Tag Archives: sale

…..news letter #929 – more shop…..

Well folks, that’s a wrap! Well, more or less. That’s it for the year as far as new release updates anyway. We’ve had a lovely year here slinging wax and chatting about tunes with all the wonderful folks that come in and buy records from us and keep the doors open and the lights lit. We hope you have a wonderful holiday season filled with food, drink, family, friends and killer tunes.

Next week, our top picks of the year!

And speaking of top albums of the year… Looks like we’ll be HIRING someone again real soon! If you dream of hanging out and talking about records all day, then bring us a resume along with your top ten albums of 2019 and of all time!

Holiday Hours….

Dec 24th – 12 – 4
Dec 25th – Closed
Dec 26th – 11 – 5 —- SALE!!!!!!!!!
Dec 31st – 12 – 4
Jan 1st – Closed

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…..picks of the week…..

ELP047LP_CUGavilan Rayna Russom: The Envoy (Ecstatic) LP
Transdisciplinary NYC artist Gavilán Rayna Russom beautifully comes into her own with a distinguished solo debut album statement including the voice of Cosey Fanni Tutti and brass arrangements by downtown legend Peter Zummo. After decades exploring her sonic personality through here deep immersion in NYC’s club and avant-garde scenes, Rayna uses The Envoy as a vessel to firm up and convey her personal conclusions on intersections of gender and electronic music. Enriched with complex human experience and key influence from sci-fi writer Ursula K. Le Guin’s novel The Left Hand of Darkness (1969) — a book with descriptions of an alien race with multiple sexual characteristics — the album is intended to realign misconceptions of Russom’s prescient early work such as 2005’s The Days of Mars LP for DFA, which arguably foreshadowed a rise of beat-less and more ambiguous urges commonplace in contemporary dance music. With The Envoy, Russom returns to a 2019 music scene that’s better prepared with the politics of an emerging new world. Entwining Russom’s perspectives on gender, the occult, and spirituality, and how they relate to the body and music’s healing properties, The Envoy expresses the artist’s concerns in nine interrelated parts. Practically devoid of percussion, but full of body-moving polyrhythmic pattern, the pieces spill out of the lines of any typically imposed “grid”. Within this loose context, porous to the chaos of noise, Russom smudges a blend of analog and digital synths to connote an elusive sense of self. Employing the fluid potential of electronic music at its most fundamental in a way that loops right back to the gliding suspense of her prized early work, literally incorporating elements of solo recordings made in the late ’90s in the wake of Russom’s psych/noise band, Soma. Unanchored by kicks, yet pulsing in its own ways, the album flows with an underlying elegance from Cosey Fanni Tutti’s spellbinding recital of Russom’s text in “Kemmer”, set to an organic, orgiastic writhe of arps and stressed noise, and on thru the free-floating organ scape of “Envoy”, to acknowledge more industrial impulses with “Strength Out of the Dark” and a towering highlight of the album in “Discipline of Presence”, where Russom’s throbbing mass is hauntingly illuminated by plangent brass arrangement from Peter Zummo (key Arthur Russell collaborator). The ten-minute “Winter” then wraps it all up under a titular reference to Ursula K Le Guin’s novel, placing Russom as a filament of solo piano-playing light within the cold expanse of NYC. Cut at Dubplates & Mastering, Berlin. Edition of 300.

File Under: Electronic, Industrial, Ambient
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IMPREC480LP_CUShasta Cults: s/t (Important) LP
Shasta Cults is the musical project of Canadian electronics technician Richard Smith. For almost two decades, Smith was the official Buchla & Associates go-to repair person for studios, collectors, and musicians around the world, having worked with artists such as Aphex Twin, Suzanne Ciani, Mort Subotnick, and institutions such as The Library of Congress and Mills College, Smith has had the unique experience of restoring and interacting with nearly every model of Buchla instrument constructed over the past 50 years. “Recording demonstrations of the rare equipment that found its way on to my work bench,” is how Smith describes the origins of Shasta Cults. Although sounds have been trickling out for decades, it wasn’t until 2017 that Smith recorded his first album using one of these rare instruments: the Buchla 700. Configurations, released in September 2019 by Important Records (IMPREC 432CD) and the catalyst for this latest release, features eight tracks of heavily-modulated, wave-shaped explorations drenched in effects. Recorded over the span of three months in the fall of 2018, this album was programmed using the only fully-functional Buchla Touché. Developed in the early 1980s with hardware by Don Buchla and software programmed by musician David Rosenboom, the Touché features waveforms generated internally by twenty-four digital oscillators and uses frequency modulation along with sophisticated digital and analog signal processing to produce complex timbres. This LP is a continuation of themes first heard on Configurations, with more consideration given to the generation and recording of the pieces. The album’s six tracks — a collection of sonic experiments and hypnotic drones — span almost forty minutes, showcasing not only the incredible fidelity of the Touché but also Smith’s evolution as an audio engineer. Put on some headphones, find a comfortable chair, and let this LP transport you to the mystifying southern cascades of Siskiyou County. Manufactured at RTI and cut by John Golden.

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

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Robert Ashley: Automatic Writing (Lovely) LP
Lovely Music present a reissue of Robert Ashley’s Automatic Writing, originally released as an LP by Lovely Music in 1979. Over the course of Robert Ashley’s career his preoccupation with language and the voice took many forms. He became known in his librettos as a wonderful, funny, moving writer. But with Automatic Writing he examines language at a very “primitive” level — the human impulse make sounds to express his inner state, whether it be regret, embarrassment, fear, or happiness — even though there is no one else to listen. Talking to oneself. Personnel: Voices – Robert Ashley and Mimi Johnson; Electronics and Polymoog – Robert Ashley; Words: Robert Ashley; Translation: Monsa Norberg; Silhouette: William Farley. The switching circuit was designed and built by Paul DeMarinis. Recorded, produced, and mixed by Robert Ashley at the Center for Contemporary Music, Mills College (Oakland), the American Cultural Center (Paris), and Mastertone Recording Studios (New York). This reissue was remastered and cut, from the original reel-to-reel tape, by Scott Hull, Masterdisk (New York). Manufactured at Record Technology Inc/RTI (California). 180 gram vinyl; Stoughton Old Style sleeve. Includes an insert with a transcription of the words, and the Automatic Writing notes Ashley wrote for Lovely’s 1996 CD (that included “Purposeful Lady Slow Afternoon” and “She Was A Visitor”). “On Automatic Writing, Robert Ashley composes under the influence of his ‘involuntary speech.’ (In his liner notes, Ashley revealed that he suffered from ‘a mild form of Tourette’s.’) The piece starts quietly, with scraps of Ashley’s mild, tremulous voice arranged next to more fluid French translations and barely-there touches of Moog. After Ashley’s phrases lengthen enough to encompass sense-making phrases, a bass-register groove briefly appears, vanishes, then returns. Few pieces so quiet have proven as captivating; many that intend to be equally startling can’t capture Ashley’s range of surprises.” –Seth Colter Walls, from Pitchfork’s “Fifty Best Ambient Albums of All Time”

File Under: Ambient, Electronic
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Brotzmann/Schlippbach/Bennink: Fifty Years After… Live at the Lile Eule 2018 (Trost) LP
For the celebration of the 50th anniversary of the legendary Machine Gun recordings at the Lila Eule in Bremen, Peter Brötzmann put together a trio with the Berlin pianist, composer Alexander von Schlippenbach and the percussionist Han Bennink, who already sat on the drums 50 years ago. They were so pleased with the music that they decided to release it and continue to play gigs as the trio. Machine Gun was originally recorded in May 1968 by an octet consisting of influential musicians of new jazz and improvised music. The LP was repressed on Cien Fuegos in 2018 (CF 020LP). Personnel: Peter Brötzmann – tenor saxophone, b-flat clarinet, tarogato; Alexander von Schlippenbach – piano; Han Bennink – drums.

File Under: Free Jazz

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Chen Yi: The 1978-1983 (90% Wasser) LP
Originally released in 2006, Chen Yi’s The 1978-1983 aims for a collective approach of art. As an isolated group of humans/numbers operating directly from a secret place in Chelmsford (UK), they developed a personal and bizarre utilization of guitars, machines, voices, and distortion, giving as a result an unconventional group of compositions from among a lot of lost/unreleased recordings. This is likely what got John Peel interested, which lead to an inexplicable CBS contract. The results couldn’t be finalized, because CBS suddenly pulled out of the contract. Due to their raw and alternative “self-made” musical approach, they’ve been compared to the likes of Throbbing Gristle, Borghesia, and Severed Heads or more underground names such as Het Zweet and Biting Tongues.

File Under: Industrial, Electronic
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Alice Coltrane: Carnegie Hall ’71 (Hi Hat) 10″
Alice Coltrane, live at Carnegie Hall, New York on February 21st, 1971. On Sunday, February 21st, 1971, a benefit was held in New York’s Carnegie Hall for Swami Satchidanda’s Integral Yoga Institute, featuring Laura Nyro, the New Rascals, and Alice Coltrane’s All-Stars. The latter band was a remarkable coming-together of talent, with Lady Trane joined by legends such as Pharoah Sanders, Archie Shepp, and Jimmy Garrison on stupendous form (with a little assistance from members of the Yoga Institute). The astounding performance of John Coltrane’s “Africa” on this set, finds them improvising thrillingly. Includes the entire WQXR-FM broadcast, digitally remastered and accompanied by background notes and images. Also features: Kumar Kramer (harmonium), Jimmy Garrison (bass), Cecil McBee (bass), Clifford Jarvis (drums), and Ed Blackwell (drums). 10″ record with insert.

File Under: Jazz

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Company: Trios (Honest Jon’s) LP
For the 1983 edition of Company Week held at London’s I.C.A. in May of that year, guitarist Derek Bailey once more invited a typically eclectic collection of guests. Cellist Ernst Reijseger is a mainstay of Dutch new jazz (ICP Orchestra, Clusone Trio…), American wind virtuoso J.D.Parran a veteran of the Black Artists’ Group and Anthony Davis and Anthony Braxton ensembles, while saxophonists Evan Parker and Peter Brötzmann, as titans of European free improvisation, need no introduction. French bassist/vocalist Joëlle Léandre is equally at home playing free or performing works by Cage and Scelsi, while Vinko Globokar is an acclaimed composer as well as a trombonist of monstrous virtuosity. He and British electronics pioneer Hugh Davies served time with Karlheinz Stockhausen, and before a brief stint with Robert Fripp’s King Crimson, percussionist Jamie Muir was, with Davies, on the very first (Music Improvisation) Company outing in 1970. Bailey once described playing solo as a “second-rate activity”; while at the other end of the spectrum, large improvising ensembles can, if they’re not careful, descend into the musical equivalent of a rugby scrum: dangerous, but thrilling — listen to what happens when Brötzmann comes barreling into the final track here. Sometimes one instrument takes center stage, as Parker’s circular-breathing soprano does at the beginning of “Trio Five”, but knowing when to lie low, as he does in the brief austere “Trio Three”, is just as crucial to the success of the whole. Muir makes sure he doesn’t get in the way of Globokar and Parran’s leisurely exchanges on “Trio Four”, but the trombonist is all over the place on “Trio One” — transcribe what Globokar does here and it might be the most difficult trombone music ever written — with Léandre racing up and down her bass and Davies all spikes, squeaks and squiggles, after which “Trio Two” is a lighter affair, Parran’s flute and Léandre’s vocals twittering together while Derek’s acoustic twangs merrily along. With a touch of dry Bailey humor, two of the seven tracks aren’t trios at all: “Trio Minus One” is his duo with Reijseger, running the gamut from crazed polyrhythmic strumming (imagine Reinhardt and Grappelli playing Schoenberg and Nancarrow simultaneously) to what must be the fastest cello pizzicati ever recorded. And on the closing ecstatic nonet, Brötzmann and trumpeter John Corbett prove that too many cooks don’t necessarily spoil the broth but sure as hell spice it up.

