Tag Archives: used

…..news letter #909 – holidaze…..

Well, you’ve got a few short days to get in here and pick up some new wax before we close up next week for a little summer break. Lots of great new stuff in this week too. So if you’ve got anything on hold, or a special order that has come in, or you wanna dig through all the fresh used wax, you’ve got until 5pm Sunday to get in, or you’ll be waiting until Saturday Aug 3…

WE WILL BE CLOSED MONDAY JULY 29 – FRIDAY AUG 2 
We’re still here Sunday July 28 and reopen on Saturday Aug 3

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…..picks of the week…..

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Don Cherry: Brown Rice (A&M) LP
This is one of my alltime favorite jazz albums, and it’s FINALLY been reissued, don’t sleep, grab this one while you can… Don Cherry’s 1975 release, Brown Rice is certainly one of the jazz trumpeter’s finest and most accessible efforts of the ’70s. Produced by Corrado Bacchelli, it finds Cherry taking the tripped-out spacey jazz sound he was pioneering the previous decade and adding some nice electric moments, with occasional slight touches of funkiness. Brown Rice has a cool vibe and a tightness going for it that only adds to Cherry’s great playing. Featuring Charlie Haden (bass), Frank Lowe (tenor saxophone), Rick Cherry (electric piano) and Billy Higgins (drums).

File Under: Jazz, Funk, Spiritual
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Eno-Apollo

Brian Eno: Apollo: Atmospheres & Soundtracks (Astralwerks) LP
DUH…. To coincide with the 50th anniversary of the Apollo 11 spaceflight and moon landing in July 1969, comes this extended edition of Brian Eno, Roger Eno and Daniel Lanois’ seminal Apollo album. Originally scored to accompany director Al Reinert’s landmark feature-length documentary For All Mankind, the original Apollo album has been remastered by Abbey Road’s Miles Showell. It also comes with 11 new instrumental compositions which reimagine the soundtrack to the film, marking the first time that the three musicians have collaborated since the original sessions in 1983. Lanois contributed three compositions; “Capsule,” “Last Step From The Surface” and “Fine-grained,” while Roger Eno’s are “Waking Up,” “Under The Moon” and “Strange Quiet.” Apollo: Atmospheres & Soundtracks – Extended Version is presented here as a 180g vinyl 2LP set in a gatefold sleeve with download code.

File Under: Electronic, Ambient
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Georgia: Immute (Ekster) LP
The New York duo of Brian Close and Justin Tripp have been releasing music from their Chinatown studio, since 2012. Under the alias Georgia they make a sound which combines tech and tradition. Their compositions created by two hits of improvisation, where live jams are further edited and processed. They’ve graced labels such as Belgium’s Meakusma, and London`s FTD, and produced super limited cassettes for France’s Good Morning Tapes, and Kashual Plastik in Germany. These global collaborations reflecting Georgia’s particular reworking of the “World Music” genre. Their approach resulting in the acclaimed All Kind Music (2016), on NYC’s Palto Flats, and participation in Emotional Response’s respected Schleißen Series. Now comes Immute, for Ekster.

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

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Attarazat Addahabia & Faradjallah: Al Hadaoui (Habibi Funk) LP
“Habibi Funk is back with another album from Casablanca. Completely unreleased album which was recorded in Morocco in 1973 by three generation family band. A unique blend of Gnawa, Funk and Rock. Traditional Moroccan music meets electronic guitars and dense layers of percussion by a band that used to run in the same circles as Fadoul (And actually wrote one of his songs). Attarazat Addahabia & Faradjallah’s album came to us as quite a mystery. Our friends from Radio Martiko got access to the studio archive of the Boussiphone label and a reel labeled ‘Faradjallah’ was among the items they had found there. After listening to the selection of reels they borrowed, Radio Martiko felt it was not a fit for their label and helped us licensing it from Mr. Boussiphone instead. We knew nothing about the band. We just had the reel with the music but very little information. What we knew was that the music was incredible and very unique. Gnawa sounds were combined with funky electronic guitars, very dense layers of percussions and female backing vocals more reminiscent of musical styles further south than Morocco. We started asking around whether anyone knew the band with no immediate success until we asked Tony Day, a musician from Morocco who helped us during our search for Fadoul’s family. His sharp memory came through once again, remembering all the names of the Attarazat Addahabia band members and even how to contact the bands singer and leader Abdelakabir Faradjallah. After visiting him at his home in Casablanca with our Moroccan colleague Sabrina multiple times, he shared his personal story. His father arrived in Casablanca from Aqqa at the age of six and his mother came from Essaouira. Abdelakabir was born in the neighbourhood of Benjdia in 1942. Abdelakabir Faradjallah studied fine arts in Casablanca, graduating in 1962. He also played soccer in the second team of ‘Jeunesse Societe One’. His brother-in-law Ibrahim Sadr worked for one of the biggest football teams of the time in Morocco called ‘Moroco Sportive Union’, which allowed him to travel to France occasionally. While Ibrahim was never part of the band he brought along a few instruments from trips. Yet the majority of the instruments they could not afford to buy were built by Faradjallah and Abderrazak, Faradjallah’s brother who passed away early. For instance, they had built a Spanish guitar and a drum made of wood barrel and sheepskin by themselves. During the 1950s Faradjallah was booked as a singer for surprise parties with friends. He started to write his first songs including ‘L’gnawi’ in 1967 and wanted to make people discover Gnawa culture, or maybe rather his take on the culture to be more exact. Faradjallah recalls his first interaction with the genre in the streets of the Dern neighbourhood, where he used to go to elementary school. Gnawa is one of the essential musical genres of Morocco. It combines ritual poetry with traditional dances and music linked with a spiritual foundation. Musically a lot of influences originated from West Africa as well as Sudan. Gnawa is usually played by a selection of specific instruments such as the qaraqab (large iron castanets centrally associated with the music), the hajhouj (a three-string lute), guembri loudaâ (a three stringed bass instrument) and the tbel (large drums). People would put shells on their clothes and instruments and use incense at their parties. ‘Sidi darbo lalla – lala derbo khadem…’ came from Gnawa verses Faradjallah used to sing when he was 14. The lyrics tackle a global (im)balance of power and the question of social status in this course. The band Attarazat Addahabia was formed in 1968. The original line-up included 14 members, all from the same family. They played their first small concerts here and there starting in 1969. Later in 1973 they performed bigger shows for instance at the Municipal Theatre followed by the ‘Al Massira Show’ at Velodrome Stadium in downtown Casablanca. Their first album Al Hadaoui was recorded at Boussiphone studios in 1972 and was never released before. Nobody seems to remember the exact reason why Boussiphone ended up deciding not to put the album out. The album’s title track also served as the basis for Fadoul’s ‘Maktoub Lah’, who frequented the same circles as the band for some time. Their shows sometimes could go as long as 12 hours, starting at 5pm in the afternoon, with an occasional break here and there. In the 1980s the band took a brief break. Faradjallah recalled the reason for that break like this: ‘Zaki, the bands drummer, had fallen in love with a young girl from Mohammedia. Soon after, he fell very ill. The group members were convinced that the girl had given him ‘s’hor’ (a kind of local Moroccan version of ‘black magic’). For four years, the whole group stopped playing. It was unthinkable to find another drummer to replace Zaki, even temporarily.’ So they waited four years for Zaki to ‘get back on his feet’ before going back on stage. Apart from very few gigs here and there Faradjallah stopped playing music in the mid-1990s. Some members from the younger generations formed a new band and still play frequently to this day.”

File Under: Funk, Arabic
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Oren Ambarchi: Simian Angel (Editions Mego) LP
After a trilogy of spectacular explorations of relentlessly driving rhythms — Sagittarian Domain, Quixotism, and Hubris — Simian Angel finds Oren Ambarchi renewing his focus on his singular approach to the electric guitar, returning in part to the spacious canvases of classic releases like Grapes From The Estate while also following his muse down previously unexplored byways. Reflecting Ambarchi’s profound love of Brazilian music, Simian Angel features the remarkable percussive talents of Cyro Baptista, a key part of the Downtown scene who has collaborated with everyone from John Zorn and Derek Bailey to Robert Palmer and Herbie Hancock. Like the music of Nana Vasconcelos and Airto Moreira, Simian Angel places Baptista’s dexterous and rhythmically nuanced handling of traditional Brazilian percussion instruments into an unexpected musical context. On the first side, “Palm Sugar Candy”, Baptista’s spare and halting rhythms wind their way through a landscape of gliding electronic tones, gently rising up and momentarily subsiding until the piece’s final minutes leave Ambarchi’s guitar unaccompanied. While the rich, swirling harmonics of Ambarchi’s guitar performance are familiar to listeners from his previous recordings, the subtly wavering, synthetic guitar tone you hear is quite new, coming across at times like an abstracted, splayed-out take on the ’80s guitar synth work of Pat Metheny or Bill Frisell. Equally new is the harmonic complexity of Ambarchi’s playing, which leaves behind the minimalist simplicity of much of his previous work for a constantly-shifting play between lush consonance and uneasy dissonance. Beginning with a beautiful passage of unaccompanied percussion dominated by the berimbau, the side-long title piece carries on the first side’s exploration of subtle, non-linear dynamic arcs, taking the form of a gently episodic suite, in which distinctive moments, like a lyrical passage of guitar-triggered piano, unexpectedly arise from intervals of drifting tones like dream images suddenly cohering. In the piece’s second half, the piano tones become increasingly more clipped and synthetic, scattering themselves into aleatoric melodies that call to mind an imaginary collaboration between Albert Marcoeur and David Behrman, grounded all the while by the pulse of Baptista’s percussion. Subtle yet complex, fleeting yet emotionally affecting, Simian Angel is an essential chapter in Ambarchi’s restlessly exploratory oeuvre. Personnel: Oren Ambarchi – guitars & whatnot; Cyro Baptista – percussion & voice. Recorded by Randall Dunn, Joerg Hiller, Iuri Oriente, and Oren Ambarchi. Photography by Traianos Pakioufakis. Design by Lasse Marhaug. Edited by Joerg Hiller and Oren Ambarchi at Choose Studios, Berlin. Mixed by Joe Talia and Oren Ambarchi at Good Mixture, Tokyo. Cut by Rashad Becker at Dubplates & Mastering, Berlin. Executive Producers: Konrad Sprenger and Dick Wolf.

