Tag Archives: used

…..news letter #913 – toe away…..

Well, look at that… records in.. on time, for release. Amazing. Some killer slabs in this week, and as always, new used stuff going in the used bins on the regular. Come on down for a dig.

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…..pick of the week…..

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Tropical Fuck Storm: Braindrops (Joyful Noise) LP
Tropical Fuck Storm formed around 2017 in the city of Melbourne, Victoria along Australia’s south-eastern coast. The band released their debut long-player A Laughing Death in Meatspace on Joyful Noise Recordings in 2018. Each of the band’s four members bring considerable experience to the group. Gareth Liddiard and Fiona Kitschin were part of the long-running and critically-acclaimed act The Drones, while Erica Dunn and Lauren Hammel have performed in a variety of well-received projects. Perhaps it’s that wealth of rock and roll experience that allows Tropical Fuck Storm to so expertly deconstruct and distort the genre’s norms. “Everything we do, we try to do it in a weird way. The whole album is full of weird beats, and just weird shit everywhere,” Liddiard explains. He cites Doc at the Radar Station-era Captain Beefheart as a key sonic touchstone, and Braindrops certainly shares the Captain’s penchant for pounding abstract grooves. Tropical Fuck Storm have achieved a uniquely off-kilter sound on Braindrops. Liddiard partly credits this to the group’s use of unconventional equipment, “We use lots of techno gear to make rock and roll because rock and roll gear is boring, and all sounds like Led Zeppelin.” Liddiard’s own description of Tropical Fuck Storm’s sound is nearly as interesting and evocative as the music itself. He describes the LP’s title track as “Fela Kuti in a car crash,” and talks of creating a sonic atmosphere that “sounds like chloroform smells” for “Maria 62.” Liddiard can be a bit more taciturn when asked to get specific on the group’s lyrical themes. “It’s not always a good idea to be too straightforward.” Instead Liddiard favors a “more nebulous and mysterious” approach. A recurring theme on Braindrops concerns the various ways the human brain can be manipulated and controlled for exploitative gain. The bracing “The Planet of Straw Men” is a study of human behavior inside the social media comments section, a place where otherwise reasonable people are seen gleefully engaging in psychotic chest-thumping rhetoric. “It’s about everyone having a screaming match,” Liddiard says. “You see two people yelling at each other on Twitter, but they’re not really yelling at each other, they’re yelling at each other’s idea of the other. Meanwhile countries like Russia are taking advantage of this to push their ideologies and get ahead.” Erica Dunn’s “Who’s My Eugene?” contemplates a more personal example of predatory mind control. “It’s about Eugene Landy, the doctor that drugged the shit out of Brian Wilson and emptied his bank account,” Liddiard explains. Listening to Braindrops is a jarring and exhilarating experience, full of pulsating grooves, black humor, dissonant experimentation, and unsettling dystopian plot-lines. Braindrops is an unrelenting work, from an unrelenting musical ensemble. “Tropical Fuck Storm is a full on thing,” Liddiard offers. “Everything we do, we do it to the death.”

File Under: Rock
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…..new arrivals…..

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Beirut: Gulag Orkestrar (Pompeii) LP
Back in print! While it may sound like an entire Balkan gypsy orchestra playing modern songs as mournful ballads and upbeat marches, Beirut’s first album, 2006’s Gulag Orkestar, is actually the work of 19-year-old Albuquerque native Zach Condon, with an assist from Jeremy Barnes (Neutral Milk Hotel, A Hawk and a Hacksaw). There are no guitars on this album; instead, horns, violins, cellos, ukuleles, mandolins, glockenspiel, drums, tambourines, congas, organs, pianos, clarinets and accordions all build and break around Condon’s deep-voiced crooner vocals, swaying to the Eastern European beats like a drunken 12-member carnival band. In the winter of 2005, Condon headed to Sea Side Studios in Brooklyn’s Park Slope where, along with Barnes and A Hawk and a Hacksaw’s Heather Trost, he added percussion and violin overdubs to his original compositions. The resulting record sounds like a Neutral Milk Hotel from behind the iron curtain. Gulag Orkestar is a glorious sweep of music, striking in its emotional content and stunning in its scope.