File Under: Jazz, Free Improv

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Dila: s/t (Far Out) LP
Far Out Recordings presents a reissue of the first and only album from the mysterious Brazilian vocal sensation Dila (pronounced “Jee-la”). Having reportedly died in a car crash shortly after the album’s release in 1971, there is very little known about the woman behind the voice. But the joyous music Dila left behind gives us a picture as good as any, of a powerful feminine soul at the top of her game. The liner notes on the elusive original LP, written by composer Arnoldo Medeiros attest: “Friend, look out! Because when this girl starts to sing, you’re in trouble. Hold the railing so you don’t fall down the stairs, because she’s coming this way and shaking up everything.” Arranged and produced by Durval Ferreira, alongside his studio band affectionately known as Os Grillos (The Crickets), Dila is a rare glimpse into the authentic soulful samba sound of Rio’s favelas in the late sixties and early seventies. A blast of funky, percussive Brazilian breaks, scorching hot brass, and swing-laden piano, the music is as iconic as the album’s stark cover, as is clear on opener “Inez,” composed by The Crickets bassist Romildo. There’s a fantastic interpretation of the Ivan Lins classic “Madalena” (made famous by Elis Regina), a moving version of the Tom Jobim and Vinicius De Moraes classic “O Morro Não Tem Vez,” and a number of sunny original compositions by Madeiros, whose other writing credits include music for Marcos Valle, Wanderlea, Evinha, and Dom Salvador. With original LPs extremely hard to come by, this rare treasure of Brazilian soul, which fans of Gal Costa, Celia, Evinha and Elis Regina will love, gets a much-deserved official reissue. Personnel: Durval Ferreira – guitar; Sidney Marzullo – piano; Romildo – bass; Fernando – dr

File Under: Brazil
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Dome: Dome 4: Will You Speak This Word (Editions Mego) LP
With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of “using the studio as a compositional tool” and recorded and released three Dome albums on their own label in the space of 12 months: Dome (July, 1980), Dome 2 (October, 1980), and Dome 3 (October 1981). A final fourth album, Will You Speak This Word: Dome 4 was released on the Norwegian Uniton label in May 1983. These albums represent some of the most beautifully stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene. Personnel: G. Lewis and B.C. Gilbert – instruments, voices, production; Vincent Clarke – voice, Fairlight computer synthesizer, track 1; Deborah Danahay – voice, track 1; David Drinkwater – violin, track 1; Terrence Leach – saxophones tracks 1, 3, 4, and 6; Eric Radcliffe – engineer. Previously issued in the out-of-print Dome 1-4+5 box set in 2011. Floating-point re-master by Russell Haswell, August 2011. Cut at Dubplates & Mastering by Rashad Becker, August 2011. New artwork by Dave Coppenhall. Includes download card.

File Under: Experimental, Punk, Wire
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Ben Frost: Catastrophic Deliquescence (Mute) LP
Long-awaited vinyl edition of Ben Frost’s impendingly gloomy soundtrack to Fortitude. The Icelandic-based Australian composer is clearly the right man for this job, offering up a swell of emotive string arrangements shrouded in cold, wide electronic tones that convey the feel of the TV series thru a combination of incidental dialogue, cues and themes. Fans of contemporary sci-fi soundtracks and the expansive electro-acoustic designs of the Subtext label, Jóhann Jóhannsson or indeed Ben Frost will be totally in their element here. “From 2015 to 2018 electronic musician and composer Ben Frost sound tracked Sky Atlantic’s ‘Fortitude’. Over three seasons, his glacial compositions accompanied the drama that takes place on the Arctic Circle and features Christopher Eccleston, Stanley Tucci, Michael Gambon, and Sofie Gråbøl. The Icelandic-based Australian composer is clearly the right man for this job, offering up a swell of emotive string arrangements shrouded in cold, wide electronic tones that convey the feel of the TV series thru a combination of incidental dialogue, cues and themes. Fans of contemporary sci-fi soundtracks and the expansive electro-acoustic designs of the Subtext label, Jóhann Jóhannsson or indeed Ben Frost will be totally in their element here.”

File Under: Ambient, Electronic
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Gas: Pop (Kompakt) LP
Pop — the album that has become widely recognized as the defining moment in which Wolfgang Voigt brought his listeners into a clearing of his deep, psychedelic forest. A landmark release in the GAS odyssey that drew international attention, Pop was originally released in 2000 on the iconic Frankfurt imprint, Mille Plateux. Pop was heralded by Pitchfork at the time of release as being “an exercise in sonic texture… pure sonic velvet, the layered drone radiating a palpable warmth.” Pop was reissued by Kompakt in 2016 as a part of GAS Box (now out of print) and by itself here. First time on 180 gram, triple-LP vinyl; includes original artwork.

File Under: Electronic, Techno, Ambient
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Jacky Giordano: IM 24 (Organ) (Le Tres Groove Club) LP
Le Tres Groove Club present a reissue of Jacky Giordano’s IM 24, also known as Organ, originally released in 1977. An aura of mystery hangs over Jacky Giordano, a studio musician who has mostly worked for library music. He is the one behind the amazing label Freesound — Schifters (1974), Philopsis (1975) , Challenger (1974) — but as well on Montparnasse 2000 with Pop In Devil’s Train (reissued on Le Très Groove Club, LTGC 001LP), on Timing (with Timing N°1 and Timing N°5, under the nickname Jacky Nodaro), on Musax with Boucles Rythmiques (under the nickname Joachim Sherylee, and reissued as well on Le Très Groove Club, LTGC 002LP), or Black Devil’s Disco Club (1978) whose paternity is still disputed between him and Bernard Fêvre. Jacky Giordano wasn’t an altar boy, far from it, and will have sadly been more known for his troubles with his troubles with justice than for his music. This is his work for the label l’Illustration Musicale (IM) which can now be re-discovered thanks to this new reissue on Le Très Groove Club. Organ (IM 24), as its name suggests, is a tribute to this instrument and all the genius of Giordano, mixing the instrument with bass synthesizers and Rhodes to create grooves tinged with melancholy. A club in the suburbs half empty on a Sunday evening, a grey sky on the esplanade of La Defense, the soundtrack of a B-grade crime movie –this is where Jacky Giordano takes you with Organ and his already cult tracks (“Interrogation Point”, “Project Problematic”, “Owls Night”) for those who had the chance to get their paws on an original pressing of this record.

File Under: Library
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Grauzone: Raum (WRWTFWW) LP
WRWTFWW Records is beyond thrilled to announce the first ever vinyl maxi-single release for Raum, Grauzone’s best-kept secret and underground mega-gem from 1980. The four-track affair includes the full title track sourced from the original reels. The 12-inch vinyl is cut at 45rpm and comes with a never-seen cover art by band member Stephan Eicher and a handmade Xerox hype sticker. Initially released almost 40 years ago on the beloved compilation Swiss Wave The Album (Off Course Records, 1980) alongside the band’s massive hit “Eisbär”, “Raum” is the biggest Grauzone track people have yet to discover. An über-infectious New York style bassline played by Christian “GT” Trüssel and frantic drumming by Marco Repetto’s blend with Martin Eicher’s hauntingly hopeless lyrics and Claudine Chirac’s saxophone escapades to personify post-punk heaven and all its wonderful anomalies. It’s disco with an edge, pop filled with fear, it’s The Cure infused with proto techno and Swiss art chic. Or maybe, it’s simply one hell of a song that will make you dance and shout. Further on the A-side, Naum Gabo’s rework takes Grauzone to modern dancefloors with a thumping track and bounce-inducing groove on which Liquid Liquid’s very own Dennis Young adds magic in the form of marimba, Roto Toms, and EBowed guitar. The energy is electric, the sound is huge, a club banger with extra heart, ready for sound systems of all kinds. The B-side features Ata Macias’s fabled extended version of “Raum” (first released in 2010 via Live at Robert Johnson) that Stephan Eicher described as “the perfect Grauzone edit” (and it is!), plus a straight to the point radio edit of Naum Gabo’s rework. This release follows WRWTFWW’s reissue of Grauzone’s Eisbär maxi-single (WRWTFWW 041EP) as part of the 40 years anniversary of the band.

File Under: Electronic, Cold Wave, Minimal
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HAB010LP_CUIssam Hajali: Mouasalat Ila Jacad El Ard (Habibi Funk) LP
“Issam Hajali is most known as the singer and composer of the Lebanese band Ferkat Al Ard. While they recorded 3 albums only their classic ‘Oghneya’ saw a vinyl release and is highly sought after in the Lebanese record collector scene (A copy changed hands in Beirut this year for 5000 USD). Before the band came together, he recorded this debut album in Paris in 1977. This rare album fuses jazz and folk with Arabic and Iranian influences into unique beauty. It was only released in a limited run of 75 cassette tapes and is now officially licensed and reissued by Berlin based Habibi Funk Records.”

File Under: Funk, Soul, Arabic
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AKU1019LP_CUKink Gong & Li Daiguo: Dali China (Akuphone) LP
The prolific Kink Gong (aka Laurent Jeanneau) returns in a unique duet with one of the most prominent artists of the Chinese avant-gardist scene, Li Daiguo. Kink Gong and Li Daiguo first met in Chengdu (capital of Sichuan Province, China) while playing the same night at the Jahbar music venue. A few months later, as they become neighbors in Cai Cun, a village near the old town of Dali (Yunnan), Kink Gong begins recording Daiguo playing pipa, cello, and zheng. He then proceeded to deconstruct these recordings while adding voices that he mainly recorded in Yunnan Province. This fantastic combination of field recordings, experimental folk melodies, and electronic treatment leads its listeners to a fourth underground universe reminiscent of Jon Hassell’s finest hours. Includes download.

File Under: Asia, Experimental
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FTR438LP_CUWillie Lane: A Pine Tree Shilling’s Worth (Feeding Tube) LP
“Proud we are to reissue the final piece of Willie Lane’s original Cord-Art LP trilogy. It was recorded in various spots throughout Western Mass, in the years following the release of Guitar Army of One. Initially issued in 2016, in an edition of 350, this lovely session disappeared into the fog of the forest before most folks were able to catch its scent. Now it has re-emerged with re-interpreted cover art by Max Milgram, and sonics we think will please even the most finicky listener. A Pine Tree Shilling’s Worth is my personal fave of Willie’s first three Cord-Art LPs. It has a hazily unstoppable flow, incorporating elements of American Primitive and Bay Area Ballroom-era string greats in equal measure. Mostly played on electric (although there are some acoustic overdubs), the music manages to be abstract and melodic at the same time, with individual lines splanging off in oddball directions, then reasserting their formal qualities inside a single musical breath. The specific quotes that exist inside the playing are crafty, episodic and display a strange syncretic streak. A nice example of this is the sprawling track, ‘New Arrivals,’ on the first side. Lane manages to obliquely reference both John Fahey’s improvisations for the soundtrack of Michelangelo Antonioni’s film, Zabriskie Point (1970), as well as Jerry Garcia’s work that was used in place of the bulk of Fahey’s music after he and the director had a savage falling out. Willie reconciles their differing approaches to blues architecture with mighty slide playing and sheer dint of will. Rumors are currently swirling that Willie’s next Cord-Art release will have vocals, so this three pack of instrumental genius may well be the primary documentation of one phase of this maestro’s aesthetic trajectory. Hope you’ve got them all.” –Byron Coley, 2019

File Under: Folk, Blues, Psych
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Los Siquicos Litoralenos: Medianos Exitos Subtropicales Vol. 2: Del Tiempo (Hive Mind) LP
The unique and magical sound of Los Siquicos Litoraleños (The Psychics of El Litoral), fermented in the rural north of Argentina, land of gauchos (Argentine cowboys), mate tea, chamamé folk music, and Psilocybe Cubensis. In this remote region, cut off from the fashions of the city, Los Siquicos were able to nurture their obsessions, hone their craft, and develop a singular style that takes the traditional chamamé folk music of rural Argentina, then throws it in a blender with Latin-American cumbia and chicha, the tropicalia of Os Mutantes and Tom Zé, the free music of Sun Ra, Captain Beefheart, The Residents, UFO conspiracies, radical philosophy, and a strong dose of the absurd. Out in the hinterlands, they fully embraced the spirit and ethic of DIY punk, gaining a reputation for wild, open air shows on the backs of flatbed trucks, or from makeshift set-ups in village squares and at local fêtes and fairs, where confused locals half recognize the twisted sound of a chamamé beamed in from another planet. Hive Mind Records are delighted to help bring Medianos Éxitos Subtropicales Vol. 2: El Relincho Del Tiempo (Medium Subtropical Hits Vol. 2: The Neigh of Time) out into the world. The album features a number of brand-new songs alongside tracks chosen from Los Siquicos’ extensive archive of home recordings. El Relincho Del Tiempo contains the soupy dub-cumbia of “Para Ser Un Gran Hombre”, the fantasy radio-hit “La Danza Del Brontosaurio”, and the shamanic ecstasy of “Los Ninos Del Brasil” or “Dostoyevski En El Minimercado”. Los Siquicos Litoraleños invite you to take a leap into their world in which the sounds of the future and the past blur into one, where the music of the whole planet is digested and spat out in new shapes, where the noise is joyful.