File Under: Ambient, Electronic
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Felicia Atkinson: The Flower & The Vessel
(Shelter Press) LP
French poet and ASMR auteur Félicia Atkinson has frequently fixated on the elusive interwoven relationship between microcosms and macrocosms — how even the quietest creative act ripples outward, a whisper with no fixed meaning. The Flower And The Vessel pursues this notion in a more literal fashion, as it was crafted while pregnant on tour. She describes it as “a record not about being pregnant but a record made with pregnancy.” Each day and night, finding herself far from home, she asked herself “What am I doing here? How can I connect myself to the world?” The answer gradually revealed itself: “With small gestures: recording my voice, recording birds, a simple melody.” In truth there is nothing simple about The Flower And The Vessel. The album’s 11 songs span whispering textures, opaque moods, and surreal spoken word, leading the listener through a mirrored hall of beguiling mirages. Atkinson cites a trio of French classical compositions from her childhood as formative influences: Ravel’s L’enfant Et Les Sortilèges, Debussy’s La Mer, and Satie’s Gymnopédies. There’s certainly a shade of classicism woven within these tracks; melancholic piano motifs repeat then retreat into a radiant frost of shivering frequencies; processed voices recite cut-up poems and interviews over delay-refracted Rhodes and Wurlitzer; iPad gamelan patterns flutter from meditative to melancholic and back again, offset by pointillist patches of delicate software synesthesia. Much of Atkinson’s discography is shaped by speech and the lyricism of language, but The Flower And The Vessel ventures further into silence. Field recordings from Tasmania and the Mojave Desert murmur beneath hushed reverberations of gong, vibraphone, and marimba, softly processed into an elegant emptiness, alternately eerie and serene. Her mode of minimalism has long been one of reduction, riddles, and curation, but here Atkinson’s synergy feels close to apotheosis, emotive but ambivalent, a ceremony of expectation and invisible forces. The 19-minute closing collaboration with SUNN O))) guitarist Stephen O’Malley, “Des Pierres,” is one of the album’s few pieces tracked in a proper studio, but it broods and burns with the same subliminal majesty as the rest of The Flower And The Vessel: an ember in amber, seeds planted in shifting sands. Original artwork by Julien Carreyn, mastered by Rashad Becker at Dubplates and Mastering.

File Under: Drone, Ambient, Minimalism
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Body of Light: Time to Kill (Dais) LP
Birthed from Arizona’s regaled Ascetic House collective, Body of Light is a dark synth-pop outfit comprised of young brothers Andrew and Alexander Jarson. What began as a vehicle for their exploration of noise and sound during their early teens has evolved into an established production over the last decade, as Body of Light continues to carve out their own style of complex, structured, and moving dancefloor electronics. Their music is not only individually personal, but drawn from experiences shared between the two brothers – and calls on elements of new wave, freestyle, goth, and techno to create timeless and singular tracks without fear of trend or passing fashion. On their third album Time to Kill, Body of Light refines their brand of cold and driving synth pop with a bold pallet of sounds and a focus on uncharted technique and purpose. Like the pale digital stare of the modern devices surrounding our daily lives, the album weaves stories of love and obsession in an era of technical bondage and fleeting exhilaration. Written over a period of intense and profound change, Time to Kill stands as a startling reminder of how important our existence truly is. Haunting keys, swelling pads, and punching rhythms score their work as Alex Jarson presents an alluring and romantic dialogue with confident projection. The title single “Time to Kill” kicks off the album with a merciless signature beat, complimented by distorted sample patterns against an infectious, moving bass groove that invites you to “let the memories fade.” The follow up single “Don’t Pretend” invokes sparkling nostalgia and innocence over a dark and driving beat paired with vintage electronic movements. The haunting “Dangerous,” slows the pace with its pendulum-like rhythm and ominous intonation, falling between a hopeful synth pop ballad and shadowy dirge – a slow dance for the sunrise set. Produced by Matia Simovich at Infinite Power Studios in Los Angeles and mastered by Josh Bonati, Time to Kill shines with new direction and new intention through lustrous production and innovative songwriting. Design and packaging by Collin Fletcher.

File Under: Electronic, Synth-Pop
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Eugene Chadbourne: Solo Guitar Volume 3-1/3 (Feeding Tube) LP
“Eugene Chadbourne is one of the great guitar players of the modern era. At the time he began recording in Canada in 1975, his music was a unique syncretic formulation. While its most obvious component was free improvisation in a style then most widely associated with English and European players, his music also contained elements of jazz, country, folk, blues, psychedelic and international sounds, referencing these threads in ways that were so diverse and intensely personalized it would take scholars decades to decode them. Volume 3-1/3 is the third of four LPs Feeding Tube is releasing, devoted to documenting some of the music Dr. Chadbourne was creating during the years he was based in the provinces of Canada, while avoiding the conscriptive powers of Richard Nixon and his ilk. Exact details of the recordings are vague, but that’s trivial. Here are seven tracks of improvisational guitar madness at its most glorious. Describing them is almost impossible, but I can at least tell you their names ‘East Was,’ ‘Texas Was,’ ‘The Shreeve,’ ‘Evil Was,’ ‘What Was,’ ‘Superman’s Problem,’ and ‘Reflections.’ The ‘Was Tetrology’ was a piece I believe to have been originally conceived and performed while in the lair of Davey Williams, R.I.P. (and associated members of the Alabama Surrealist Cabal). ‘The Shreeve’ is another take of a track originally recorded for the timeless Volume Two LP. ‘Reflections’ and ‘Superman’s Problem’ probably date to a Clouds & Water session in early ’79. Heard together they suggest an entire parallel universe of guitar history. Solo Guitar Volume 3-1/3 is an even more amazing spin than the last one. And there’s still one more to come!” –Byron Coley, 2019 Edition of 400.

File Under: Guitar
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Coil: Theme From The Gay Man’s Guide to Safer Sex (Musique Pour La Danse) LP
Purple vinyl. Musique Pour La Danse present Coil’s unreleased soundtrack for the VHS only, pre-internet, sexual education documentary entitled The Gay Man’s Guide To Safer Sex released in 1992. Members for this project were John Balance, Peter “Sleazy” Christopherson, and Danny Hyde. The OST, to quote John Balance’s interview for Compulsion Online, “is [a] slightly new age-y, progressive house type thing”. Another way to approach it is as a delightful collection of Balearic beats, smoking jazz not far removed from Badalamenti’s work with David Lynch, somewhat of an ambient house album for your home listening and early morning sunrise dances, Coil style. Taken from the original masters provided by Danny Hyde, The Gay Man’s Guide To Safer Sex features a new sexy edit of the main theme. Bonus tracks “Nasa-Arab” and “Omlagus Garfungiloops” are taken from the 1992 CD-only release Stolen And Contaminated Songs, both being original versions of the radically reworked (for the OST) “Nasa-Arab 2” and “Exploding Frogs” in order to balance the whole album and extend the listening pleasure.

File Under: OST, Electronic, Industrial, Jazz
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Mike Cooper: Distant Songs of Madmen (Backwards) LP
A new Mike Cooper release is always a great event. Mike Cooper on the recording: “Distant Songs Of Madmen was recorded live in Palermo and was my solo set in a concert organized by Lelio Gianetti and Curva Minore, which included Truth In The Abstract Blues and Eugene Chadbourne. My set was free improvisation; some cover versions of folk and pop songs and some of my own songs. The title of the record and some of the improvised pieces were taken from Sam Shepard’s writing. Sam, one of my favorite writers, has sadly died since I recorded this record and I dedicate it to his memory.” Artwork by Italian artist Carla Indipendente. Mastered for vinyl by Brian Pyle (Ensemble Economique). Includes insert; edition of 300.