File Under: Indie Rock
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Beirut: The Flying Club Cup (Pompeii) LP
Back in print! Beirut’s second album The Flying Club Cup (2007), is an homage to France’s culture, fashion, history, and music. Zach Condon immersed himself in Balkan folk, absorbed sounds, scales, styles, and the sonic joys of a skeletally structured, cacophonic ensemble – and moved west. Condon also soaked up the likes of François Hardy, Charles Aznavour, and, most notably, Jacques Brel (a huge influence on both Scott Walker and Mark E. Smith). Most of the album was created at a nondescript Albuquerque office space, aka A Hawk and a Hacksaw’s practice room; Heather Trost plays violin and viola on three songs. Engineering and production assistance came from Griffin Rodriguez (A Hawk and a Hacksaw, Man Man). He helped separate the many instrumentalists involved in recording, as opposed to Gulag Orkestar’s largely solo flight. Additional recording was done with Owen Pallet (Final Fantasy) at the Masonic church studio owned by The Arcade Fire. Within the spectacle and intimacy of The Flying Club Cup, you can hear a love letter to the joie de vivre that defines our existence. Listen closer, and you also hear the emergence of a singular musical talent and his experience living in Paris – unbounded by cultural borders and by where his heart travels.

File Under: Indie Rock
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Beirut: The Rip Tide (Pompeii) LP
Back in print! Zach Condon’s music often parallels the exotic mysteries of world travel. Beirut’s previous album, 2007’s The Flying Club Cup, sang a love-letter to France (with a 2009 stop-off in Mexico for the March of the Zapotec EP), many asked where his songs would voyage next, but few predicted the inward journey Condon takes on 2011’s The Rip Tide, an album with the most introspective and memorable songs of his young career. Recorded in Upstate New York, Brooklyn and, of course, Condon’s hometowns of Albuquerque and Santa Fe, The Rip Tide marks a distinct leaping-off point for Beirut. Beginning life as small melodies conceived on piano or ukulele, the songs were built upon by the entire band in the studio before Condon’s paring down and retrofitting. The results sound like they were recorded in a single session, with exciting rhythms matching the upbeat horns and contrasting the mournful strings. No direct geographical affiliation was exhumed; rather, the style that emerges belongs uniquely and distinctly to Beirut, one that has been hinted at all along. Lyrically, Condon’s deep honesty outstrips the simplified nomadic troubadour image of his past. The tracks speak of love, friendship, isolation and community, touching on universal human themes that are less fabricated stories than impressions of life at a quarter-century of age. This dramatic shift expands Beirut’s palate without weighing down the music. “Santa Fe,” a jumpy ode to the town of his youth, is the best pop song he has written yet. Of particular note is “Goshen,” a torch song that wraps itself in Condon’s delicate piano phrases at a level of intimacy never heard before on a Beirut song. The performances of the band, Perrin Cloutier on accordion, Paul Collins on bass, Ben Lanz on trombone, Nick Petree on drums and Kelly Pratt on horns, are spot-on. With contributions by such esteemed colleagues as violinist Heather Trost (A Hawk and a Hacksaw) and Sharon Van Etten, The Rip Tide reveals greater levels the more the listener explores. And one need not even travel very far.

File Under: Indie Rock
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Bon Iver: i,i (Jagjaguwar) LP
i,i is Bon Iver’s most expansive, joyful and generous album to date. If For Emma, Forever Ago was the crisp, heart-strung isolation of a northern Winter; Bon Iver the rise and whirr of burgeoning Spring; and 22, A Million, a blistering, “crazy energy” Summer record, i,i completes the cycle: a fall record; Autumn-colored, ruminative, steeped. The autumn of Bon Iver is a celebration of self acceptance and gratitude, bolstered by community and delivering the bounty of an infinite American music. The sales and accolades are well-known – multiple Gold albums, multiple Grammys, chart-topping collaborations and festival headlines. But even more significantly, with each release Bon Iver quietly shifts the state of modern music. From the boundaries of folk, to the rules of autotune, to production work for others, Bon Iver’s fingerprint finds its way across the mainstream every time. Justin Vernon has always been a master collaborator, and on i,i that desire becomes maximal, with guests ranging from Moses Sumney and Bruce Hornsby to Wye Oak’s Jenn Wasner and the Brooklyn Youth Chorus. Here, the music – and band, and themes, and creative space – are bigger than ever!