File Under: Latin America, Psych
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DDS041LP_CUMadteo: Dropped Out Sunshine (Demdike Stare) LP
Dropped Out Sunshine is NYC mutant Madteo’s incredible new album of trigger-happy club graffiti on Demdike Stare’s DDS, weighing in a keenly anticipated follow-up to 2012’s cult-classic Noi No LP for Sähkö. Splitting at the seams with deviant funk and irrepressible attitude, Madteo’s first LP in sevem years forms a fractal, mixtape-like mosaic of asymmetric techno informed by skewed traces of rap, house, R&B, and dancehall. Its 12 tracks are delivered in an enviably nonchalant, freehand style that’s become the Italian-American artist’s ear-snagging signature since 2012’s Noi No and Mad Dip Revue albums, and also a dozen 12″s and mixtapes over the interim; all of which exerted heavy inspiration for everyone from Andy Stott and Joy O to Demdike Stare over the past decade, making this new LP a perfectly unusual fit for the anything-goes DDS aesthetic shared by label alumni including Mica Levi, Equiknoxx, Iueke, and Shinichi Atobe. Without beating around the bush, Dropped Out Sunshine is a straight-up masterpiece of cut-up sampledelia bound to make the club dance differently. Crammed with sawn-off edits that never lose the thread, its wild and effortlessly inventive turns of phrase are anathema to linear club music convention, generating fizzing alchemy from mutually exclusive bedfellows such as dancehall and techno, or R&B and noise that could really only be executed by a producer of Madteo’s caliber. Yet for all its singular nature, the album is also patently symptomatic of the times, sub-consciously parsing a gripping intimacy, personality and urgent yet elusive psychedelia from ubiquitous media overload. Kicking off with another *****-sampling zinger “1 4 U” (following his infamous use of “Marvin’s Room” on Noi No), and ending up mired in the melancholy gauze of “The Lies That Bind”, at each step the album effortlessly resists a struggle to square the nature of artistic expression. Fragments of gospel blues noise intersect gauntlets of filtered house fuckery, while restless Autechrian electro rubs up against uncoiled trap and needle-worrying levels of textured bass turbulence, leading to an outrageous turn of stuttering ragga-tekno in “Resident Alien (Broke-‘n-Steppers Reluctant Club Mix)” and a final side of collapsed, post-club styles that will leave listeners wondering wtf just happened, and ready to do it all again. RIYL: Andy Stott, Joy O, Mica Levi, Demdike Stare, Moodymann. Mastered and cut at Dubplates & Mastering, Berlin.

File Under: Electronic, Techno
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Maggot Brain #1 Mag
“Maggot Brain is brought to you by Third Man Records, under the eye of the ‘zine wizard Mike McGonigal. Maggot Brain, a full-color quarterly with heavy cover stock.” Features pieces on Alice Coltrane, Swell Maps, Malls Across America, Mia Zapata, Dilla’s Donuts, vibrant Detroit sign painting, Index, Big Joanie, how to resist ICE, Daniel Johnston, Les Filles Des Illeghidad, Swampfest, The KLF’s greatest pranks, and more! Also features pieces by Luc Sante and Mayakovsky.

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Lloyd Miller: Oriental Jazz (Now Again) LP
“Born in 1938, and raised in Glendale, California, Lloyd Miller has had one of the most unusual careers in all of jazz. By age 12 he had declared an intent to make his living as a jazz musician, and by high school he had already begun to experiment, shunning swing music’s mechanical perfection, and chafing at his parents’ desire for him to nurture his talents with formal training. This tumultous relationship with his parents would eventually lead to a stint in a psychatric hospital, before reuniting with them in moving to Iran, his father having accepted a job working for the Shah. Stops in Hong Kong, Japan and Pakistan on the way to Iran deepened Miller’s connection to other cultures he’d first felt while listening to old world music compilations. He felt a definite calm and peace, an immense respect from everyone towards everyone else, and immersed himself in other cultures and languages immediately. Miller spent a year in Iran with his family, picking up Farsi after a few short months, and steadily gaining more and more of an appreciation for how deep the roots of Persian art run. However, still committed to his decision forge a career in jazz, Lloyd left Tehran in 1958 to head to Europe to see if he could make a living from jazz music. Miller kicked around the continent, first in Germany, then in Switzerland, Sweden and Brussels. He collaborated and performed alongside 60s jazz legend Jef Gilson, and experimented with exotic instrumentation before returning to America to resume his studies at Brigham Young University in Utah. In the years following his stint with Gilson, Miller had become more and more disillusioned with both modern music and modern society, which had ashewed jazz for rock music, which he detested. In Miller’s conception, for a music to have value it had to have a deep connection to a tradition, specifically connecting jazz to African lore. To Miller, something like ‘Tuareg African music is blues, just with no chord changes.’ Oriental Jazz was recorded, compiled and self-released in 1968 while Miller was studying at Brigham Young. The record, originally pressed in a quantity of 300 copies, sought to combine a cool, modal style with the exotic arrays of instruments and styles that Miller had picked up during his travels. Miller included songs he’d cut with Gilson in his Parisian studio years before, and a solo piano piece that he recorded in one of the school’s practice rooms. Despite Lloyd’s professed aversion to modernity, there nevertheless is something strikingly new sounding about this music, which fits together in startling juxtapositions. Traces of Bill Evans, Stan Getz and Jimmy Giuffre rub shoulders with Persian santur, Arab oud and Turkish saz music. Copies of Oriental Jazz languished in Miller’s home for years after numerous failed bids for record contracts, before finally ending up in the hands of record collectors decades later. After its release however, he would find a second life after returning to Iran, doing field recordings, and eventually hosting a weekly television show that programmed both American jazz and the best traditional Persian musicians he could find. It was not to last however, as he abruptly abandoned the country to return to the US in the late 1970s, predicting the arrival of the Islamic Revolution.”

File Under: Jazz
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Regis: Delivered Into the Hands of Indifference (Downwards) LP
Karl O’Connor’s banging Regis 1998 blueprint is back in circulation for the techno ultras. The track list has been reshuffled from all previous versions. The A-side now runs through “Hands Of A Stranger” and the cold pipes of “Disease Through Affection”, and is backed with the chewy grind of “Body Unknown” and the tonkin’ hustle of “Barriers”, while the C-side revolves “Concentrate” along with three hefty locked grooves and the D-side includes “Escape From Yourself” and the panic-inducing trample of “Indifference”. It hardly needs to be reiterated but this set includes some of the meanest examples of late ’90s UK techno, and more specifically, the Birmingham sound that Regis forged so definitively with this album, alongside efforts by his peers, Surgeon, Female, and Mick Harris. If you weren’t party to the original pressing, this one stands out thanks to the remastering, which really highlights the pebbledash grain and clangorous industrial atmospheres of the original recordings, which surely set this record and sound apart from the crowd. Entirely remastered at Dubplates & Mastering and cut with three bonus locked grooves not found on the 1998, 2003, or 2012 editions. Includes new artwork. Edition of 500.

File Under: Electronic

AKU1018LP_CURizan Said: Saz U Dilan (Akuphone) LP
Akuphone presents Saz Û Dilan, the second solo album of Rizan Said. After King Of Keyboards, (CREP 034LP, 2016) this release brings the most exciting Kurdish-Syrian dance music to one’s ears. Surrounded by young local singers, Rizan offers his own interpretation of the modern dabke through eight original uptempo compositions full of energy. Rizan Said is a composer, musician and producer, responsible for hundreds of Syrian recording industry productions as well as compositions and themes for television and cinema. Hailing from Ras Al Ain, in northeastern Syria, Rizan was a musical prodigy from a young age — a gifted player of percussion and reed instruments before a wealth of synthesizers began flooding Syria in the late 1980s and early 1990s. Steadfast on the Syrian cassette album circuit at the time, Rizan was already sending his signals out from the Jazeera frontier, thanks to a partnership with local Syrian producer Zuhir Maksi. Later, he was the man behind Omar Souleyman’s music and has recorded and toured across the world with him. Nowadays, he performs as a solo artist and brings the original dabke dance sounds of Syria to European festivals and concerts. Includes download.

File Under: Syrian, Dabke, Electronic
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Various: Buzzsaw Joint: Dusty Stylus – Cut 6 (Stag O Lee) LP
Buzzsaw Joint was born of a club offering Londoners the chance to revel in the sounds of good ol’ trashy rock’n’roll in all its vintage vinyl forms. Club top-cat, Fritz, then took the primitive Buzzsaw sounds online with a series of savage Mixcloud mixes created by record fiends from all over the globe. Now, the high-octane energy of Buzzsaw Joint has manifested into the physical form with a run of compilations on Stag-O-Lee. Get your ears around the wild n’ weird sounds of the extraordinary and inimitable Buzzsaw Joint! Dusty Stylus is a music junkie who lives in the country, a hundred kilometers north of Melbourne, Australia. He spent the late ’80s drumming in ’60s garage bands and now mainly gets his buzz from collecting post war blues, R&B, and good old Aussie garage rock. He hosts a couple of nights, including the ever-greasy Bacon Fat, and is often on the DJ bill at the phenomenal Slow Grind Fever. For the sixth Buzzsaw Joint cut, Dusty has dusted off a purely top shelf selection of his rare 45 and 78 rpm records. Take the edge off with a hit of this gear here. Features Elmore James, Two Crows & The Diggers, Dennis Roberts, Jolly Jax, Tommy Williams & The Fingerpoppers, Ted Taylor, Margo, Pearl Woods, Grade Wicker, Piney Brown, Tabby Thomas, Billy Ray, Otis Blackwell, Leo Baxter, Big Jack Reynolds, and Moose John.

File Under: Rock n Roll, RnB, Exotica

STAGO156LP_CUVarious: Hoochie Koo Volume 2 (Stag O Lee) LP
Here you are! A second batch with essential tunes from the hallowed nights of the Hoochie Koo. To some, this is dancefloor material. Some of these versions you won’t find anywhere else. The Hoochie Koo is a high-octane extravaganza inspired by the risqué rock ‘n’ roll lifestyle of the early days, delivering an explosive mix of rare ’50s/’60s tunes, a live — Soundsystem for the dancefloor, Gogo dancing — and the raunchiest Burlesque in town. Big thanks to all the queens and cowboys, frenetic musicians, sultry showgirls, and self-acclaimed dancing kings. A big shout to the collaborating venues for helping us set a benchmark. And the almighty Bassy Club, that will stay in our hearts forever… The music: “Crazy Lover” sets the mood. “Thunder” is tweaked a bit to kindle the floor, followed by the “Earthshaker” featuring the crazy honking of our sax-player, Florent. “Rock-a-Chika” is an homage to the leader of our go-go team, because her name is Chika! “Bassy Boogaloo” had been recorded years ago at one of our wild nights at the infamous Bassy Club (R.I.P). “Snacky De Odorou” is the soundtrack for the quirkiest burlesque performer at Hoochie Koo: Snacky The Drag King! Furthermore: a hiccup rock, the Nabout dance, atmospheric surf. Features Richard Berry, Bob Taylor & The Counts, The Lancasters, Warner Mack, Henry Cording, Hoochie Krew, Hajime Kaidou, Claude François, The Atmospheres, Dario Moreno.

File Under: Rock n Roll, RnB, Exotica

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Various: Sin City Jukebox Volume 2 (Stag O Lee) LP
Message from Stag-O-Lee: “When I visited New Orleans in 2004 in struck a friendship with a cab driver named Herb H. Franklin. He showed me great record shops and restaurants and told me his interesting life story. Herb was born in 1930 in Wiggins, Mississippi, and he moved down to the coast town of Biloxi with his parents at the age of ten. He later trained to be an auto mechanic, but as he hated getting grease under his fingernails, he opted to do what he did best — hang out in bars. So in 1950 he took a bartending job at The Smithwick’s — a watering hole in Biloxi, just off Beach Boulevard. When his boss retired in 1955, Herb H. Franklin became the new owner of the bar. A month of renovation followed and the place reopened in Fall 1955 as Sin City, an unofficial name, as the sign outside the bar just said ‘Liquor’. Herb said it was a long, rectangular room with a bar on the left, chairs and tables to the right, and a stage for live music at the end. The pool tables were relocated to a side room to make ‘plenty of space for sinning,’ according to Herb. There were rockin’ bands on the weekends, sweaty dancers every night, and a jukebox that was wired to the house sound system so it could be heard over the general ruckus of the bar. And that jukebox did its work until the mid- 1960s, when Herb closed the place. Amazingly, however, every 45 that ever graced the Sin City jukebox remained in Herb’s possession. Whenever the jukebox operator came to bring in the new tunes, Herb gave him some small change to keep the replaced ones. As a result, 15 years of serious record collecting took place, without Herb even giving it a second thought. And here are some of his tunes…” Features Jackie Harris, Larry Bright, Lonnie Brooks, The Sotos Brothers, Cliffie Stone’s Orchestra w/ Bob Roubian, Otto Bash, Lelan Rogers and Friends, Jimmy McCracklin, Junior Wells, Eddie Burns, Elmer Parker and the Light Lighters, The Sounds, Bobby King, Connie Christmas, Eddie Bo, and Earl King.