File Under: Blues, Folk, Electronic, Guitar

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Mike Cooper: Rayon Hula (Room 40) LP
Room40 offer a re-mastered, re-edited 2019 version of Rayon Hula, originally released in 2004. From Mike Cooper: “After several trips, beginning in 1994, to the Pacific and its Island Nations, Australia and subsequently to South East Asia, I conceived the idea of making an updated more ‘now’ version of some of the Exotica music that originated in 1950’s America. Arthur Lyman and Martin Denny were the two I mostly had in mind at the time, but I didn’t want it to sound like them and the two words ‘Ambient’ and ‘Electronic’ had to figure large. I was deeply influenced by the ambience of the places I was visiting (Australian birds are scarily creative) and lo-fi electronics were something I had been working with in my free improvisation gigs since the ’80s . . . No-one was issuing recorded work by me, so I started my own DIY cd.r. label, Hipshot, and sold them via the internet. I was free to record whatever I wanted and I did, starting in 1999 with Kiribati . . . The summer of 2004 house sitting in Palombara, 40 minutes outside of Rome, at our friend Jo Campbell’s house, in the company of several dogs and numerous cats, I set to work outside in the shed with a Zoom Sampletrack ST-224, two mini disc recorders and a Tascam four track cassette machine; a pile of Arthur Lyman and Martin Denny CDs and my lap steel. My intention was to create a kind of music that I had hoped to hear when we visited Hawaii in the early ’90s (some kind of Hawaiian Futurism maybe?) which we never did. Rayon Hula appeared from the shed and was initially released as Hipshot c.d.r. HIP-007. I submitted it to the Ars Electronica awards in Austria and was very surprised when it received some kind of a prize. I think that David Toop had something to do with that, as he was on the jury (thanks David). It was picked up by Cabin Records, a new label initiated by Pete Fowler and Graham Erickson and released as a double 10-inch vinyl set . . . Although the idea was an homage to Arthur Lyman, it was also an homage to Steve Feld who introduced me to the concept of ‘lift up over sounding’ in his book Sound and Sentiment, a study of the Kaluli people of Papua and their relationship with their aural environment. From it I gleaned, among other things, the idea of looped sounds played simultaneously but out of sync. An idea which had in fact guided me from the beginning of the series.”

File Under: Jazz, Ambient, Improv,
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Manu Dibando: African Voodoo (Hot Casa) LP
Hot Casa present a reissue of Manu Dibango’s African Voodoo, originally released in 1972. A fantastic and rare album by the Afro soul maestro. These files were recorded in 1971 at Pathé-Marconi studio (Boulogne-Billancourt) for professional sound illustration intended for the cinema, television, and advertising. At the time, jazz musicians were interested in and experimented with all genres, and started to convert solely to what soon to be called “rare groove”, somewhere between soul, jazz, and Afro funk with a hint of Latin clave. These tunes have not aged and the sound will be considered as “huge” by many cratediggers. These recording were not supposed to reach the club or radio audience, they were freer sessions, a moment for the musicians to open their imagination and test their “Afro something”, like Manu Dibango liked to say. These recording sessions included the best of the French soul scene at the time: Yvan Julien (trumpet), Slim Pezin (guitar), Jacques Bolognesi (trombone), Lucien Dobat (drums), Emile Boza (percussion), Manfred (bass), and the conductor himself at the vibraphone, marimba, saxophone, organ. This album is a wonderful return to the future and should satisfy the need of the Afro soul aficionados. Mastering by The Carvery. Replica; vinyl-only; 180 gram vinyl; includes interview by Jacques Denis; limited press.

 File Under: African, Jazz, Funk
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HOL119LP_CUHuseyin Ertunc Sextet: A New World (Holidays) LP
Holiday Records have worked with Hüseyin Ertunç during his terrestrial transit. After the label reissued his wonderful album Musikî in 2016 (privately released on Intex Sound in 1974) and a few collaborative albums with the Konstrukt collective, in 2017 they finally managed to invite him, Doğan Doğusel, Cem Tan, and Umut Çağlar to play some shows in Italy as a quartet. Things got really complicated when their visas got rejected — only one week before their plane was scheduled to take off — but then Holidays Records found a stalwart supporter of free jazz music at the phone of the Italian Embassy and incredibly they got the visas in time so they could spend a whole week with Hüseyin and his band, touring Italy and playing four shows of the best spiritual free jazz the label heard in a long while. Right after that, the label took the chance to book a recording session at the good old Outside Inside Studio, where their loyal partner Matt Bordin captured on tape two days of improvisation by Hüseyin Ertunç (Fender Rhodes electric piano, Philicorda organm and chant), Umut Çağlar (percussion and bamboo flutes), Doğan Doğusel (double bass), Cem Tan (drums), joined for this special occasion by the almighty Jooklo Duo: Virginia Genta (tenor and sopranino saxophones, clarinet, flutes) and David Vanzan (percussion). What came out of this is an incredible musical document, and not only for the fact that — unfortunately — it was Hüseyin’s last session on this world. Edition of 300.

File Under: Jazz, Turkish
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Freddie Gibbs & Madlib: Bandana (Keep it Cool) LP
Freddie Gibbs and Madlib first connected on their 2014 universally-acclaimed collaborative album Piñata, which was celebrated on the street and by critics. The duo’s seamless collaboration juxtaposes two giant talents: Madlib, the prolific producer with a record collection from all genres and eras, an adept sampler, peer to the late J Dilla and foil for Doom with whom he created the landmark Madvillainy. Freddie Gibbs, the gravel-voiced braggadocios rapper, a vocal athlete, a star-on-the-rise knocked off course who refused to give up and has since offered some of the most compelling rap music in the past 10 years. Bandana picks up right where their first album left off, as Madlib chops up vintage samples into a complex soundscape that only a lyricist of Freddie’s caliber could match in flow and tenacity. As a pair, Freddie Gibbs and Madlib exude a natural chemistry and craft an alchemical music, appealing to everyone on the hip-hop spectrum. Boasting guest spots from Killer Mike, Pusha-T, Yasiin Bey (aka Mos Def) and Black Thought, Bandana is preceded by the singles “Flat Tummy Tea” and “Crime Pays.”

File Under: Hip Hop
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TTTT004LP_CUKeiji Haino & Charles Hayward: A Loss Permitted to Open Its Eyes…. (Thirtythree) LP
Full title: A Loss Permitted To Open Its Eyes For But Three Hours And There Glimpsed, Finally In Focus A Mystery That Begs Earnestly, “Ask Me Nothing” Now, Once More The Problem Is Yours Alone. Experimental music pioneer Keiji Haino, one of the most mysterious and influential figures to emerge from the Japanese psychedelic underground, teams up with Charles Hayward, British drummer and founding member of This Heat and Camberwell Now, on a new live album released on ThirtyThree ThirtyThree. A Loss Permitted… comprises a live recording of the duo’s improvised performance at the Copeland Gallery in London in July 2016, presented as part of ThirtyThree ThirtyThree’s performance series Japan: London. The result is fascinating: a mix of air synths, distortions, improvised Japanese poetry and warped guitar sounds. Sedate harmonica and guitar sections give way to cosmic din or an equally unnerving silence, in a performance All About Jazz described as having “no sense of logic, only silence where the tension seemed to build, then finally release”. It’s not the first time Haino and Hayward have worked together — Hayward’s rare album Double Agent(s) (1998) documents their improvisational sparring live in Japan in 1998. Both are restless collaborators: Haino has played with Derek Bailey, Tony Conrad, Jim O’Rourke, Pan Sonic, and Stephen O’Malley, as well as in his own groups Fushitsusha, Nazoranai, and Nijiumu, among others; while Hayward’s collaborators have included Fred Frith, Thurston Moore, and Laura Cannell. A Loss Permitted… sees these two visionary musicians revisit their partnership, creating a sound that is at turns contemplative and ferocious — and always completely compelling.

File Under: Jazz, Rock, Improv
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BF007LP_CUCatherine Christer Hennix/The Deontic Miracle: Selections from 100 Models of Hegikan Roku (Blank Forms) LP
Selections from 100 Models of Hegikan Roku is the second in an ongoing series of archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows 2018’s Selected Early Keyboard Works and coincides with Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of Hennix’s writing. Upon her return to Sweden from New York in 1971, Hennix sought to form a large ensemble inspired by her encounters with La Monte Young and recordings by the Theatre of Eternal Music. She enlisted her brother Peter Hennix, Hans Isgren, and a dozen Swedish jazz musicians she had previously worked with, naming the group and its pieces of music after the time and days of the week according to the Angus Maclise calendar (e.g. “The Pointed Time Bus”). Frustrated with the jazz musicians’ inability to comprehend and play the intervals of just intonation, she pared the group down to the trio of herself, her brother, and Isgren and christened the live-electronic ensemble The Deontic Miracle. In 1976, The Deontic Miracle performed Hennix’s original compositions, alongside works by La Monte Young, Terry Riley, and Terry Jennings, as part of Brouwer’s Lattice at the Moderna Museet in Stockholm. With Hennix on amplified Renaissance oboe, live electronics, and sine wave generators, her brother on amplified Renaissance oboe, and Isgren on amplified sarangi, the recordings presented here of the group’s first and only public concert see them channeling late period John Coltrane and the sopranino and soprano saxophone playing of La Monte Young and Terry Jennings in the Theatre of Eternal Music. With titles taken from Japanese Gagaku, “Music of Auspicious Clouds” and “Waves of the Blue Sea” are expansive drone improvisations, breathing with the pulsating lull of cicadas’ organic sonic latticework. Now accessible for the first time, these recordings by what Hennix has called “the most rejected band ever formed in Sweden” continue to fill gaps of silence from a figure whose work has until recently remained flickering at the margins of some of the most enduring cultural developments of the 20th century.