File Under: Indie Rock
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Bonnie Prince Billy/Bryce Denssner/Eighth Blackbird: When We Are Inhuman (37D03D) LP
Julius Eastman and Will Oldham are kindred spirits. Self-styled provocateurs, they have positioned themselves on the outskirts of distinct traditions, pulling all manners of musical influence towards their outré stance. Eastman, who passed away in 1990 and whose work is experiencing a necessary revival, harnessed the vocabulary of minimalism for joyfully insurgent ends; Oldham’s songwriting regularly conjures a pantheon that Greil Marcus called “the old, weird America.” These two visionaries collided at Cincinnati’s MusicNOW Festival, and any distance between them was mediated by curator Bryce Dessner and ensemble Eighth Blackbird. On this album, woven between new arrangements of Oldham’s cryptic songs and Eastman’s iconic “Stay On It” are several of Dessner’s “Murder Ballades,” works that tease out the homicidal strain of old folk tunes. In “Down in the Willow Garden,” a classic Appalachian tune, Oldham sings bleary-eyed atop harshly twanging timbres; “Underneath the Floorboards” takes inspiration from a recent murderous classic by Sufjan Stevens. These explorations of violence are natural fits for Oldham, who has always examined the interstices between intimacy and cruelty. Four of his songs appear here in new, sumptuous arrangements by pianist Lisa Kaplan. In Cincinnati, Oldham compared working with Eighth Blackbird to becoming acquainted with a “haunted house,” continually returning to the same spot and observing how his fear was interlaced with a charged energy. The arrangements push Oldham’s voice to new heights, as in the ecstatic refrain of “New Partner” or the lithe polyrhythms of “Beast for Thee.” On “One with the Birds” and “When Thy Song,” shimmering introductions deploy avant-garde effects as a window into Oldham’s bleak, poignant sound world. Musicologist Matthew Mendez has identified the web of influences on Eastman’s “Stay On It”: a post-Stonewall queer subjectivity, which the composer-performer flaunted; disco hits by Diana Ross, to which Eastman regularly danced at a Buffalo gay bar; and 1970s minimalism, via Eastman’s emphasis on what he called not “the pulse” but “the beat.” “Stay On It” was worked out in performance in the ’70s, and no complete score exists. This live rendition, based on archival recordings, sharpens the edges of Eastman’s music while still capturing its anarchic ideal. Oldham’s repetitions of “Stay On It” are subversively subdued, and Dessner’s guitar inserts a punch of the urbane. The riff mutates, changes, fades away, returns triumphantly. It overpowers and is overpowered. Boundaries between musicians and audience dissolve – in concert, percussionist Matthew Duvall ran off the stage to make a surround-sound ruckus – addressing the broader political hierarchies that Eastman sought to triumphantly topple. The party is political.

File Under: Indie Rock, Minimalism, Experimental
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Cherubs: Immaculada High (Relapse) LP
Rightfully hailed as “the noisiest pop music on the planet” by Pitchfork, Austin, TX’s cult noise rock trio Cherubs have been purveyors of sonic bedlam since their inception in 1991. After an unforeseen return to the scene from a two-decade hiatus in 2014, the Cherubs have now joined forces with the equally revered Relapse Records for the release of their fifth long-player Immaculada High. Recorded and engineered by Erik Wofford (Explosions in the Sky, The Black Angels, My Morning Jacket) at Cacophony Studio in Austin, Immaculada High is 11 songs of signature Cherubs clamor with an added twist of Texas-sized, psychedelic racket. Smooth, rumbling low-end rhythms interplay with feedback drenched, chuggin’ guitars, relentless tone and vocalist Kevin Whitley’s shrill, life-of-the-LSD-party vocals. On Immaculada High, Cherubs loudly proclaim their title as bonafide noise rock legends who continue to forge transgressive yet remarkably accessible punk for a jaded world.

File Under: Noise Rock
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Donald Byrd: Ethiopian Knights (Blue Note) LP
In honor of Blue Note Records’ 80th Anniversary, the legendary jazz label is launching the Blue Note 80 Vinyl Reissue Series. Distinct from the Tone Poet Audiophile Vinyl Reissue Series, this second series curated by Don Was and Cem Kurosman features 180g vinyl LP releases in standard packaging with albums spanning the many eras of the label’s history presented by themes: Blue Note Debuts, Blue Grooves, Great Reid Miles Covers, Blue Note Live, and Blue Note Drummer Leaders. The series resumes in August 2019 with Part 2 of the Blue Grooves theme – Lou Donaldson Alligator Bogaloo (1967), Donald Byrd Ethiopian Knights (1972) and John Scofield Hand Jive (1994) – and will continue with three albums released each month for the coming year. Trumpet titan Donald Byrd gained his greatest fame in the 1970s when he recorded a series of commercially successful funk/R&B albums for Blue Note. 1972’s Ethiopian Knights is the culmination of the innovative sound that Byrd put forth on Fancy Free, Electric Byrd and Kofi. Combining L.A. studio musicians with Bobby Hutcherson and Harold Land and the Jazz Crusaders’ Joe Sample and Wilton Felder, Byrd paints sonic pictures that draw from the textures of Miles Davis’s In a Silent Way and African music as well as jazz, funk and fusion. These colorful performance sound as lively, lyrical and hip today as they did nearly half century ago.