File Under: Rock n Roll, RnB, Exotica

JMAN117LP_CUVarious: Spiritual Jazz 10: Prestige (Jazzman) LP
Gatefold sleeve with comprehensive liner notes and pics. Subtitled: Esoteric, Modal and Deep Jazz from Prestige Records, 1961-73. The tenth edition of Jazzman Records Spiritual Jazz series takes a closer look at the music Prestige was recording at the start of the 1960s. This was the period when the modal jazz sound pioneered by Miles and Coltrane was starting to percolate through the jazz underground. In its heyday, Prestige was the only jazz label that could hold a candle to Blue Note. Prestige was always quick off the mark to record new artists, and in the years after Kind of Blue (1959) the label was quick to release some of the most innovative early explorers of the new style. Founded as New Jazz in 1949 by 20-year old jazz fan and entrepreneur Bob Weinstock, Prestige was the only other imprint besides Blue Note to capture the iconic jazz sounds of the 1950s, and like its rival it grew to be an icon itself. If Blue Note documented the sound of hard bop in its most carefully crafted and beautifully presented form, the low-key, jam-session approach that Weinstock preferred meant that the music captured by Prestige has a tough, unfiltered energy that was a lot closer to way it was being played live, night after night, by New York’s most prominent jazz musicians. Featuring Afro-Eastern visions from Yusef Lateef and Ahmed Abdul-Malik, deep modal excursions from Mal Waldron and Walt Dickerson, and essential spiritual jazz grooves from Gary Bartz and Idris Muhammed, Spiritual Jazz 10 documents the sound of modal jazz in full flight, unabashed and authentic from the pioneers! Also features Roy Haynes, Latin Jazz Quintet, and Moondog.

File Under: Jazz
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…..Restocks…. 

Beastie Boys: Ill Communication LP
Beck: Sea Change LP
Blakey, Art & The Jazz Messengers: Meet You at the Jazz Corner of the World – Vol.1 LP
Blakey, Art & The Jazz Messengers: Meet You at the Jazz Corner of the World – Vol.2 LP
Boards Of Canada: Geogaddi LP
Boards Of Canada: Music Has the Right to Children LP
Bon Iver: Bon Iver, Bon Iver LP
Byrd, Donald: Black Byrd LP
Byrd, Donald: Ethiopian Knights LP
Cherry, Don: Brown Rice LP
Childish Gambino: Awaken, My Love! LP
Childish Gambino: Camp LP
Dal Forno, Carla: Look Up Sharp LP
Drake, Nick: Pink Moon LP
Finnigan, Kelly: Heartbreak For Christmas 7″
Ghania, Maleem Mahmoud w/ Pharoah Sanders: Trance of Seven Colors LP
Harris/Marquez: Echoes LP
Highwomen: s/t LP
Hollis, Mark: Mark Hollis LP
Hood, Ernest: Neighborhoods LP
Ikebe Shakedown: Hard Steppin’ LP
Kraftwerk: Autobahn LP
Kraftwerk: The Man Machine LP
Lamarr, Delvon Organ Trio: Close But No Cigar LP
Led Zeppelin: s/t LP
Madlib & Freddie Gibbs: Pinata LP
Madlib: Shades Of Blue LP
Mangan, Dan: Nice, Nice, Very Nice (2LP/10th Anniversary deluxe) LP
Megira, Charlie: Tomorrow’s Gone LP
Merzbow: Pulse Demon LP
Metallica: s/t LP
Orgone: Beyond The Sun LP
Orgone: Undercover Mixtape LP
Orior: Still Strange LP
Pop, Iggy: Free LP
Portishead: Dummy LP
Ruins: Marea/Tide LP+7″
Silver Jews: American Water (half-speed mastered) LP
Silver Jews: Starlite Walker LP
Silver Jews: Tanglewood Numbers LP
Smog: Knock Knock (half-speed mastered) LP
Stereolab: Margerine Eclipse LP
Stereolab: Sound-Dust LP
Stevens, Sufjan & Timo Andres: The Decalogue LP
Taj Mahal Travellers: August ’74 LP
Talk Talk: Laughing Stock LP
Various: 2019RSD2 – Motown Rare & Unreleased LP

 

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…..news letter #927 – anniversed…..

What a weekend! Thanks to everyone who came out and celebrated our anniversary last weekend. We saw lots of great folks and sold a ton of records. If you didn’t make it down, don’t worry, we still have loads of killer stuff lurking in the 50% off bins so come down for a dig. Actually a load of new stuff in this week, but probably just about the last of it for the year, time to start working on that year end list….

And speaking of top albums of the year… Looks like we’ll be HIRING someone again real soon! If you dream of hanging out and talking about records all day, then bring us a resume along with your top ten albums of 2019 and of all time!

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

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

…..picks of the week…..

AU1017LP_CUArthur Russell: Iowa Dream (Audika) LP
“Over the past decade, the visionary musician Arthur Russell has entered something close to the mainstream. Sampled and referenced by contemporary musicians, his papers now open to visitors at the Performing Arts Library at Lincoln Center in New York, and his name synonymous with a certain strain of tenderness, Russell is as widely known as he’s ever been. Thanks to Russell’s partner Tom Lee and to Steve Knutson of Audika Records, who have forged several records from Russell’s vast archive of unreleased material, the world now hears many versions of Arthur Russell. There’s the Iowa boy, the disco mystic, the singer-songwriter and composer, and the fierce perfectionist deep in a world of echo. While all of these elements of Russell are individually true, none alone define him. Now, after ten years of work inside the Russell library, Lee and Knutson bring us Iowa Dream, yet another bright star in Russell’s dazzling constellation. Blazing with trademark feeling, these nineteen songs are a staggering collection of Russell’s utterly distinct songwriting. And although Russell could be inscrutably single-minded, he was never totally solitary. Collaborating here is a stacked roster of downtown New York musicians, including Ernie Brooks, Rhys Chatham, Henry Flynt, Jon Gibson, Peter Gordon, Steven Hall, Jackson Mac Low, Larry Saltzman, and David Van Tieghem. Musician Peter Broderick makes a contemporary addition to this list: more than forty years after Russell recorded several nearly finished songs, Broderick worked diligently with Audika to complete them, and performed audio restoration and additional mixing. Several tracks on Iowa Dream Russell originally recorded as demos, in two early examples of his repeated brushes with potential popular success — first in 1974, with Paul Nelson of Mercury Records, and then in 1975, with the legendary John Hammond of Columbia Records. For different reasons, neither session amounted to a record deal. Russell kept working nearly up until his death in 1992 from complications of HIV-AIDS. At once kaleidoscopic and intimate, Iowa Dream bears some of Russell’s most personal work, including several recently discovered folk songs he wrote during his time in Northern California in the early 1970s. For Russell, Iowa was never very far away. ‘I see, I see it all,’ sings Russell on the title track: red houses, fields, the town mayor (his father) streaming by as he dream-bicycles through his hometown. Russell’s childhood home and family echo, too, through ‘Just Regular People,’ ‘I Wish I Had a Brother,’ ‘Wonder Boy,’ ‘The Dogs Outside are Barking,’ ‘Sharper Eyes,’ and ‘I Felt.’ Meanwhile, songs like ‘I Kissed the Girl From Outer Space,’ ‘I Still Love You,’ ‘List of Boys,’ and ‘Barefoot in New York’ fizz with pop and dance grooves, gesturing at Russell’s devotion to New York’s avant-garde and disco scenes. Finally, the long-awaited ‘You Did it Yourself,’ until now heard only in a brief heart-stopping black-and-white clip in Matt Wolf’s documentary Wild Combination, awards us a new take with a driving funk rhythm and Russell’s extraordinary voice soaring at the height of its powers. On Iowa Dream, you can hear a country kid meeting the rest of the world — and with this record, the world continues to meet a totally singular artist.”

File Under: Pop, Experimental, Folk
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Orior: Still Strange (Demdike Stare) LP
Still Strange reaches back into the prized loft tapes of Jeff Sharp, aka Orior, following the revelatory discovery of his overlooked early ’80s gems on 2016’s Strange Beauty collection, as coaxed out by DDS dons Miles Whittaker and Sean Canty. Huddling another sublime, dusty set of analogue tapes freshly baked and remarkably well-restored by Andy Popplewell, Still Strange contains four gorgeous flashbacks to the era 1979-1983 surrounding and even pre-dating Strange Beauty, and then shifts focus to recordings that Orior made around the early ’90s. As with its predecessor, Orior is not alone on the material in Still Strange. From those feted early tapes, you’ll find Phil Hollis returning to lend jagged guitar on the drum machine sizzle of “Feels Like Summer”, while the mysterious synth player New Cross John makes vital contribution to “Invium”. Along with the aching synth sigh of “To Return”, which pre-dated all of these recordings, and the nine minutes of haunting bedsit strums in “Larbico Alt Mix” which came from the first batch, the early material is all arguably worth the price of admission alone for seekers of lost synth treasures — really this stuff is just so good. However, the album’s other six tracks expand knowledge of Orior’s work into the ’90s and also contain some extraordinary material. Salvaged from further loft tapes found in various states of degradation, and subsequently mixed down between London’s Goldsmiths College and Miles Whittaker’s Whalley Range attic (and elsewhere), they are decidedly more blunt and gloaming, especially in the Deathprod-like “Under Shadow” and the near static witching hour ambience of “Endless”, while shorter vignettes such as “Unknown Future”, “Gothic”, and “Another” point to pre-echoes of Board of Canada’s crepuscular scapes and even Bladerunner-esque sci-fi noir soundscapes. RIYL: Deathprod, John Bender, Boards of Canada, Vangelis. Restored from original 1/4″ analog tapes; Mixed by Miles Whittaker and Ian Gilbert; Mastered at Dubplates & Mastering.

File Under: Electronic, Ambient

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R045LP_CUSarah Davachi: Let Night Come on Bells End the Day (Recital) LP
Finally available again!! 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.. Sean McCann: “I find it hard to separate ‘At Hand’ from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah’s. A fitting title for Sarah and Paul’s relationship — frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul.”

File Under: Ambient, Classical
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RLP3210LP_CUArve Henriksen: The Timeless Nowhere (Rune Grammofon) 4LP Box
In a world where being loud seems to be the only ticket for attention, Arve Henriksen has somewhat quietly and without much ado established himself as an important, major player on the European jazz scene. In his 20 years with Rune Grammofon counting 11 solo albums (including one for ECM) and 12 albums with Supersilent (including two for Smalltown Supersound), in addition to four albums with Food as well as numerous collaborations, far too many to mention here. During these years he has also performed quite extensively in Europe, in later years being more choose-y, often preferring more unique venues and locations. Consisting of unreleased material from around ten years back and up until 2019, The Timeless Nowhere is not a compilation in the traditional sense, but can still be seen as a career overview including many facets of his work, at the same time portraying an artist on an unstoppable quest for discovery through exploration. Indeed, these are also four individual albums that could easily have justified separate releases, but at this stage in Arve’s artistic journey it also made perfect sense to assemble them as a box set. The common denominator is about inspiration drawn from composers, collaborators, new discoveries and more specifically; spontaneous interaction with other musicians without other purposes than the music itself. No talk, no demands, no intentions, no explaining; just music in a timeless nowhere. “Captured Under Mountainsides” points to the wild landscape scenery of the area where Arve grew up in the western part of Norway; overwhelming and often strikingly beautiful, but also isolated and with a sense of melancholy. “Acousmograph” is Arve on his own, inspired by compositions and musicians, more experimental in nature and partly based on sketch recordings in odd locations. “Cryosphere” is a co-production with long-time collaborator Jan Bang re-modelling material from a series of evolving concert performances. “Towards Language – Live At Punkt” could be seen as a departure from Arve´s usual approach, but at the same time it´s not. This is not a static run through — Arve would never allow that — but rather the kind of re-imagining process that is such a vital part of his music making.

File Under: Jazz, Ambient, Electronic

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…..new arrivals…..