File Under: Electronic, Ambient, Experimental
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Imaginary Softwoods: Gold Fiction Loop Garden (Field) LP
Field Records present the first vinyl edition of John Elliott’s previously cassette-only album titled Gold Fiction Loop Garden from 2016. Aside from curating the Spectrum Spools imprint and taking part in the bands Emeralds, Organic Dial, and Outer Space, Elliott has put out two absorbing solo albums over the last ten years. His solo works as Imaginary Softwoods fit in the tradition of kosmische greats without ever delving into pastiche. This third album from Elliott features a collection of short loops, recorded live to two-track digital using analog synthesizers, Mellotron M400, and multiple arrays of configured FX processes in Cleveland, Ohio. The nine tracks are widescreen meditations on pastoral ambience. Gently rising and falling chords, mellifluous pads that slow fall from the sky and ever evolving patterns of melodic beauty range from innocent and youthful to more somber and reflective. It is a beautifully absorbing listen that is perfect audio therapy for the mind.

File Under: Electronic, Ambient
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RM4105LP_CURafael Anton Irisarri: Solastalgia (Room 40) LP
“We find ourselves increasingly in a swell of solastalgia, which is not a new phenomenon; it has haunted us over the centuries. Change has never been humanity’s strong suit, but it has been our shadow; it’s here, at this fractious nexus of unpredictability that Rafael Anton Irisarri has created his latest work, Solastalgia. Building on the echoes of landscape that guided his previous Room40 editions, Solastalgia imagines that which is not yet known. Utilizing a range of unexpected variables, automations and uncontrolled systems in the creation of the recordings, Irisarri has developed a new approach to his work, seamlessly weaving together intense layers of texture and saturated harmony. Within these works, distant melodies emerge and in their wake the listeners’ focus shifts again and again. A never-ending loop of the unconscious feeding into the conscious is formed. Whilst the skeletal form of pieces such as “Coastal Trapped Disturbance” might remain, the organic matter that is the body of the music is in a process of persistent transformation. These subconscious variations morph the pieces from within. This is a record of sublimation, and dwells in states of transition and becoming. Recorded in two suites, each section is a distorted mirror reflection of the other. Solastalgia stands as a landmark undertaking for Irisarri, it encourages us to remain unsettled and attentive in the moment, and prompts us to listen deeper and imagine what lies beyond or in excess of our expectations.” Written and produced by Rafael Anton Irisarri in New York, USA during Autumn 2018.

File Under: Electronic, Ambient
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DKMNTL064EP_CUJex Opolis: Earth Boy (Dekmantel) 12″
Dekmantel welcomes the good time vibes of Canadian selector, and retro-tastic, vibe-poppin’ producer Jex Opolis. “Earth Boy” pays homage to the classic electro of the early ’80s, with its 123bpm rolling breaks, and throbbing synth basslines. It’s as if Drexciya has a disco-baby with Spacer Woman. “Desolation” is bridled with greater depth and emotion, with Italo-pomp and a certain rhythms digi-tales flare. Braver souls may embrace the vocal mix when it comes to playing out, with its compassionate overtones and soft celled-bassline.

File Under: Electronic
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BW032LP_CUKonstrukt: Live at Islington Mill (Backwards) LP
Those Turkish improv Konstrukt boys sure love collaborating with guests, and here in Manchester’s fine Islington Mill venue, they added David Mclean of Tombed Visions and Graham Massey of 808 State into their heady live brew. On this night, the extended Konstrukt got into some Miles-ish avant-grooves, to the delight of all.

File Under: Jazz
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Yusef Lateef: Hikima: Creativity (Key System) LP
Key System Recordings present a reissue of Yusef Lateef’s Hikima: Creativity, originally released in 1983. In the early 1980s, famed jazz saxophonist and musical luminary Yusef Lateef traveled to Nigeria as a Senior Research Fellow to study, write, and teach at Ahmadu Bello University. He cut this record while there; pressed locally in Nigeria, it remained virtually unknown by jazz fans and collectors for over 30 years. On Hikima, Lateef leads a nonet of African musicians in seven compositions that fuse his deep blues and jazz roots with native Nigerian instruments, drums and chants. The sounds stretch from meditative and melancholic to urgent and unrelenting. A singular recording impossible to classify or box in. Lovingly pressed to vinyl by Key System Recordings, a new imprint dedicated to progressive and underground music of all types helmed by Jonathan Sklute, founder of NYC vinyl boutique Good Records. Officially licensed through the Lateef estate. Restored and remastered by Jessica Thompson. Pressed at RTI; sleeve done at Dorado; initial edition of 800.

File Under: Jazz
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BEWITH006LP_CULetta Mbulu: In The Music…The Village Never Ends (Be With) LP
Be With Records present a reissue Letta Mbulu’s In The Music… The Village Never Ends, originally released in South Africa in 1983. A holy-grail African record. Featuring the enormous “Nomalizo”, it’s a record that aficionados around the world have been waiting many years for. Be With Records’ reissue has been lovingly mastered for vinyl by Simon Francis (Claremont 56 mastering engineer), pressed on audiophile 180 gram vinyl for the first time, and features the original artwork. In The Music… The Village Never Ends is one of those holy grail African records that barely needs any introduction. Now, Be With Records proudly presents the hugely anticipated vinyl reissue of this bona fide classic. South African singer Letta Mbulu possesses one of the most beautiful voices the world has ever known. Her immaculate voice emits a sweetness that radiates from deep within, brimming with a joy of life and inspiring a spirit of hope and happiness. On this album, her voice soars over a strident musical force that veers between disco, soul, and pop music of the most incredible kind. The gleaming guitars recall disco’s finest hours while the thump of the beats anticipate ’80s British soul.

File Under: Funk, Boogie, African
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OUEST095LP_CUMister Water Wet: Bought the Farm (West Mineral LTD) LP
Following a golden first streak of releases by uon, Exael, and Pendant in 2018, Huerco S’ West Mineral Ltd. returns to mine a rich seam of ambient jazz sampledelia by Mister Water Wet; a Puerto Rican artist with a gift for conveying in-between, gently altered states of mind and the logic of the natural world. Revealing Mister Water Wet’s music for the first time beyond his circle of friends, Bought The Farm yields an elementally cool and breezy spirit guided by a first thought/best thought intuition through 55 minutes of crackly, hand-built music riddled with ephemeral soul. In terms of texture and structure, it’s a sound maybe best compared with Jan Jelinek at his most frayed and sloppy, or even a pastoral inversion of Kelman Duran’s rugged chop ‘n’ paste arrangements, essentially rendering a distinctive style that hovers between heavy-lidded, Afro-Latinate jazz, sampled indigenous instrumentation, and strains of gently bucolic, ambient introspection. Although based in the USA, Mister Water Wet spends a lot of time with his pops in Puerto Rico, and the subtropical natural world and revolutionary politics of the Caribbean islands osmotically informs Bought The Farm. In ten parts ranging from zoned-out drifts to pockets of sweetly psychedelic delirium, Mister Water Wet uses a patented blend of sampled artefacts and dusty magic to literally and metaphysically connote his conception of a spiritual home, framing a portal from where he can “speak” to Pedro Albizu Campos, a leading figure of the Puerto Rican independence movement, while immersing listeners in his lushly verdant, oasis-like bosques, or naturally sprawling woodlands and iridescent rivulets of sound. Ultimately Bought The Farm is a beautifully modest and intimate expression of self, heard through the prism of the lands and spirits that shaped it. From the aeolian bleeps of “Walking West” to the flutes snagged in the breeze of “Gaduduman Trades,” atavistic traces of the natural world and ancient traditions lead into moments of heart-rending dreaminess in the humble centerpiece of burnished drums and dream pop diva called “Dart,” before flowing out into oceanic new age with “Cuevas,” whereas highlights such as “Drought” feel like Kelman Duran cooking a wood-fired interlude for Boards of Canada, and the heat curdled jazz-fusion of “Gills” gives way to a memorably sublime parting statement in “Sarah Sleeping.”

File Under: Electronic, Fourth World
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Morgan_Cornbread3D_2_1024x1024Lee Morgan: Cornbread (Blue Note) LP
A rock-solid sextet session from the mighty Lee Morgan – recorded for Blue Note at the height of his mid-60s powers, and carried off in a beautiful blend of soul jazz and some slight modern touches. The group here is top-shelf all the way through – Jackie McLean on alto, Hank Mobley on tenor, Herbie Hancock on piano, Larry Ridley on bass, and Billy Higgins on drums – the last two of whom do a great job of bringing some complex yet swinging rhythms to the set. The horn soloists are all as sharp as you might expect – and the album’s a striking soulful date from McLean at a time when he was mostly going out a bit more. Titles include the funky “Cornbread,” the searching “Our Man Higgins,” and the lyrical ballad “Ceora” – plus “Most Like Lee” and “Ill Wind.” The Blue Note Tone Poet Series was born out of Blue Note President Don Was’ admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. The label brought Joe Harley (from Music Matters), aka the “Tone Poet,” on board to curate and supervise a series of reissues from the Blue Note family of labels. Extreme attention to detail has been paid to getting these right in every conceivable way, from the deluxe gatefold jacket graphics and printing quality to superior mastering (all analog direct from the master tapes) by Kevin Gray to superb 180-gram audiophile LP pressings by Record Technology Inc. Every aspect of these Blue Note/Tone Poet releases is done to the highest-possible standard. It means that you will never find a superior version. “The LPs are mastered directly from the original analog master tapes by Kevin at his incredible facility called Cohearent Mastering. We go about it in the exact same way that we did for so many years for the Music Matters Blue Note reissues. We do not roll off the low end, boost the top or do any limiting of any kind. We allow the full glory of the original Blue Note masters to come though unimpeded! Short of having an actual time machine, this is as close as you can get to going back and being a fly on the wall for an original Blue Note recording session.” – Joe Harley

