manifesto) LP
Dead Kennedys: Fresh Fruit for Rotting Vegetables (Manifesto) LP
Mac Demarco: Another One (Captured Tracks) LP
Mac Demarco: 2 (Captured Tracks) LP
Earth: 2 (Sub Pop) LP
Earth: Pentastar In the Style of Demons (Sub Pop) LP
Electric Wizard: Dopethrone (Rise Above) LP
Father John Misty: I Love You Honeybear (Sub Pop) LP
Father John Misty: Pure Comedy (Sub Pop) LP
Father John Misty: Fear Fun (Sub Pop) LP
Hot Snakes: Audit In Progress (Sub Pop) LP
Hot Snakes: Automatic Midnight (Sub Pop) LP
Hot Snakes: Suicide Invoice (Sub Pop) LP
J Dilla: Donuts (Stones Throw) LP
Laughing Hyenas: You Can’t Pray a Lie (Third Man) LP
Love: Forever Changes (Rhino) LP
Mariah: Utakata No Hibi (Palto Flats) LP
National: Boxer (Beggars) LP
National: Alligator (Beggars) LP
National: Trouble Will Find Me (4AD) LP
Pink Floyd: Animals (Pink Floyd) LP
Pink Floyd: Atom Heart Mother (Pink Floyd) LP
Protomartyr: The Agent Intellect (Hardly Art) LP
Protomartyr: Under Color of Official Right (Hardly Art) LP
Protomartyr: Relatives in Descent (Domino) LP
Radiohead: A Moon Shaped Pool (XL) LP
Radiohead: In Rainbows (XL) LP
Ty Segall: Freedom’s Goblin (Drag City) LP
Shellac: At Action Park (Touch & Go) LP
Yasuaki Shimizu: Kakashi (Palto Flats) LP
Sigur Ros: Agaetis Byrjum (XL) LP
Sigur Ros: Meo Suo I Eyrum Vio Spilum Endalaust (XL) LP
Sunny & The Sunliners: Little Brown Eyed (Big Crown) LP
Tom Waits: Alice (Anti) LP
Tom Waits: Blood Money (Anti) LP
Tom Waits: Closing Time (Anti) LP
Tom Waits: Mule Variations (Anti) LP
Zazou/Bikaye/CY1: Noir & Blanc (Crammed) LP

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…..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….

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…..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…..

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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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…..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

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…..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
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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
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…..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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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…..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

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…..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
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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
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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
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…..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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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

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