MTE07071LP_PRODJoshua Abrams & Natural Information Society: Mandatory Reality (Eremite) LP
Limited repress on clear vinyl. Double LP version. LPs pressed on premium audiophile-quality vinyl at RTI from Kevin Gray Lacquers; Presented in a textured gatefold Stoughton “laserdisc” jacket with a cover painting by Lisa Alvarado. Jackets, retro-audiophile sleeves and record labels hand-screen printed by Alan Sherry at Siwa Studios, Northern New Mexico. Mandatory Reality, the new album by Joshua Abrams and Natural Information Society, is here. Setting aside (for the moment) the electric instrumentation of Simultonality and Magnetoception, Joshua Abrams conceived Mandatory Reality for an eight-piece acoustic manifestation of NIS, consisting of himself on guimbri, Lisa Alvarado on harmonium and gongs, Mikel Avery on tam-tam and gongs, Ben Boye on autoharp and piano, Hamid Drake on tabla and tar, Ben Lamar Gay on cornet, Nick Mazzarella on alto saxophone, and Jason Stein on bass clarinet. A double album, Mandatory Reality is comprised largely of two performances, both Joshua Abrams compositions, 24- and 40-minutes in length. While new to the band’s records, long duration pieces are familiar to those who’ve heard Joshua Abram and NIS in concert in recent years, where elaboration on a single composition for an hour or more is not unusual. Gradual tempos dominate Mandatory Reality. Recorded two months before the 2017 solar eclipse, Mandatory Reality is the sound of Joshua Abrams and NIS taking its time. Merging methodical compositions with sonically voluptuous orchestration, Abrams heightens the immersive and hypnotic qualities Abram and NIS music is known for, taking the band and the listener deep into a collective meditative space. A grand realization of long-form psychedelic music, Mandatory Reality is a dispatch from a sound world that is increasingly unique to itself. All performances on Mandatory Reality are full takes recorded live to tape by the full ensemble, magnificently captured by Greg Norman at electrical audio, Chicago — the first true “audiophile” recording of Joshua Abrams and NIS. Mastered by Helge Sten at Audio Virus, Oslo.

File Under: Jazz
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Art & Technique: Clima-X (BFE) LP
B.F.E. Records present a reissue of the fantastic debut LP from France’s pioneer avant-electronic unit, Art & Technique. Clima-X was originally released in 1981 by Hi-Tech Records. Haunting obscure minimal electronic sounds, ambient and atmospheric ventures, minimal wave with some ethnic elements. And excellent use of rhythm boxes, sound generators and strange vocals, reminiscent of 23 Skidoo’s “7 Songs”, early Muslimgauze or O Yuki Conjugate’s sound. Remastered by former member Bernard Filipetti. Edition of 300.

File Under: Ambient, Industrial, Electronic
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Beck: Hyperspace (Capitol) LP
On the heels of two Grammy-winning albums – Morning Phase, which saw him reunite in the studio with his Sea Change band, and Colors, which he created with Greg Kurstin – Hyperspace brings to fruition Beck’s 20-year wish to collaborate with Pharrell Williams. Hyperspace’s new dimensions in sound are the result of Beck’s most collaborative efforts to date. Seven of the album’s 11 tracks – including singles “Uneventful Days” and “Saw Lightning” – feature co-writing/co-production from Pharrell. “See Through” is co-written/co-produced by frequent collaborator Kurstin, “Stratosphere” features back-up from Chris Martin, the album’s title track features guest vocals from Terrell Hines and “Die Waiting” features backing vocals from Sky Ferreira. If “Saw Lightning” is a frenetic slice of Beck’s patented junkyard-blues hip-hop, “Uneventful Days” hints that Hyperspace is set to traverse a vast aural terrain. Built on a hypnotic electronic soundbed, the song conjures a liminal space that’s reflected in the lyrics, which find Beck facing “Uneventful days, uneventful nights/Living in the dark, waiting for the light.” Beck describes Hyperspace as “not really anything about outer space. It’s more of an interior space…The meditation of the record is finding peace in moment. I was thinking about music as a kind of escape…It sort of alters the room, alters a state of mind…every song does something different – it can be an escape from the moment.” As he told Zane Lowe, the album was inspired by the 80s video game Asteroids: “It had a button where you were about to get destroyed called Hyperspace, that would save your life. Each song has kind of a different way that different people hyperspace, or deal with the world.”

File Under: Pop, Indie Rock
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Danny Brown: Uknowhatimsayin? (Warp) LP
Uknowhatimsayin? marks a buoyant new chapter in Danny Brown’s career, a transitional and celebratory moment. His profile has grown since Atrocity and now armed with a cable TV show and a co-sign from one of rap’s icons, he solidifies his positioning as a ubiquitous entertainer, independent rap hero, and one of the essential cultural voices of this era, while still retaining the edgy, maverick style that makes him a fan-favorite. Uknowhatimsayin? was executive produced by Q-Tip, includes guest appearances by Run The Jewels, Blood Orange and Obongjayar, and boasts production by Q-Tip, JPEGMAFIA, Flying Lotus, Paul White and Standing on the Corner. “This is my version of a stand-up comedy album,” Brown says. “Most of my close friends now aren’t rappers – they’re comedians and actors. So I wanted to create something that mixed humor with music. Something that was funny but not parody. There was no room for error. Q-Tip wanted me to go back to that ‘Greatest Rapper Ever’ era. I almost had to relearn how to rap again – an ego death type thing.”

File Under: Hip Hop
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Comet is Coming: Afterlife (Impulse) LP
The Comet Is Coming is: Danalogue (synths), Betamax (drums) and King Shabaka (saxophone) and they follow up their critically acclaimed Trust in The Lifeforce of the Deep Mystery with The Afterlife EP. “The two records can be seen as companions, that cannot exist without each other, like day and night, light and dark, creation and destruction. They were made together, at the same time, and have always been intended to be experienced together,” says Danalogue. “The Afterlife has been a topic of deep consideration and one of the keys to spiritual mythology around the world for millenia… The idea of a form of continuation of consciousness from our perceived reality into another state brings an extra dimension of meaning into the gravitas of our actions in this life, our respect and reverence for our ancestors, as well as the sense of a continuum of life over an infinite, timeless void.”

File Under: Jazz
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Alessandro Cortini: Volume Massimo (Mute) LP
In his solo work and as a member of Nine Inch Nails, Alessandro Cortini’s music casts the listener into an intricately rendered vortex of emotive dynamics, where he expertly maximizes the boundaries of contemporary electronic music. Volume Massimo, combines his fondness for melody with the rigor of experimental practice. It follows on from 2017’s universally acclaimed Avanti. This new record is eight tracks of deftly arranged synthesizers saturated with sonic artifacts and luscious pop sensibilities.

File Under: Electronic, Ambient
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Dead Meadow: Feathers (Xemu) LP
Feathers is the fifth album by Dead Meadow. It was originally released in 2005 by Matador Records and is reissued here by Xemu Records. This reissue is an exact copy of the original double vinyl package with original art and masters and now also includes a demo rarities CD. The demo CD includes outtakes from the 2004 recording session as well as demos with different song structure/arrangements, plus two tunes that were axed off the final album. Feathers found Dead Meadow shifting from pure ’60s-’70s heavy-psych sounds to a more gentle and layered new-psych sound. Revered and as equally hated, this divisive record is a landmark in the band’s history and an important piece of the puzzle that has kept the boys rocking and relevant.

File Under: Psych
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Deliluh: Beneath the Floors (Telephone Explosion) LP
Art-punks Deliluh have returned with their second album of 2019. Recorded in the same veterans hall 5 months prior to it’s sibling record (Oath Of Intent), Beneath The Floors delves deeper into their dark imagination, stretching further into stylistic extremes. Spoken stories that thread through the ringing clamour of post-punk anthems (Incantessa, Lickspittle: A Nut in the Paste) are juxtaposed by the soft whisper of ballads (Via 5A, Hangman’s Keep) and sinister instrumental passages (Falcon Scott Trail, Con Art Inc.) Rests between songs are seldom. Hard cuts and hiss from the reel-to-reel tape sessions inject a spirit of conviction through each passing movement, leaving behind a sense of wonder in their wake.

File Under: Punk
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Dengue Dengue Dengue: Zenit & Nadir (Enchufada) LP
Dengue Dengue Dengue! continue expanding their carefully created aesthetic on Zenit & Nadir by diving into the deep and rich musical history of Afro-Peruvian music, already hinted in the first single “Ágni”, which is the inversion of the traditional Afro-Peruvian rhythm, Ingá. The ongoing exploration of the vast and rich musical heritage of the descendants of the former African slaves in Peru has become the main focus of their new album. Their interest in Afro-Peruvian music has led them to meet and record extensively with several members of the Ballumbrosio family, a renowned musical dynasty in Peru that has kept Afro-Peruvian musical traditions alive, masters of rhythms like landó, festejo, and crioullo music, with traditional dances and instruments such as the iconic quijada — a rattling percussive instrument made out of a donkey’s jawbone. The introduction of live recordings with the Ballumbrosio brothers has given a whole new dimension to their always-expanding sound, and they feature extensively all throughout the album. The marriage between the traditional and organic percussion of the Ballumbrosios with DDD’s hypnotic electronic production has created a whole new chapter for the band Features Kalaf, Sara Van, Mikongo, Prisma, and Martin Boder.

File Under: Electronic, Tribal
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Donato Dozzy: One Instrument Sessions 05 (One Instrument) LP
For the fifth release on Grand River’s experimental label, One Instrument, synthesizer maestro Donato Dozzy gifts us with an incredible, psychedelic 38-minute journey. “Slow Train” has been created using the EMS Synthi AKS, an extraordinary and rare portable modular analog synthesizer, first manufactured in 1972. This One Instrument Sessions release highlights the artist’s most experimental side on what will be his seventh studio album. These tracks are the honest outcome from a long and intimate engagement with the instrument which were produced in his San Felice Circeo studio during an “altered state” night in October 2013. The resulting music is one of fluid continuity; Dozzy’s most extensive, vigorous, and determined application of real-time studio recording to date. The intensity of both parts of “Slow Train” are comparable to a mindfulness experience in which the listener’s perception of reality slows down enabling every small detail of the sound to become alive and increasingly vivid. Edition of 500. Few DJs and producers are as widely and universally acclaimed in techno circles as Italian Donato Dozzy. He has a rare ability to work his way into peoples’ minds in both contemporary and classical settings, conjuring real mood and atmosphere. Never one to pay heed to the zeitgeist, he prefers to deal in hypnotic soundscapes that really take you on a trip. Enigmatic as he is, and laidback as he seems, as an artist he is constantly unveiling new work. Displaying a large variation in terms of sound and method across many new releases each year — some of which come on his co-owned label Spazio Disponibile — he also puts out installations for public spaces and museums, uses obscure musical instruments, collaborates with like-minded producers, classical singers, or visual artists. Donato seems to continuously challenge himself on a creative level: whatever method he uses, though, he is always likely to permeate your cerebral cortex and rewire it in fascinating and compelling new ways.

File Under: Electronic
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Jessica Ekomane: Multivocal (Important) LP
Jessica Ekomane’s debut LP, Multivocal, is brilliantly original, and will appeal to fans of Caterina Barbieri, Alessandro Cortini, Shasta Cults, ELEH, and the strand of minimal electronic music that runs through the Important catalog. Multivocal is a polyphonic maze that unfolds to both the body and the mind. A generative take on rhythm and spatial perception, it presents the same events in different configurations. The two pieces of the album, “Solid of Revolution” and “Never Odd or Even”, mirror each other with the same principle in different musical scales: steady pulses with one millisecond difference in tempo start beating together, then slowly phase organically and progress into ever-changing rhythmic patterns until they finally return to unison. Multivocal emphasizes shifts of attention in the listener’s experience and plays with the expectations that frame it. Originally conceived for quadraphonic sound, the pieces reveal the many different aspects and modes of perception that can arise within the same sequence of notes. In this way Multivocal is influenced by concepts of gestalt psychology such as multi-stable perception — a term describing ambiguous patterns that offer multiple interpretations at once. The minimalism and repetitive quality of the music also refers to trance-inducing and collective music practices, driven by the strong bodily affects induced through the use of rhythms. Those two compositions were recorded live during Ars Electronica 2018 at the occasion of the sleeping event “Sonatas for Sleep/less”, curated by multimedia artist Shu Lea Cheang and cultural theorist Matthew Fuller. First pressing in an edition of 500.