File Under: Jazz
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ARCHIVE049LP_CUMuslimgauze: Babylon Is Iraq (Staalplaat) LP
Unsurprisingly for a creator as prolific as Muslimgauze’s Bryn Jones was, when he was asked for a contribution for any sort of group project, he would tend to provide more options than necessary. In the case of longtime label Staalplaat’s 1996 compilation Sonderangebot, where Jones would find himself in the company of everyone from Charlemagne Palestine to Reptilicus, the selected track was the characteristically head-spinning “Kaliskinazure”, nine minutes of insistent digital percussion bouncing the listener back and forth between samples of wailing women’s voices and a trebly, blurry little whirr that traces the percussion. It’s distinctive enough even among the vast Muslimgauze corpus, but as the continued excavation of DATs Jones submitted to his labels continues, sure enough there’s more to that track’s story, too. An extended “Kaliskinazure” makes up the second of four tracks on Babylon Is Iraq, although it’s been lost to the mists of time whether an outside editor excised the more drifting, less needling coda that makes up the extra six minutes found here, or whether Jones simply submitted both versions of the track at different times. This more complete version of “Kaliskinazure” is surrounded by shorter tracks, with the opening “Kaliskinazure _ Momada” sounding not very much like either track it references (instead being a barely-there wisp of far-away sampled wind instruments and what sounds like treated cymbal sounds) and the title track constantly coming to a full, roiling digital boil. The lengthy “Momada” closes out the album with a different, more tersely internal arrangement surrounding the same percussion pattern that will be familiar to any Sonderangebot fans, although the way the quieter atmosphere transforms the feeling of that rhythm indicates once more than Jones’s way of reconfiguring his pieces over and over was perhaps more purposive and even more effective than he’s sometimes given credit for. The result is a fascinating expansion on one of Muslimgauze’s strongest stand-alone moments, as well as a fitting tribute to an artist who would never give you a track if an album would do. such strong powers of suggestion. Cover made of 1mm thick bleu cardboard, sewed, text silver glitter screen-print, black image, name, and side lines are lasercut — All done by hand! All tracks written, performed, mixed by Muslimgauze. Recorded, engineer, mixed by John Delf. Unreleased material. Edition of 500 (numbered).

File Under: Electronic, Tribal, Industrial
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Stefano Pilia: Decay Music n. 2: In Girum Imus Nocte et Consumimur Igni (Die Schachtel) LP
Milan based Die Schachtel presents In Girum Imus Nocte Et Consumimur Igni (We Turn Round In The Night And, Behold, We Are Consumed By Fire), a work for solo guitar by the Italian composer Stefano Pilia. This marks the second release on a new series on Die Schachtel’s imprint, Decay Music. Born in Genoa and based in Bologna, Pilia is a guitar player and electro-acoustic composer concerned with the sculptural properties of sound, offering particular focus to its relationship to space, memory, and the suspension of time — the conceptual undercurrent of In Girum Imus Nocte Et Consumimur Igni. Comprised of corresponding compositional triptychs on each of its two sides, the final act of both featuring contributions from experimental music heavyweights, Rodrigo D’Erasmo on violin and David Grubbs on piano, the album builds vast, inhabitable expanses of ambience from long tones and shattered cuts and collisions, punctuated by clusters, sweeps, and careful interventions of texture and note. In Girum Imus Nocte Et Consumimur Igni — as this eerie palindrome and endecasillabo (a syntactic form in classical Italian verse) from Virgil suggests — moves through a path of alchemical symbolic narratives and poetic abstraction humbly reminiscent and allegorically inspired by Dante’s Divine Comedy and by the Nekyia (“evocation of the dead”) parts found in Book IX of Homer’s Odyssey. Based on symmetrical harmonic, melodic and narrative properties and filled with intangible narrative, haunting abstraction, fleeting visions of eerie space, and slow-motion melody, Girum Imus Nocte Et Consumimur Igni pushes electroacoustic music toward symphonic dimensions — dramatic arcs with echoes of high minimalism, historic ambient music, and the radicalism indeterminate forms. Through a wise, peculiar and abstracted use of guitar instrumentation, the sound surface of the compositions reaches deeper electroacoustic-symphonic dimensions, echoing minimalist works, ambient music and indeterminate contemporary forms. Pro-printed inner sleeve and jacket, containing a silkscreened PVC sleeve. 180 gram marble vinyl; Edition of 250, one-time pressing.

File Under: Experimental, Ambient
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Solange: When I Get Home (Columbia) LP
When I Get Home represents the next phase in Grammy Award-winning singer/songwriter Solange’s evolution as an artist following the release of her critically acclaimed 2016 album A Seat at the Table. Written, performed, and executive produced by Solange, When I Get Home is an exploration of origin. It asks the question how much of ourselves do we bring with us versus leave behind in our evolution. The artist returned to Third Ward Houston to answer this. The album includes contributions from Tyler, the Creator, Chassol, Playboi Carti, Standing on the Corner, Panda Bear, Devin the Dude, The-Dream, and more. It also features samples from Third Ward’s own Debbie Allen, Phylicia Rashad, poet Pat Parker, and Scarface. “Solange’s breakthrough 2016 album, A Seat at the Table, was a sweet-voiced, multilayered manifesto: the sound of one black woman finding her path forward and confronting the ways systemic racism and sexism affect personal struggles. Its successor, When I Get Home, is something different: a reverie, a meditation, a therapeutic retreat, a musicians’ playground.” – The New York Times “Solange’s growth as an artist has been one of music’s most fascinating stories, and, like A Seat at the Table, When I Get Home serves as a thrilling reminder that this is just the beginning of the futures she still has yet to unpack. If she can make a party-friendly album so meaningful, we’ve barely even witnessed the tip of her vision.” – Rolling Stone “When I Get Home reminds us that she’s a frontrunner of R&B in her own right. With soothing production, enveloped with numbing vocals, she leaves you in a state of utopia. This surprise album of 2019 was something we didn’t know we needed.” – NME

File Under: Pop, Soul, R&B
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OTR010LP_CUHorace Tapscott with the Pan-Afrikan Peoples Arkestra: Flight 17 (Outernational) LP
Outernational Sounds presents a cornerstone document from the Los Angeles jazz underground, Flight 17 — the first appearance on record of the legendary Pan-Afrikan Peoples Arkestra, led by their founder and mastermind, Horace Tapscott. Available on vinyl for the first time in 40 years. The Arkestra would allow the creativity in the community to come together, would allow people to recognize each other as one people. Horace Tapscott’s Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz in the 1960s and 1970s. If P.A.P.A. doesn’t have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesn’t ring bells like Monk or Tyner, there’s a reason why: in an industry dominated by record labels, a band that doesn’t record doesn’t count. And the Pan-Afrikan Peoples Arkestra didn’t record for nearly twenty years. But recording success was never their concern — they weren’t about that. First formed as the Underground Musicians Association in the early 1960s, Tapscott always wanted his group to be a community project. From their base in Watts, UGMA got down at the grassroots. The group was renamed the Pan-Afrikan Peoples Arkestra in 1971, and soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But they never released a note of music. It was the intervention of fan Tom Albach that finally got them on wax. Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early 1978 yielded enough material for two albums, and the first release was Flight 17. From the surging avant-gardism of Herbie Baker’s title track to the laidback summertime groove of Kamonta Lawrence Polk’s “Maui”, or Roberto Miranda’s up-tempo Latin jam “Horacio”, Flight 17 showcased the radical voices of the Arkestra’s members. Led out by Tapscott’s hard-swinging piano, this is the first flight on wax of the West Coasts’ foundational community big band — energized, hip, and together. Contains two tracks previously only available on the 1997 CD edition: “Coltrane Medley” and “Village Dance”, recorded live at the Immanuel United Church of Christ. 180 gram vinyl pressing by Pallas. Fully licensed from Nimbus West founder Tom Albach.

File Under: Jazz
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STRLP029LP_CUTRJJ: Music Compilation: 12 Dances (Stroom) LP
TRjj is made up of several people that meet regularly since 2016. TRjj stems from TRIIMusik, a loose group based in Germany since 1998. It is practiced collectively with interchanging names and roles, so the full control about disguised authorship would be guaranteed. Everyone involved was set to meet half way. TRjj is a filter for the kinship of many. It’s the freedom attained, once you have gotten rid of yourself. This heteronomic practice would be ideal to advocate against reasons which are claimed, biographies that are scripted, economies that are fueled and histories that are written to be recognized as something apparently truly valid and fully finished.

File Under: Electronic
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DECAY001LP_CUVertice: Decay Music n. 1: Besoch Trauma (Die Schachtel) LP
Almost all great music is bridge — spanning geography and time, defying easy definition. It is the product of collaboration and mutual respect — individual voice, fused within a collective force. These are the roots for the trio Vértice, an unlikely formation by experimental luminaries, Maurizio Bianchi, Saverio Evangelista, and Juan Manuel Cidrón — each hailing from their own discrete musical geography in Italy and Spain. Besoch Trauma, a remarkable project’s first recorded outing, years in the making, is released by Milan-based Die Schachtel on their new imprint, Decay Music. Decay Music highlights inspired contemporary experimental efforts in the ambient, ethereal, and emotively abstract. Each member of Vértice comes from a luminous and historic musical pedigree. Maurizio Bianchi is one of Italy’s earliest and most important figures in Industrial music, beginning to issue a wild series of visionary releases during the late 1970s. Saverio Evangelista is well known for his decades longs efforts within the seminal outfits, Esplendor Geométrico and M.S.B., while Juan Manuel Cidrón is one of the great cult figures of Spanish electronic music. Together they shed skin, reforming as one, diving into uncharted waters, while remaining unrecognizable within. Slow, sophisticated, and a deeply meditative, minimalist wonder, Besoch Trauma progresses like a melancholic dream — the slow wilting of sounds, pondering their own rebirth. Repetitive and restrained piano lines rise among drifting synthesizer tones and textural ambiances, fall away and return, fracture, break, stagger, and distort across the entirety of the albums first side, while murky, implacable sounds breed with flirting electronics and piano, sculpting the vast expanse of abstraction which emerges across the entirety of the second — clattering and droning, filled with air, fading melodies, and rippling tones. Two slow burning sides, unfolding with greater depth at every turn. Bianchi, Evangelista, and Cidrón build a rich tapestry of creatively challenging sound, a hypothetical imagining of historic minimalism and ambient music, bred with industrial and punk. Pro-printed inner sleeve and jacket, containing a silkscreened PVC sleeve. 180 gram marble vinyl; Edition of 250, one-time pressing.

File Under: Ambient, Electronic
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TRANSVERS010LP_CUIgor Wakhevitch: Kshatrya (The Eye of The Bird) (Transversales Disques) LP
Transversales Disques presents Kshatrya (The Eye Of The Bird), a never released before recording by French avant-garde electronic composer Igor Wakhevitch. Wakhevitch composed a bunch of major experimental albums in the ’70s, such as Logos (1970), Docteur Faust (1971), Hathor (1972), Les Fous D’or (1975), Nagual (1977), and Let’s Start (1979). During this 10-year period, Wakhevitch was close to Jean-Michel Jarre, Pink Floyd, Soft Machine, and legendary choreographer Maurice Bejart having with him many conversations around dance and music, human body and soul, spiritual path, collective life, new society, and human evolution. As a composer, Igor Wakhevitch collaborated with Salvador Dali, Carolyn Carlson, and Terry Riley, to name a few. He’s considered as one of the first French composer using synthesizers like Synthi AKS, ARP2600, or Moog modular systems. After spending almost 30 years in India, Igor Wakhevitch dug in his archives this unreleased work recorded in 1999 on his “Mysterious Island 88” system. Esoteric, sacred, and cosmic, Kshatrya (The Eye Of The Bird) is the logical follow up of Igor’s early works and a monumental piece of electronic music. A must!

File Under: Electronic, Avant Garde
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HOL122LP_CUMichael Zerang: Asssyrian Caesarean (Holidays) LP 
Chicago-based percussionist Michael Zerang presents his first solo recording after a long career as an exploratory musician and composer, Asssyrian Caesarean. Recorded and mixed by Matt Bordin in the woods at (the new) Outside Inside Studio, the album features a range of approaches to percussion that Zerang has developed over the years, including the use of vibrating drumhead surfaces, expressive friction passages, multiple timbre percussion, and straight-up trap-set drumming — all infused with a rich sense of melodic, rhythmic and textural innovation. Zerang has performed and recorded with some of the most adventurous artists of his era, including a fourteen-year stint with The Peter Brotzmann Chicago Tentet, Joe McPhee’s Survival Unit III, and an extended collaboration with drummer and percussionist Hamid Drake. Frequent collaborators also include cellist Fred Lonberg-Holm, pianist and synthesist Jim Baker, bassist Kent Kessler, trumpeter Axel Dorner, along with an ever-widening pool of international improvisors. He also recently began performing with the experimental Middle-Eastern super group Karkhana, with Mazen Kerbaj, Sharif Sehnaoui, Maurice Louca, Tony Elieh, Sam Shalabi, and Umut Çağlar. Edition of 300.

File Under: Jazz, Improv, Percussion
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AKENAT002LP_CUVarious: Cambodian Nuggets (Akenaton) LP
Before the Khmer Rouge took power in 1975, unleashing a horrifying genocide, Cambodia had one of the most vibrant and exciting music scenes in Asia. With a mixture of traditional Khmer music and a myriad of western genres (from French and Latin music, to rock-and-roll, rhythm-and-blues, surf, psychedelia, soul, and many more) the few pre 75 Cambodian recordings that survived — most of them were destroyed — are enough to make anyone with a taste for good music shocked by the amazing quality of the sounds created during those golden years. Gathered on Cambodian Nuggets are some of the most talented and unique musicians from that amazing era with an explosive collection of tracks sure to blow the mind of the listener. A celebration of some of the best music ever made. Features Ros Serey Sothea, Yol Aularong, Pan Ron, Tet Somnang & Meas Samon, Houy Meas & Dara Chom Chan, Choun Malai, Sinn Sisamouth, Liev Tuk, Thra Kha Band, Yol Aularong & Liev Tuk, Eng Nary, and Baksey Cham Krong + Mol Kamach. Edition of 500.

File Under: Psych, Asia, Rock
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Various: You’re Not From Around Here (Numero) LP
The previously unissued soundtrack to the 1964 western noir, discovered after 55 years in the Wayne Louis Moody archive. Sixteen languid guitar instrumentals, femme fatale dirges, and cinematic country crooners score the loneliest night of one man’s life. Packaged in a replica of the original octagonal film canister, with 36″ x 27″ fold out movie poster. Volume three of ten incredible albums culled from the deepest, weirdest co-op of record enthusiasts ever gathered under one banner.

File Under: Country, OST, Folk
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…..Restocks…. 

Beastie Boys: Ill Communication (EMI) LP
Jean-Charles Capon: L’univers-Solitude (Souffle Continu) LP
Don Cherry: Eternal Rhythm (MPS) LP
John Coltrane: Soultrane (Prestige) LP
John Coltrane: Standard Coltrane (Prestige) LP
Comet is Coming: Trust in the Lifeforce (Impulse) LP
Death Grips: No Love Deep Web (Harvest) LP
El Michels Affair: Return to the 37th Chamber (Big Crown) LP
Herbie Hancock: Flood (Get on Down) LP
Melvins: Houdini (Thirdman) LP
Not Waving: Voices (Not Waving) LP
Snoop Dogg: Doggy Style (Universal) LP
Jacques Thollot: Quand Le Son (Souffle Continu) LP

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…..news letter #907 – saw-whet…..

We are in the thick of the summer lull… yet shockingly, there’s some sweet new wax this week! The killer debut by local drone/psych outfit Holy Drone Travellers, new Metz, Drab Majesty, Purple Mountains. Loads to stick in yer ears… and don’t forget about all them used gems we’ve been putting out! Come dig.

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

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…..pick of the week…..

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Holy Drone Travellers: जन्म/BIRTH (Saw-whet) LP
In Spring of 2018, cosmic forces lead to the meeting of three musical souls who eventually began performing together under the name of Holy Drone Travellers. They started by piecing together their musical idiosyncrasies of free-jazz, psych, and Hindustani classical music. After several performances and augmenting the group into a quartet, the Travellers grew louder, heavier, and even more abrasive. Such sounds can be heard on a limited demo tape quietly put out by the band earlier this year. जन्म/BIRTH is a testament of Holy Drone Travellers’ first refined jams before this aforementioned change in sound. These recordings portray the original trio in a meditative state with driving tabla percussion on top of layers of droning instrumentation and free-improvisation. It’s a sound that will make fans of La Monte Young, Pharoah Sanders, and Zakir Hussain feel right at home. Aside from being the debut proper release from Holy Drone Travellers, जन्म/BIRTH is also the first release on Edmonton-based experimental label Saw-whet Records.

File Under: Experimental, Psychedelic, Drone
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…..new arrivals…..

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Dorothy Ashby & Frank Wess: In a Minor Groove (Real Gone) LP
“Dorothy Ashby was probably the greatest — and certainly the most swinging — jazz harpist of all time, re-purposing an instrument best known for ethereal glissandos into a fully versatile voice in combo settings, capable of providing both instrumental embroidery and rhythmic drive. But she was always fighting an uphill battle in terms of garnering critical and commercial success; both her gender and the exoticism of her instrument often prevented her from being taken seriously among the hidebound environs of late ’50s and ’60s jazz. But it is that very uniqueness of her sound and station in the jazz world that has made her one of the most collectible musicians of her era, as her music has been sampled and celebrated by modern-day hip hop and world music artists (e.g. Jurassic Five, Bonobo) alike. In A Minor Groove is one of two albums she made in 1958 with flautist/saxophonist Frank Wess, and it is a marvel; backed by fellow Detroit native Herman Wright on bass and the great Roy Haynes on drums, she and Wess weave mesmerizing melodic threads through standards like ‘Alone Together’ and ‘Yesterdays’. But perhaps the most amazing track is ‘Bohemia After Dark’, which displays Ashby’s uncanny ability to turn her harp into a rhythm guitar! For this first ever domestic vinyl reissue of In A Minor Groove, we are using the original mono sources — not the rechanneled stereo and jumbled track listing that showed up on Prestige’s later repackaging called Dorothy Ashby Plays for Beautiful People — and pressing up a limited edition of 1000 in neon green vinyl! Original album art with Ira Gitler’s sleeve notes, too.”