File Under: Electronic, Experimental
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KOM413LP_PRODThe Field: From Here We Go Sublime (Kompakt) LP
If Kompakt had to name one thing fans have been consistently asking for, it’s a vinyl version of The Field’s legendary first album From Here We Go Sublime: originally rolled out in 2007, this much-acclaimed full-length debut of what was to become one of the most celebrated projects in the label’s fold saw a regular CD edition and an accompanying 12″ sampler — but never a full vinyl release. Following Kompakt’s long sold out 2014 limited edition reissue for Record Store Day, the label welcome From Here We Go Sublime back as a double-LP in gatefold vinyl. Axel Willner, aka The Field, joined the Kompakt family in 2005, bringing forward a new fusion of ambient and techno that fed on his adoration for Wolfgang Voigt’s classic ’90s projects Gas and M:I:5 as well as the shoegazer rock of Slowdive and My Bloody Valentine. Called a “techno pop landmark” by Pitchfork, From Here We Go Sublime almost immediately became a cult favorite, starting a trend that continues to this day — as can be seen with The Field’s 2013 full-length offering, Cupid’s Head, that has been lauded by critics and crowds alike. The most striking feat of From Here We Go Sublime must be its sonic cohesiveness, debuting a fully-formed artistic vision that — seven years and three albums later — hasn’t lost any of its luster. As a fixture in The Field’s discography, it remains as important as ever, with Axel Willner installing a blueprint that inspired many but sounds like no one else… except himself. Giving you a feeling of warmth and familiarity on first listen that you can’t quite grasp, it’s like this sound has always existed, when in fact it was the unique creation from one highly gifted producer. And it all starts here.

File Under: Electronic
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LTGC004LP_PRODJacky Giordano: IM 26 (Organ Plus) (Le Tres Groove Club) LP
Le Tres Groove Club present a reissue of Jacky Giordano’s IM 26, also known as Organ Plus, originally released in 1978. An aura of mystery hangs over Jacky Giordano, a studio musician who has mostly worked for library music. He is the one behind the amazing label Freesound — Schifters (1974), Philopsis (1975) , Challenger (1974) — but as well on Montparnasse 2000 with Pop In Devil’s Train, on Timing (with Timing N°1 and Timing N°5, under the nickname Jacky Nodaro), on Musax with Boucles Rythmiques (under the nickname Joachim Sherylee, and reissued as well on Le Très Groove Club, LTGC 002LP), or Black Devil’s Disco Club (1978) whose paternity is still disputed between him and Bernard Fêvre. Jacky Giordano wasn’t an altar boy, far from it, and will have sadly been more known for his troubles with his troubles with justice than for his music. This is his work for the label l’Illustration Musicale (IM) which can now be re-discovered thanks to this new reissue on Le Très Groove Club. Organ Plus (IM 26) is the sequel to Organ (IM 24), also reissued by Le Tres Groove Club. The title is misleading here, organ not being a preponderant part of the record which honors the Fender Rhodes, string machine, bass synth, and clavinet. “Be Careful”, “Riffologic”, “Twillight”: Jacky Giordano offers slow tempo jazz funk without losing the melancholy and lo-fi groove that make his tracks immediately recognizable regardless of the record label or alias.

File Under: Library
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sdslp76521-largeGrant Green: Sunday Mornin’ (Slow Down Sounds) LP
Grant Green was a Blue Note mainstay and is a jazz icon. He has played on hundreds of recordings and released over 30 albums. Sunday Mornin’ was his fourth record and first with a pianist, Kenny Drew. About 3 minutes in on side one Drew makes his presence known and he keeps getting further and further out… the rhythm section of bassist Ben Tucker and drummer Ben Dixon “hold it down” throughout with transcending solos and Grant’s playing is just mind blowing. Legendary recording engineer Rudy Van Gelder is like a 5th member of the session capturing the instruments, the air, the vibe of the studio, the stereo soundstage (unusual in those days) just perfectly. Upon hearing the Sunday Mornin’ analog tapes used for cutting this release, mastering engineer Kevin Gray gleefully proclaimed, “Rudy’s sound doesn’t get any better than this, it really doesn’t !”. He would know, Kevin has cut more Blue note lacquers than anybody in the world. Grant was seemingly always ahead. He composed the lead off song, “Freedom March” in 1961… 2+ years before what most consider the start of the modern day Civil Rights Movement. Jazz musicians, certainly not Grant Green, seldom receive the credit they deserved for their profound impact on the Civil Rights movement. Another Green original, the title cut, “Sunday Mornin'” is influenced by gospels but in a more spiritual, positive, happy way. Same goes for the cover of “God Bless The Child”… aching and beautiful. The record closes with a cover of the Miles Davis standard, “So What”… at the time barely a year old but Grant’s intuition told him the tune would become a vital piece of jazz history. Originally recorded in 1961 and released in 1962, Slow Down Sounds is proud to present this Authentic Analog Audiophile reissue pressing.

File Under: Jazz
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Steve Hauschildt: Nonlin (Ghostly) LP
Chicago-based contemporary electronic musician Steve Hauschildt has composed panoramas of synthesized sound for over a decade. First within his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music, and later across a steady and critically-acclaimed stream of solo releases spanning ambient techno, arpeggiated electronica and post-kosmische styles utilizing synthesizers, computers, and digital processing. In 2018, he extended a collection of rich, visceral tracks titled Dissolvi, his first release on Ghostly International and his most collaborative work to date. Just a year later, Hauschildt returns with Nonlin, an album that’s freer, leaner, and looser, both structurally and conceptually; less linear compared to its predecessor, but still captivating. Developed and recorded in several studios during and around the edges of tour – Chicago, Los Angeles, New York, Tbilisi, and Brussels – this material emulates an alienating encounter with a smattering of places, a replicant of culture shock, a solitary and stark experience with uncanny environments, melody and dissonance as oblique locales. Nonlin finds Hauschildt evolving his palette of tools, integrating modular and granular synthesis. The improvisatory and generative nature of modular systems, when paired with his signature grid-oriented and hand-played techniques, guides these compositions slightly out of line to hypnotic effect. Opener “Cloudloss” permeates the mix with an unsettling smog, which reappears and all but engulfs “A Planet Left Behind.” On cuts like “Attractor B” and “Subtractive Skies,” pockets of air rest between sequenced pulses, whose crumpling and flattening folds build into a restrained rapture of crisp frequencies and milky reverb-swallowed coruscations. The album’s title track and centerpiece logs on to a foreign network, a fractured percussion signal that modulates and stutters into static amidst curious melodic sparkling in the hazy bandwidth. “Reverse Culture Music” casts an elegant and brooding stream of strings, pizzicato and churning bow from Chicago cellist Lia Kohl, against chiming minimalist synth frameworks. A surprising pattern emerges in the taciturn systems at work. Hauschildt continues to expand his already horizon-wide repertoire, here exploring the effects of corrupting coordinates; a flight subject to the collapsable abilities of time in remote spaces, a smearing of the axis to elegiac ends.

File Under: Electronic
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MAT014LP_PRODLand of Light: The World Lies Breathing (Melody as Truth) LP
After a seven-year hiatus since the release of their debut LP on ESP Institute, Kyle Martin and Jonny Nash’s Land Of Light return with The World Lies Breathing, their sophomore album for Melody As Truth. Written and composed over the course of two years, The World Lies Breathing reflects the pair’s shared development towards spacious, abstract composition crafted from a wide range of contrasting sound sources. Utilizing a combination of acoustic instruments, contact microphones and Martin’s self-built modular synthesizer The World Lies Breathing focuses on the space between sounds, conjuring up an organic yet alien landscape that exists on the edge of an unknowable void.

File Under: Ambient
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Sean McCann: Puck (Recital) LP
Sean McCann on Puck (September 2019): “Puck is here. Music For Public Ensemble (R 022LP), my previous album, was released three years ago. And three years before that was Private Ensemble. Puck is both public and private in nature. A smear of chamber works from Stockholm, Moscow, New York, and Kansas. Three aged personal recordings from 2008, 2009, and 2010 are also poured in the batter: a bedroom violin trio, ambient music, and a sad plucked guitar piece. A marbled blend of new chamber works and older, boisterous recordings from the late-2000s. The first side is subtitled ‘Folded Portraits’ — a three-part suite: ‘Nightfall’, ‘Broth’, and ‘Damals’: German for ‘back then’ (or Remember When: the lowest form of conversation). The spine of it is an informal rehearsal session of Portraits of Friars (2018). Recorded at the fabled Fylkingen in Stockholm, the ten-person text and chamber piece grows and shrinks. False starts and stops and tests are outlined with the black ink of editing. Little moments become big moments. Nailed above that spine is Folded Rose (2018), a piece for piano and humming. A dainty march out of context, immersed in recordings of me gagging and yowling in my car. Sound artist Lia Mazzari shared the titular spoken piece with me. ‘Puck,’ a duet for dialogue about eggs and jewelry, premiered at Café OTO in 2018. I recorded my text in a dark bathtub in Toronto on my 30th birthday last year. The text is a mold growing on top of a quintet I wrote called Vilon (2017), sweetly performed by the Russian Kymatic Ensemble. Jackson Graham, skilled American percussionist, is a rod bolted through the album. He commissioned a work by me called Violet Fat (2017), which is spliced across both sides, hammered and bent to fit in place. A fusion of jubilation and gut clenching, Puck balances on the rooftop, tipping side to side in the fog.” Includes 12-page “Puck” pamphlet and two art cards with program notes and recollections. Edition of 500.

File Under: Ambient, Classical
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GLAM017LP_PRODRose McDowall & Shawn Pinchbeck: Far from the Apple Tree
(Glass Modern) LP

Original music soundtrack from the film Far From The Apple Tree by Grant McPhee — A psychedelic pop-art fairytale. Soundtrack composed by Rose McDowall and Shawn Pinchbeck. “Far From the Apple Tree is an eclectic mix of ghost story, fairy tale and horror. Evocative of films like Valerie and Her Week of Wonders and The Wicker Man and with a truly magical soundtrack by Rose McDowall (Strawberry Switchblade) and Shawn Pinchbeck make Far From The Apple Tree a must-see for fans of Redemption and ethereal thrills.” –Salvation “Rose and Shawn’s soundtrack adds so much colour, mood, mystery and magic to our film that it would feel empty without it. I’m delighted that it is now being released on its own, and by Glass so that it can add those same qualities to anyone who picks up a copy for themselves. ” –Grant McPhee

File Under: OST
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Nirvana: MTV Unplugged 25th Anniversary (Geffen) LP
Nirvana’s MTV Unplugged in New York is reissued on 180g vinyl 2LP in celebration of the landmark record’s 25th anniversary in November 2019. Expanded to include five rehearsal performances previously only available on the DVD edition, the anniversary release also features an exclusive gatefold jacket adorned with anniversary silver foil detail on the front and back cover. 1994’s Unplugged In New York was the last Nirvana collection recorded before the suicide of alternative-rock icon Kurt Cobain and its stripped down, neo-acoustic arrangements and bridled fury caught many fans by surprise. However, the emotion and anguish revealed through the intimate performances here end up offering a new appreciation for the nuances of one of the greatest and most revered bands of their era, one that may have been on the verge of discovering a new sound and style. Standout tracks include stirring renditions of the Meat Puppets’ “Plateau,” “Oh, Me” and “Lake of Fire,” the Vaselines’ “Jesus Doesn’t Want Me for a Sunbeam,” David Bowie’s “The Man Who Sold the World” and Leadbelly’s “Where Did You Sleep Last Night?” along with band classics like “About A Girl,” “Come As Your Are,” “Pennyroyal Tea,” and “All Apologies.” “Nirvana shine brightly on this striking live set because the volume is turned down just low enough to let Kurt Cobain’s tortured vulnerability glow. The powerful, reverent covers of Lead Belly, David Bowie and (three) Meat Puppets songs sum up Nirvana as a haunted, theatrical and, ultimately, truly raw band.” – No. 313 on Rolling Stone’s ‘500 Greatest Albums of All Time’

File Under: Grunge
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WRWTFWW0311LP_PRODYoshio Ojima: Une Collection des Chainons I: Music for Spiral (WRWTFWW) LP
Volume One. WRWTFWW Records announce a reissue of both volumes of Yoshio Ojima’s superb environmental music project Une Collection Des Chaînons I And II: Music For Spiral, originally released in 1988. The twenty-track opus is sourced from original masters and includes liner notes in English and Japanese. This marks the inaugural release from the Esplanade Series by WRWTFWW Records, which focuses on the works of Ojima and friends. Une Collection? gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle. Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating evolving designs and constructions, adapting to human needs naturally. The first volume flows from the eerie and levitating “Entrance” to the quirky “Esplanade (Live)”, the gentle and reassuring “Flius”, and the measured and ravishing escalation of “Mensis.” On the second volume, the nanoscopic neoclassical lullaby “Les Trois Grâces” brings attention to the importance of small details, “Pulse at Soothe” starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, “Entomology” and its melancholic artificial forest evokes a Twin Peaks mirage, and “Atrium” literally feels like a floating visit of a gigantic open space structure. Sitting alongside Midori Takada’s Through The Looking Glass, Ashikawa’s Still Way, Hiroshi Yoshimura’s Green (1986), or Yutaka Hirose’s NOVA, as a pivotal work of Japanese environmental/ambient/minimalist music, Une Collection des Chaînons (which translates as a collection of links) is a delicately laid out sonic landscape connecting space and emotions, architecture and humanity, adjusting and transforming through the ears of the listeners. A note from Ojima: “Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators.” Une Collection Des Chaînons I And II: Music For Spiral is presented as two separate double LPs, RIYL: Midori Takada, Hiroshi Yoshimura, Satoshi Ashikawa, Yutaka Hirose. 2LP versions in 350gsm gatefold with selected UV high-gloss varnish, liner notes, sticker.