File Under: Jazz
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LDB24930_Black Keys: Let’s Rock (Nonesuch) LP
Indie exclusive version is finally in! The Black Keys’ long-awaited album ninth album Let’s Rock, the band’s first in five years, is a return to the straightforward rock of singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” The 12-track collection was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like an homage to electric guitar,” adds Carney. “We took a simple approach and trimmed all the fat like we used to.” Rolling Stone said that with lead single “Lo/Hi,” “the Keys have officially returned, louder than ever” while the New York Times hailed it as “the kind of garage-boogie stomp that the band never left behind.” Equally as infectious follow-up single “Eagle Birds,” is anchored by some stellar blues guitar work from Auerbach.

File Under: Rock
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James Blake: Assume Form (Universal) LP
In the eight years that separate his self-titled debut album from Assume Form, James Blake has quietly shifted the needle of popular music, creating spacious and thoughtful electronic pop while still leaving breadcrumbs for others to follow. Since his emergence, the landscape Blake once laid claim to is now populated by talented interlopers who pair evocative vocals with layers of loops and synths, some of whom appear on this very album. On the long-awaited Assume Form, released after a three-year gap, the English singer-songwriter and prolific producer not only reasserts his creative dominance but surpasses his biggest rival: himself. Emerging from the English dubstep scene in 2009, Blake took elements of electronica, ambient and soul, and chopped them up to create stirring ballads that sounded like no other. Never confined by such a pedestrian idea as “genre,” there are two guiding elements that kept Blake from being overshadowed by his own compositions: his inherent vulnerability and his radiant voice. While much of his previous work, including 2016’s The Colour In Anything and 2013’s Overgrown, is characterized by his signature falsetto, on Assume Form he uses his full range. The vulnerability is still there, but the sentiments, as well as the delivery, are more candid. Assume Form also continues his tradition of collaboration, drawing on the talents of rap giant Travis Scott, André 3000 of Outkast, fellow singer Moses Sumney and Latin newcomer Rosalía. Blake enlisted rap producer and hitmaker Metro Boomin to create the trap rhythms he further manipulates on the tracks “Mile High,” featuring Scott, and “Tell Them,” featuring Sumney. But in true Blake fashion, there are always a few surprises up his sleeve as well, such as incorporating elements of flamenco into “Tell Them” and adding strains of ’70s soul to “Can’t Believe The Way We Flow,” produced by the experimental composer Oneohtrix Point Never.

File Under: Electronic, RnB, Soul
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Sanford Clark: They Call Me Country (Numero) LP
Propelled by his 1956 Lee Hazlewood-produced hit “The Fool,” Sanford Clark was already a rockabilly legend in his own right by the time he swapped his hair gel and switchblade for a pair of cowboy boots on They Call Me Country. Recorded between 1965-67 and originally released as a series of singles for Phoenix’s Ramco label, the 12 tracks on this LP borrow Bakersfield’s outlaw sound and ignore Nashville’s countrypolitan flair, standing as a true lost masterpiece of country music’s third generation. Clark’s booming baritone tells tales of bar fights, heartaches, and drinking til you can’t stand, while Waylon Jennings provides a backdrop of fuzzed out guitar twang. Mastered from the original session tapes and back on vinyl for the first time since the Nixon administration.

File Under: Country
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Drab Majesty: Modern Mirror (Dais) LP
Since the 2015 release of Drab Majesty’s debut Careless, and the release of the acclaimed sophomore album The Demonstration the following year, artist Deb Demure and collaborator Mona D. have firmly established themselves amongst the pantheon of dark synth-pop greats, establishing a devoted fan base worldwide with their singular hypnotic sound and mysterious, constantly-evolving presence. Following intense and extensive touring in support of the first two albums, Drab Majesty escaped to the inspirational landscapes of Athens, Greece to channel the songs for their most ambitious album creation yet: Modern Mirror. Blowing the dust off the antiquarian myth of Ovid’s “Narcissus”, Drab Majesty uses its premise as groundwork for a modern reinterpretation. Each song tells a piece of the story, in which the listener’s own self-identity has become warped and dissociated through rapidly expanding technology, losing touch with the origins of their own personalities. Setting the stage as a romantic saga of antiquity, “A Dialogue” asks the listener if they are truly in love amid a building wash of guitars and reverb. Elements of classic tragedy weigh heavily in the reflection of Modern Mirror in songs like “The Other Side,” possessing a fundamental sound that is energetic, luminous and hopeful. Fusing the sonic aesthetics of predecessors like New Order and The Cure within the cautious instruction of Greek mythology and modern science fiction, Drab Majesty has birthed a hybrid of dreamy malaise, captured for a future moment. First single, “Ellipsis,” romantically plays up the distorted concept of courting through modern technology in a world that has yet to adapt, while on “Long Division,” Deb’s resounding guitar cascades around the chorus shared with No Joy frontwoman Jasamine White-Gluz, wistfully warning us against our vanity and self-obsession. Even when hope for everlasting love peeks through in “Oxytocin,” a sparkling and stoic track sung by Mona D., we are firmly reminded our fleeting existence. Modern Mirror is a journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems – a seemingly classic tale delivered unblinkingly through the frame of the modern world. Produced by Josh Eustis (Telefon Tel Aviv) and mastered by Dave Cooley, with appearances by Jasamine White-Gluz (No Joy) and Justin Meldal-Johnson (NIN, Beck, M83, Air). Packaging and design by Juan Mendez of Jealous God/Silent Servant. Photography by Nedda Afsari (Muted Fawn).

File Under: Electronic, Darkwave
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Dexter Gordon: Clubhouse: Tone Poets Series (Blue Note) LP
One of the enduring mysteries of Blue Note history is that superb sessions such as Dexter Gordon’s Clubhouse (recorded in 1965) remained unreleased in the vault until the late 1970s. Recorded during the middle of Gordon’s “golden period” career renaissance after he signed with Blue Note in 1961, the tenor saxophone legend is joined by Freddie Hubbard on trumpet and the remarkable rhythm section of Barry Harris on piano, Bob Cranshaw on bass, and the great Billy Higgins on drums. Long Tall Dexter’s rendition of the Sinatra evergreen “I’m a Fool To Want You” stands as one of his all-time greatest ballad performances. The Blue Note Tone Poet Series was born out of Blue Note President Don Was’ admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. The label brought Joe Harley (from Music Matters), aka the “Tone Poet,” on board to curate and supervise a series of reissues from the Blue Note family of labels. Extreme attention to detail has been paid to getting these right in every conceivable way, from the deluxe gatefold jacket graphics and printing quality to superior mastering (all analog direct from the master tapes) by Kevin Gray to superb 180-gram audiophile LP pressings by Record Technology Inc. Every aspect of these Blue Note/Tone Poet releases is done to the highest-possible standard. It means that you will never find a superior version.

File Under: Jazz
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Khruangbin: Hasta El Cielo (Dead Oceans) LP
Globetrotting Texan trio Khruangbin release Hasta El Cielo, the band’s glorious dub version of their second album Con Todo El Mundo. The full album has been processed anew along with two bonus dubs by renowned Jamaican producer Scientist. The band’s exotic, spacious, psychedelic funk aligns with the dub treatment particularly well. Formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums; Khruangbin’s sounds are rooted in the deepest waters of music from around the world, infused with classic soul, dub and psychedelia. Con Todo El Mundo, the band’s sophomore LP, took inspiration not just from South East Asia but similarly underdiscovered funk and soul of the Mediterranean and the Middle East, particularly Iran.

File Under: Funk, Reggae
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Metz: Automat (Sub Pop) LP
Metz, the widely-adored and delightfully noisy three-piece punk band from Toronto have been laying waste to stages around the globe for over 10 years. During that tumultuous chunk of time Metz, comprised of Alex Edkins, Hayden Menzies, and Chris Slorach, have cemented their reputation as one of the planet’s most exhilarating live acts and trusted providers of bombastic outsider rock. Their love of the road and passion to create uncompromising and challenging music remains unwavering and has only grown over time. Their recorded output to date, a cornucopia of pop-inflected noise punk and damaged fuzz anthems, includes three critically-acclaimed LPs with Sub Pop, as well as a plethora of limited-edition releases, collaborations, covers, and rarities. Which brings us to Automat, a collection of non-album singles, B-sides, and rarities dating back to 2009, available on LP for the first time, and including the band’s long out-of-print early (pre-Sub Pop) recordings.  Featured here are the band’s first three 7″ singles, recorded 2009-2010 and originally released by We Are Busy Bodies Records; a demo version of “Wet Blanket,” the explosive single from 2012’s Metz; two tracks from the limited-edition bonus single that accompanied preorders of Metz; “Can’t Understand,” originally released in 2013 by [adult swim]; and both tracks from the band’s 2015 single on Three One G. The vinyl format of Automat comes with a bonus single that includes three additional tracks: a cover of Sparklehorse’s “Pig,” from a very limited 2012 Record Store Day split single originally released by Toronto’s Sonic Boom record shop; “I’m a Bug,” a cover of The Urinals’ art-punk classic, originally released on YouTube (not an actual record label) in 2014; and Metz’s previously unreleased rendition of Gary Numan’s “M.E.” All tracks on Automat have been lovingly remastered for maximum fidelity by Matthew Barnhart at Chicago Mastering Service.

File Under: Punk
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Purple Mountains: s/t (Drag City) LP
Purple Mountains is the new nom-de-rock of David Berman (Silver Jews) and also the name of what will be known as one of his greatest albums – full of double-jointed wit and wisdom, up to the neck in his special recipe of handcrafted country-rock joys and sorrows that sing legendary in cracked and broken hearts. The songs are produced impeccably by Woods’ Jarvis Taveniere and Jeremy Earl, buffed up like a hardwood floor ready to be well-trod upon for an evening of romance and dance. The songs of Purple Mountains are a potent brew, stitched together from lifetimes, knitting the drift of the years with the tightest lyric construction Berman’s ever attempted. Honesty is archly in the air, but lines of incredible bleakness somehow give way to playful distraction and the hiding of surprises for close listeners.

File Under: Indie Rock, Silver Jews
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Rhye: Spirit (Last Gang) LP
“The sound of Spirit was born out of falling in love with playing the piano again. About a year and a half ago, my girlfriend surprised me with a borrowed piano. It wasn’t in the best shape, but it made itself at home in my apartment and I started playing it every morning…just messing around at first, but it slowly became a morning ritual I couldn’t shake. “As our Secular Sabbath events developed and moved around the world, we were fortunate to be able to meet and experiment with some inspiring musicians. Out of these experiments, new ideas were born and turned into songs with artists like Thomas Bartlett and Ólafur Arnalds, whose musical genius now grace this record. When I worked with each of them, both happened to play 80’s era Yamaha pianos. At a certain point, I knew I needed to get one for myself: the tone was speaking to me, through me. The first piano shop I wandered into in Koreatown, Los Angeles, and the first piano I see is an ’84 Yamaha U3 (a special edition hybrid!) It was the very piano I was looking for. It was fate. “My morning piano ritual met my new piano in my favourite studio. I made a rule for myself that I would start something brand new every day, work on that for two hours without judgement and just see what I came up with. Out of the many sketches, Spirit started to take shape: a collection of songs that I did alone in the studio with just a piano, intertwined with collaborations with some of my favourite piano-based musicians. These are songs about love in my life, but also about the love for piano brought back into my life.” – Mike Milosh

File Under: Electronic, Chillwave
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Sebadoh: Act Surprised (Fire) LP
Indie-rock pioneers Sebadoh return with their first new studio album in more than six years! Act Surprised continues the soulful collaboration that’s defined the band since 1991’s Sebadoh III and 1994’s Bakesale. The new batch of songs reaffirms how vital the creative partnership is between members Lou Barlow, Jason Loewenstein, and Bob D’Amico. When Barlow recently moved back to his home state of Massachusetts following a series of personal changes, he pressed the restart button and, in time, felt the incentive to reach out to Jason and Bob again to reunite and start work on a new album. The trio convened and began recording in their original stomping grounds in Northampton, MA where they first formed back in 1988. Along with producer/sound engineer Justin Pizzoferatto, Sebadoh have delivered one of the best records of their career. Act Surprised is a 15-song collection that’s as dynamic and visceral as anything the band has ever committed to tape.

File Under: Indie Rock
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Six Organs of Admittance: For Octavio Paz (Hermit Hut) LP
Hermit Hut is pleased to announce their first Six Organs Of Admittance release with a remastered For Octavio Paz, on vinyl for the first time since it’s original pressing of 500 on Time-Lag records in 2003 (which sold out in 24 hours). This new edition has been re-mixed and remastered from the original four-track cassettes to bring out the resonant tones of the acoustic guitars that were lost in the original transfer (2019 analog-to-digital technology has come a long way since early 2000 16-bit DAT machines). For Octavio Paz is considered by many to be a high point in the early Six Organs of Admittance catalog. Almost wholly instrumental, it is the only Six Organs record that sounds fully dedicated to touching the edges of an acoustic finger-style world that was still quite underground back in the first few years of the new century. The songs here utilize a variety of approaches to the acoustic guitar, both steel string and nylon, solo and overdubbed, but always in the service of atmosphere. The record ends with a side long solo steel string piece that sounds equally at home next to modern guitar players like Tashi Dorji as classic American Primitive players such as Robbie Basho. When released on CD in 2004, For Octavio Paz earned an 8.0 from Pitchfork who said, “Though they vary from melancholy to warm memory in between notes, the emotions that Chasny creates on For Octavio Paz are always stark and imagistic.”

File Under: Folk,Guitar Soli
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Brent Snyder: Cumulus (Morning Trip) LP
“Recorded in a Toronto apartment in 1985, Cumulus is an ultra-rare private-press ambient cassette release which was circulated amongst a small group of friends within the avant-garde theatre scene at the time. Brent Snyder’s interest and discovery of Frippertropics and Brian Eno inspired him to set up a 4 track tape recorder in the corner of his dining room to create the two slowevolving guitar loop-based pieces that make up Cumulus. The A side, ‘Excursion’, drifts between subtle dusty peaks and valleys in an almost Basinski-esque way, while the subtle hums and textures of ‘Cumulus’ gently levitates above the earth and settle into sublime tones similar to Steve Roach Structures From Silence and Brian Eno Apollo: Atmospheres and Soundtracks. Credited as Music For Relaxation, Cumulus is the perfect music to encourage subconscious change, decrease blood pressure or pet the cat on the couch to. Recommended if you like: William Basinski, Brian Eno, Robert Fripp & Steve Roach.”

File Under: Electronic, Ambient
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Tallest Man on Earth: I Love You. It’s a Fever Dream (Rivers/Birds) LP
I Love You. It’s a Fever Dream. is the first album since 2015’s Dark Bird Is Home from The Tallest Man on Earth – written, produced and engineered by Swedish singer/songwriter Kristian Matsson and recorded almost entirely in his apartment in Brooklyn, NY. Matsson says “Of course there are some love songs and then there are some other songs. Making the album I was thinking a lot about the lenses we view our lives through and that, for some reason, our worst tendencies seem to be carried out so loudly, while our best can go unnoticed. I’ve come to realize that some of the most powerful, most inspiring moments in my life have been the most subtle and that so often the thing that deserves my attention, is trying the least to get it.” In recent years Matsson has undertaken single oriented projects that incorporate writing, producing and self releasing songs and videos in regular intervals, often with purposefully intense deadlines. He’s described finding inspiration in the entire process, and in particular in the satisfaction of making something and having it out quickly. For listeners and viewers the fascination has been in watching an artist work through his life, in problems and celebrations large and small, putting his thoughts out into the world while he’s still processing them himself and watching them evolve over time.

File Under: Indie Rock
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Uzeda: Quocumque Jeceris Stabit (Temporary Residence) LP
Uzeda – a national treasure of Italy’s underground rock scene, and one of the longest-running punk bands on the planet – returns with their first new album in 13 years. The album’s title, Quocumque jeceris stabit comes from the famous inspiration phrase that loosely translates in English to “Wherever you throw it, it will stand” – a testament to the resilience and adaptability of Uzeda. Like a buoy in turbulent waters, virtually everything around the band and its members has changed significantly since their last album, Stella, was released in 2006 on their previous longtime label, Touch and Go Records. Recorded, as always, by longtime friend and collaborator, Steve Albini, Quocumque jeceris stabit sees Uzeda picking up where they left off, albeit with the sands and scars of time cutting new creative paths within the reputable map through which the band has traveled for the past four decades. Vocalist Giovanna Cacciola’s fragile, dynamic rasp still cuts through the jagged guitar of husband and fellow Bellini member, Agostino Tilotta, while the rhythm section of bassist Raffaele Gulisano and drummer Davide Oliveri provide the sturdy foundation on which all Uzeda songs are built. But there’s something noticeably different now, a kind of melodic tension that was always hinted at but perhaps never fully displayed until now. It is a sound and a feel that Uzeda was made for, and one that unquestionably defines them.

File Under: Electronic, Pop
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…..Restocks….

Childish Gambino: Awaken My Love (Glassnote) LP
Comet is Coming: Trust in the Lifeforce (Impulse) LP
D’Angelo & The Vanguard: Black Messiah (Universal) LP
Mac Demarco: This Old Dog (Royal Mountain) LP
Kenny Dorham: Afro-Cuban (Blue Note) LP
Ryo Fukio: Scenery (We Release Jazz) LP
Hot Snakes: Automatic Midnight (Sub Pop) LP
Dan Mangan: Club Meds (Arts & Crafts) LP
Pavement: Brighten the Corners (Matador) LP
Mark Pritchard: The Four Worlds (Warp) LP
Robyn: Body Talk (Universal) LP
Nina Simone: Pastel Blues (Universal) LP
Sunn o))): Life Metal (Southern Lord) LP
Tragically Hip: Road Apples (Universal) LP
Vampire Weekend: Father of the Bride (Columbia) LP
Various: Soul Stabs Volume 1 (Colemine) LP

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