File Under: Japan, Ambient
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Yoshio Ojima: Une Collection des Chainons II: Music for Spiral (WRWTFWW) LP
Volume Two. WRWTFWW Records announce a reissue of both volumes of Yoshio Ojima’s superb environmental music project Une Collection Des Chaînons I And II: Music For Spiral, originally released in 1988. The twenty-track opus is sourced from original masters and includes liner notes in English and Japanese. This marks the inaugural release from the Esplanade Series by WRWTFWW Records, which focuses on the works of Ojima and friends. Une Collection? gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle. Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating evolving designs and constructions, adapting to human needs naturally. The first volume flows from the eerie and levitating “Entrance” to the quirky “Esplanade (Live)”, the gentle and reassuring “Flius”, and the measured and ravishing escalation of “Mensis.” On the second volume, the nanoscopic neoclassical lullaby “Les Trois Grâces” brings attention to the importance of small details, “Pulse at Soothe” starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, “Entomology” and its melancholic artificial forest evokes a Twin Peaks mirage, and “Atrium” literally feels like a floating visit of a gigantic open space structure. Sitting alongside Midori Takada’s Through The Looking Glass, Ashikawa’s Still Way, Hiroshi Yoshimura’s Green (1986), or Yutaka Hirose’s NOVA, as a pivotal work of Japanese environmental/ambient/minimalist music, Une Collection des Chaînons (which translates as a collection of links) is a delicately laid out sonic landscape connecting space and emotions, architecture and humanity, adjusting and transforming through the ears of the listeners. A note from Ojima: “Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators.” Une Collection Des Chaînons I And II: Music For Spiral is presented as two separate double LPs, RIYL: Midori Takada, Hiroshi Yoshimura, Satoshi Ashikawa, Yutaka Hirose. 2LP versions in 350gsm gatefold with selected UV high-gloss varnish, liner notes, sticker.

File Under: Japan, Ambient
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PAL056CD_PRODBill Orcutt: Odds Against Tomorrow (Palilalia) LP
“After two LPs and over half a decade spent toiling in the margins of the American Songbook, Bill Orcutt returns to original composition and the blues with his latest LP, Odds Against Tomorrow. Taking its title from Robert Wise’s 1959 film noir, Odds Against Tomorrow retrofits familiar folk/blues forms to the unique sound of Orcutt’s guitar and the result crackles with a freshness and authority that nostalgic retreads cannot deliver. Odds Against Tomorrow is more than an expansion of the territory charted by Bill Orcutt, his eponymous 2017 studio electric debut, although it’s certainly that. With its nods to existing musics, half-step fluctuations, and near-songwriter-ly manipulations of tension/release, Odds Against Tomorrow is a rock record — almost. Clearly and simply recorded through a clattering Fender Twin in Orcutt’s living room and lovingly mixed by Bay Area neighbor and pedal-steel savant Chuck Johnson, no one would mistake it for any era’s radio fodder, yet the precision of its technique and the swaying Child-ballad logic of its gentler improvisations comfortably seats it between John Mayall and Richard Thompson in your Ikea Kallax. Three songs (‘Odds Against Tomorrow,’ ‘The Writhing Jar,’ ‘Already Old’) are multi-tracked, an innovation that, for guitar buffs familiar with Orcutt’s stripped-down vernacular, jumps out of the grooves like a Les Paul sound-on-sound excursion in 1948, or a Jandek blues rave-up in 1987. Specifically evoking John Lee Hooker’s double-track experiments on 1952’s ‘Walking the Boogie,’ the steady chord vamps of ‘Odds Against Tomorrow’ and ‘Already Old’ form a harmonic turf on which Orcutt solos with lyrical abandon . . . For the more ‘contemporary-minded,’ ‘The Writhing Jar”s crashing overdubs recall the brassy six-string voicings of This Heat or Illitch. With the exception of the unreconstructed Elmore James-isms of ‘Stray Dog’ and the ‘Layla’-finale-like haze of ‘All Your Buried Corpses Begin To Speak,’ the remaining non-overdubbed tracks dovetail snugly with Orcutt’s previous solo output, reeling gently in a Mazzacane-oid mode or vibing up the standards (‘Moon River’). On their own, these tracks would still be an important contribution to Orcutt’s canon. As part of Odds Against Tomorrow’s greater whole, they provide a through line, connecting the idiosyncrasies of Orcutt’s past explorations with the scrambled tropes of his present work. Odds Against Tomorrow challenges contemporary solo guitar practice in a way that simultaneously nullifies hazy dreams of folk purity and establishes a new high-water mark for blues-rock reconstruction.” –Tom Carter

File Under: Jazz
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Pink Floyd: The Later Years (Legacy) LP
Pink Floyd The Later Years 1987-2019 covers the material created by David Gilmour, Nick Mason and Richard Wright from 1987 onwards. The period generated record sales of over 40 million worldwide and included three studio albums: A Momentary Lapse Of Reason, The Division Bell and The Endless River as well as two live albums, Delicate Sound Of Thunder and Pulse. This gatefold vinyl 2LP edition offers highlights from the staggering multimedia box set by offering 2019 remixes of twelve unreleased studio and live recordings plus a 24-page booklet containing previously unseen photos. Included are: “Shine On You Crazy Diamond” (Parts 1-5) [Live at Knebworth 1990]; “Marooned Jam” (Unreleased 1994 Recording); “One Slip” (new A Momentary lapse of Reason 2019 mix); “Lost For Words” (Tour Rehearsal 1994) (previously unreleased); “Us And Them” (Live, Delicate Sound Of Thunder); “Comfortably Numb” (Live at Knebworth 1990) (previously unreleased); “Sorrow” (new A Momentary lapse of Reason 2019 mix); “Learning To Fly” (Live, Delicate Sound Of Thunder); “High Hopes” (Early Version) [Unreleased 1994 Recording]; “On The Turning Away” (new A Momentary lapse of Reason 2019 mix); “Wish You Were Here” (Live at Knebworth 1990) (previously unreleased); and “Run Like Hell” (Live, Delicate Sound Of Thunder).

File Under: Classic Rock
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WRWTFWW039LP_PRODGareth Quinn Redmond: Laistigh den Ghleo (WRWTFWW) LP
WRWTFWW Records announce the release of Irish ambient/minimalist producer Gareth Quinn Redmond’s Laistigh den Ghleo, a companion album to Satoshi Ashikawa’s Still Way (Wave Notation 2). “Conceptually derived from the work of Japanese minimalist composer Satoshi Ashikawa, I have composed an album which hopes to engage, enrich and reflect the listener’s surroundings, an Environmental Music” –Gareth Quinn Redmond. Working with Still Way as a base for inspiration, Gareth Quinn Redmond takes Ashikawa’s meditative sound designs to more dramatic and lyrical landscapes, gracefully instilling his personal touch into the master’s melodic patterns and presenting six pieces which blend and reflect the modern listener’s ever-changing environment. As Midori Takada explains in the liner notes, “Even though Gareth is deeply influenced by Still Way, he looks above, toward the air and the sky. He pays respect to Ashikawa’s approach, but adds bold elements from another dimension — Satoshi Ashikawa aspired to crystallize the sound structure of nature that exists in the environment. Gareth tries to capture what flourishes out of it.” Laistigh den Ghleo is released in conjunction with Satoshi Ashikawa’s Still Way (Wave Notation 2) reissue on WRWTFWW Records. Liner Notes by Midori Takada and Gareth Quinn Redmond. LP version comes in 350gsm sleeve with selected UV high gloss varnish.

File Under: Ambient
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Ruins: Marea/Tide (Music from Memory) LP
Music From Memory’s latest release sees the reissue of the lost art record Marea/Tide: Sound And Image Research Volume One by Italian Wave duo Alessandro Pizzin and Piergiuseppe Ciranna aka Ruins. Ciranna and Pizzin first conceived the Sound And Image Research series back in the early ’80s, when they were involved in various multimedia projects in art galleries and unique exhibition spaces across Italy. In 1984 Ciranna and Pizzin came across the works of Italian artist Luigi Viola, a painter whose work was already known internationally and who was active in galleries worldwide. When the opportunity arose for the three to come together it quite naturally led to the creation and production of the album Marea/Tide — a record not only inspired by the work of Viola but evolved in symbiosis with him. It was to be the first and sadly the only volume in Ruins’ Sound Image series. Marea/Tide was released in early autumn 1984 and showcased on November 24th of the same year at an exciting one-off event, alongside exhibitions of the visual works and listening sessions at the well-known Villa Sagredo in Venice. Further showcases were performed at galleries across Italy by the duo alongside Viola’s art. The records, for the most part were available solely at those events. The first (and only) edition of the album was limited to 600 copies, 200 of which also included an original screen-print of two different works by Viola; Cuore Veneziano/Venetian Heart, numbered and signed by the artist. Due to poor management and disagreements with the label which produced the record, 300 copies were held for many years in storage and then later sadly destroyed; Marea/Tide disappeared almost completely without trace. Includes bonus 7″ with four stunning unreleased tracks, and printed insert with updated liner notes.

File Under: Electronic, Minimal
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R070LP_PRODDaniel Schmidt: Abies Firma (Recital) LP
The second album by the American Gamelan composer and instrument builder, Daniel Schmidt, following In My Arms, Many Flowers, his majestic debut on Recital. Abies Firma lies next chronologically, collecting works from 1976 to 1991, considered the second phase of his compositional form. “We were like children playing with new toys,” Daniel recalls of the early days of American Gamelan music. “Though, as we moved into the 1980s, I moved away from Javanese traditional formalism completely, no longer using a constant stream of notes.” Daniel became a father twice over in the early ’80s, transforming his compositional voice, finding himself open to new affects. Notably, the Sierra fir species, ‘abies firma’ — “These trees gave me a sense of rising and rising, all their branches reaching toward sun and sky. Looking at them across open spaces, I felt myself part of their upward striving. The tall mountain trees became rising themes and arpeggios, sometimes even sweeping across the six octaves of the gamelan.” This album holds a variety of recordings including an especially immersive tape-delay piece for the rebab, a bowed Javanese instrument. A sort of Eastern Frippertronics weaving the stereo field. Another standout is a semi-improvised flute and gamelan work, ebbing in slowly like a night’s wind. “Accumulation” and “Abies Magnifica”, the spirited opening pieces, exemplify the precision and dexterity of Daniel’s group, The Berkeley Gamelan, who at this time were constantly performing around North America. Two pieces on the album were co-composed by Schmidt and the late Lou Harrison, who helped conceive of the American style of gamelan and enjoyed a similarly long and varied musical career. “Unempins to Sociseknum” is based on arranging Harrison’s social security number against Schmidt’s unemployment insurance number. A window into the cooperative spirit and experimentation of the late 70s. LP comes with a CD including the additional piece “One White Crow,” a three-part tapestry of melodic fragments which epitomizes the second phase of Schmidt’s composing; a divergence from both Javanese and European music. Daniel states, “William James once said that one white crow would suffice to overturn science’s assertion that all crows are black. I felt myself to be ‘one white crow’ amidst the prominent, established musical styles.” Includes 20-page pamphlet holding program notes, scores, and a new essay on American Gamelan by Jay Arms.

File Under: Gamelan, Ambient
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Carl Stone: Baroo (Unseen Worlds) LP
“I have always been searching for a way to articulate the intangible area between the recognizable and the unfathomable, a feeling perhaps informed by some long-abandoned experiments with psychedelics. This has been a continued pursuit starting with my tape experiments in the 1970’s until the present, with technological evolution driving new ways of expression. With the exception of ‘Xé May’, which is performed on an Elektron Octatrack, these pieces were constructed for live performance using a laptop computer running programs I have built in the MAX programming language. ‘Okajouki’ and ‘Xé May’ were composed in 2011, all the rest are from 2018. The pieces use a technique of time slicing that I first started doing back in the 90’s, notably with my piece MOM’s, wherein sound files are metaphorically shattered in time like glass and then reorganized into mosaic patterns. The technique used to require laborious preparation outside of real-time before the files could be brought onstage. Now not only can it be done spontaneously while performing, but also with a degree of flexibility that I find quite liberating. They are a lot of fun to play and hopefully to listen.” – Carl Stone

File Under: Electronic, Experimental
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LDS42556_Carl Stone: Himalaya (Unseen Worlds) LP
On the heels of his critically acclaimed collections Electronic Music from the Seventies and Eighties and Electronic Music from the Eighties and Nineties, Carl Stone quickly follows-up Baroo (March 2019) with a double-LP album of recent works, including the final section of “Fujiken”, his epic journey through southeast Asian field recordings and street cassette culture. On all six tracks, composed between 2013 and 2019, Stone’s pan-global playground of looping synths and Asian pop culture remains as fertile as ever, digitally shattered into unimagined patterns and gestures, either through the MAX programming language or (in the case of “Kikanbou”) by generating live loops within an Elektron Octatrack sampler. The title track is the first recorded release from Stone’s ongoing collaboration with the Japanese vocalist Akaihirume. Elsewhere new influences come from rock (the slow drum break of “Bia Bia”), disco (the Nile Rodgers-esque guitar riff “Kikanbou”) and hip hop (the frenetic percussion loop of “Han Yan”). Their diversity only adds to Stone’s borderless musical vision, a world where rhythm becomes atmosphere, song becomes beat, and pop becomes art.

File Under: Electronic, Experimental
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Stone Harbour: Emerges (Out-Sider) LP
Out-Sider present a reissue of Stone Harbour’s Emerges, originally released in 1974. The absolute king of lo-fi basement psychedelia, originally released as a private pressing in 1974 by this duo from Ohio. From dreamy melancholic tracks to insane fuzzed-out heavy psych ones. Remastered sound; Insert with photos and liner notes by band member Ric Ballas; Includes download. “… It’s 1974, you’re young and have a head full of Hawkwind and Roky and the Elevators, old brutalist blues in the Hound Dog Taylor/Fred McDowell backwoods whisky-fucked mode, freak folk and LSD; you’re stuck in Hicksville, USA — that’s Youngstown, Ohio to you lot; the music scene sucks; glam’s dead or dying slowly; punk a good year or so from even starting to get itself born. Town’s too damn small to even muster up a band in. It’s just and your buddy and that’s it, man. So you grows your hair and wear satin, wander wide-eyed and tripping across small town railway tracks and hang loose at the weekend in your basement. You gather a bunch if cheapo instruments on the never-never and you start cutting low-fi bedroom demos… Stone Harbour were Ric Ballas (electric, acoustic and slide guitars; organ; piano; synthesizers; bass guitar, percussion, voice) and Dave McCarty (lead vocals, drums, and percussion), and out of nowhere and nothing, at entirely the wrong time, they cut an LP that will blow your head clean off. This is a trip into the true dark heart of psychedelia . . . Dave McCarty’s vocals emerge from some subterranean cave and the keyboards flicker, flicker, flash across the periphery of the song; ‘Rock & Roll Puzzle’ is dark, twisted fried garage punk blues brutality in the same mold as ‘White Faces’ or ‘Cold Night For Alligators’, pre-empting The Gories and Pussy Galore by a good ten years!! . . . Songs fade in and out; finger-picking blurs into screaming squelching synths; guitars melt in the mid-summer heat. ‘Grains Of Sand’ frazzles like The Stooges through a fucked-up amp and filtered through a transistor radio with the valves burning out. ‘Thanitos’ is the freak-out ending of ‘Julia’s Dream’ lost in suburban downtown US of A with the taillights cutting on the freeway… whilst ‘Summer Magic Is Gone’ is the most haunted, haunting song I’ve heard in many a long strange moon . . . Best record I’ve heard all year.” –Hugh Dellar (Shindig!)

File Under: Psych
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LOVE114LP_PRODAndy Stott: It Should Be Us (Modern Love) LP
First pressing on pink vinyl, limited available stock. Andy Stott’s first release since 2016 and first EP since 2011, It Should Be Us is a double EP of slow and raw productions for the club, recorded in 2019 and following a series of EPs that started with Passed Me By (LOVE 069LP) and We Stay Together (LOVE 072LP) early this decade. Recorded fast and loose over the summer, these eight tracks harness a pure and bare-boned energy, melodies subsumed by drum machines and synths; slow, rugged hedonism. It’s all about rhythmic heat and disorientation, pure dance and DJ specials rendered at an unsteady pace, from percolated house and percussive rituals to moody tripped-out burners. There’ll be a new Andy Stott album in 2020, but in the meantime… this one’s for dancing. Mastered and cut at Dubplates & Mastering, Berlin.

File Under: Electronic
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Cecil Taylor: Indent (ORG) LP
Indent, a live solo album by Cecil Taylor, was recorded in Ohio in March 1973. It was originally released on Taylor’s own Unit Core label, subsequently more widely released on the Freedom label, and has received critical praise, including a 4/5 star review from the Rolling Stone Jazz Record Guide. Previously out of print for decades, the phenomenal work is finally coming back to vinyl with an audiophile-grade pressing from Pallas Group. The album was remastered for vinyl at Infrasonic Mastering. This white color vinyl pressing is exclusively available for RSD Black Friday.

File Under: Jazz

SharedImage-93024Tragically Hip: Day For Night (Half Speed Master) (Universal) LP
The Tragically Hip Half Speed Master 2 LP high end audio edition of ‘Day For Night’ has been cut by legendary engineer Miles Showell at Abbey Road Studios in London. ‘Day For Night’ now joins other greats in the Half Speed Masters series with the likes of The Beatles, Rolling Stones, Brian Eno, Free, Blind Faith, Simple Minds, John Martyn, and CCR among many others. The album artwork has been changed from the original dark blue to a heavy stock reflective in honour of it’s 25th anniversary release. The High Speed Master edition also includes a certificate of authenticity from Abbey Road.

File Under: Rock

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Mattias Uneback: Voyage Beneath the Sea (Subliminal Sounds) LP
Clear blue vinyl; edition of 500. Join Mattias Uneback (known from Ìxtahuele and The Test Pilots) on a fantastic underwater exotica adventure in sound. Sail the high seas, explore their depths, marvel at their strange and colorful inhabitants. Beneath the waves and through the depths, forgotten worlds lie waiting. Bioluminescent creatures that have never seen the light of day, ancient beasts of gigantic proportions, sunken continents and underwater caves all await you. The Voyage Beneath The Sea album project is about composing music based on underwater fantasy worlds, as well as actual places. A musical discovery below the surface of the ocean; the mysterious unknown and one of the last outposts still uninhabited by man, but also the cradle of all life on our planet. You travel in to the deep sea, as a parallel to, and parable with, the exploration of outer space, as well as the inner worlds of the mind and the subconscious. This is visionary music inspired by the space-age underwater themed exotica recordings of the early 1960s as well as the peculiar aquatic library type albums of 1970s. The songs are amusing and entertaining one moment, dramatic and fierce the next, but most of all: serenely beautiful. The production of the album has been an important process for Mattias and he feels it has seriously widened his views as a musical and composer. Using a variety of both classical and novel instruments; from exotic percussion and full-scale orchestra and choir to vintage electronics, Mr. Uneback paints a vivid and living tableau for the receptive listener. This is exotic orchestral seduction for those willing to embark on a journey of imagination. Submerge yourself in the sounds!

File Under: Exotica
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BLACKEST077LP_PRODVarious: A Short Illness From Which He Never Recovered (Blackest Ever Black) LP
New vinyl-only compilation from Blackest Ever Black, consisting of all-new recordings unavailable elsewhere, plus a pair of tracks — Carla dal Forno’s much-loved cover of The Kiwi Animal’s “Blue Morning”, and Scythe’s zero gravity blues “Flower, Drop” — appearing on this format for the first time. Jonas Tiljander (Brainbombs, Bremen) dons his solo Brainman guise for the corrosive synth-scaping of “Kilonova”; Ian Martin, whose SEER radio broadcasts were a significant early influence on the label, manifests the pure astral melancholia of “Missing Realism”; Hypnotic Sleep and associated band The Fulmars offer two iterations of bittersweet Low-German DIY pop, and Unchained a gorgeous, evergreen-dazed guitar instrumental in “Gray d’Aboukir”. “Dawn Swoop”, a suspenseful miniature from Jam Money (Spillage Fete), might just be one the most perfect two minutes in the label’s catalog. There are contributions too from two superheroes in the BEB universe: Bobby Wratten (The Field Mice), with the gorgeous, tremulous “The Munich Post” from his current project Lightning In A Twilight Hour, and Bridget Hayden, who offer the heart-stopping, elegiac drowned-folk of “Solace”.

File Under: Electronic
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…..Restocks…. 

Arctic Monkeys: AM (Domino) LP
Arctic Monkey: Tranquility Base Hotel (Domino) LP
Battles: Juice B Crypts (Warp) LP
Beastie Boys: Hello Nasty (EMI)LP
Beastie Boys: Hot Sauce Committee Part Two (EMI) LP
Beastie Boys: Ill Communication (EMI) LP
Beatles: Abbey Road (Apple) LP
Beatles: Let it Be (Apple) LP
Beatles: Revolver (Apple) LP
Beatles: Sgt. Pepper’s Lonely Hearts Club Band (Apple) LP
Beatles: White Album (Apple) LP
Beck: Sea Change (Universal) LP
Black Flag: Damaged (SST) LP
Black Flag: My War (SST) LP
Big Thief: Capacity (Saddle Creek) LP
Boards of Canada: Campfire Headphase (Warp) LP
Bon Iver: 22, A Million (Jagjaguwar) LP
Bon Iver: s/t (Jagjaguwar) LP
Bon Iver: For Emma, Forever Ago (Jagjaguwar) LP
John Coltrane: A Love Supreme (Impusle) LP
Gal Costa: India (Mr Bongo) LP
Descendents: Milo Goes to College (SST) LP
Nick Drake: Pink Moon (Island) LP
Brian Eno: Ambient 1: Music for Airports (Astralwerks) LP
FKA Twigs: Magdalene (Young Turk) LP
Ryo Fukui: Scenery (We Release Jazz) LP
Funkadelic: Cosmic Slop (Westbound) LP
Mort Garson: Mother Earth’s Plantasia (Sacred Bones) LP
Grant Green: Alive (Blue Note) LP
Johnny Griffin: Introducing… (Blue Note) LP
Andrew Hill: Point of Departure (Blue Note) LP
Mark Hollis: s/t (Universal) LP
Ikebe Shakedown: The Way Home (Colemine) LP
Ikebe Shakedown: Hard Steppin’ (Colemine) LP
King Gizzard & The Lizard Wizard: Flying Microtonal Banana (ATO) LP
King Gizzard & The Lizard Wizard: Infest the Rats Nest (ATO) LP
Kiss: Hotter Than Hell (Universal) LP
Delvin Lamarr Organ Trio: Live at KEXP! (Colemine) LP
Delvin Lamarr Organ Trio: Close But No Cigar (Colemine) LP
Lingua Ignota: Caligula (Profound Lore) LP
Pusha T: Daytona (Universal) LP
Refused: War Music (Spinefarm) LP
Sam Rivers: Fuchsia Swing Song (Blue Note) LP
Wayne Shorter: Adam’s Apple (Blue Note) LP
Horace Silver: Blowin’ the Blues Away (Blue Note) LP
Horace Silver: Cape Verdean Blues (Blue Note) LP
Soul Scratch: Pushing Fire (Colemine) LP
Sufjan Stevens: Carrie & Lowell (Asthmatic Kitty) LP
Sufjan Stevens: Illinois (Asthmatic Kitty) LP
Sufjan Stevens: Michigan (Asthmatic Kitty) LP
Sure Fire Soul Ensemble: Build Bridges (Colemine) LP
Tragically Hip: Day For Night (Universal) LP
Tragically Hip: Phantom Power (Universal) LP
Tragically Hip: s/t (Universal) LP
Ulver: Kveldssanger (Century Media) LP
Ulver: Nattens Madrigal (Century Media) LP
Tom Waits: Heart of Saturday Night (Anti) LP
Scott Walker: Scott 1 (Mercury) LP
Scott Walker: Scott 4 (Mercury) LP
Wire: Pink Flag (Pink Flag) LP
Wire: Chairs Missing (Pink Flag) LP
Wire: 154 (Pink Flag) LP
Thom Yorke: Anima (XL) LP

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