File Under: Jazz
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Lou Donaldson: Alligator Boogaloo (Blue Note) LP
In honor of Blue Note Records’ 80th Anniversary, the legendary jazz label is launching the Blue Note 80 Vinyl Reissue Series. Distinct from the Tone Poet Audiophile Vinyl Reissue Series, this second series curated by Don Was and Cem Kurosman features 180g vinyl LP releases in standard packaging with albums spanning the many eras of the label’s history presented by themes: Blue Note Debuts, Blue Grooves, Great Reid Miles Covers, Blue Note Live, and Blue Note Drummer Leaders. The series resumes in August 2019 with Part 2 of the Blue Grooves theme – Lou Donaldson Alligator Bogaloo (1967), Donald Byrd Ethiopian Knights (1972) and John Scofield Hand Jive (1994) – and will continue with three albums released each month for the coming year. A hard-bop-meets-soul-jazz classic, Alligator Bogaloo features three ‘Sweet Lou’ Donaldson tunes, including the hit title track, the swinging, R&B styled “The Thang,” with organ shouts and exuberant utterances, and the upbeat “Rev. Moses” where all the band members romp with Lou and a fiery Lonnie Smith leading the way. Lonnie contributes the slow, steady “Aw Shucks!” where the band opens up for instrumental expressions in the relaxed zone. Lou also covers vibraphonist Freddie McCoy’s oozing soul-jazz gem, “One Cylinder” (George Benson’s guitar ebullience is at its best on this track), and closes the long player with a ’30s-era ballad, “I Want a Little Girl.” With Melvin sitting out, this is Lou’s luminous lyrical showcase.

File Under: Jazz
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Jonsi & Alex: Riceboy Sleeps (Krunk) LP
Known primarily for his haunting falsetto and other-worldly presence as the singer in Sigur Rós, Jon Thor Birgisson aka Jónsi has, together with his partner Alex Somers, been exhibiting artwork and staging exhibitions under the name Riceboy Sleeps for years now, including the release of a limited edition picture book. The early fruits of the musical side of this collaboration surfaced in physical form for the first time, with the track “Happiness,” on the exemplary Dark Was The Night Red Hot compilation. Riceboy Sleeps is human in a profound and verging-on spiritual way. It says nothing, literally, and yet living through its 68-minutes you emerge feeling much has been revealed. Its slowly evolving abstract landscapes are both edifying and life-affirming. The record works as a whole, and exists in a contemplative dream-state, unconstrained and mesmeric, seemingly outside time. The record, however, is more active than its apparent antecedents in the ambient output of Brian Eno, and other deliberately low-impact works. Riceboy Sleeps is awash with both tension and stimuli, as well as being frequently, and stunningly, beautiful. Played solely on acoustic instruments in Iceland and featuring long-time string collaborators Amiina, as well as the Kopavogsdaetur choir, Riceboy Sleeps has a suitably organic feel. The full-length Riceboy Sleeps album (the name having migrated from artist moniker to album title) subtly redefined expectations of slow and elegiac instrumental music in 2009.

File Under: Indie Rock, Sigur Ros
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Lightning Bolt: Wonderful Rainbow (Thrill Jockey) LP
Legendary band Lightning Bolt’s Wonderful Rainbow is one of the most quintessential albums to come from the underground in the last 20 years. Included in lists like Pitchfork’s “200 top albums of the 2000s” and the book 1001 Albums You Must Hear Before You Die, Lightning Bolt’s seminal record solidified their place as pillars of the underground community. Wonderful Rainbow saw the duo of Brian Chippendale (drums/vocals) and Brian Gibson (bass) being compared to the likes of Slayer, Ornette Coleman, and early Boredoms, and captured the bristling, immeasurable energy of their mythical live shows, which continue to astonish audiences today. The album’s now iconic artwork (drawn by Chippendale) mirrors the music’s curious and exhilarating blend of chaos, noise, intense beauty, and childlike wonderment. Lightning Bolt paved the way for countless artists who followed them, cracking the noise-rock and underground scenes wide open with an album as frenetic and violent as it is overflowing with joyful abandon. Wonderful Rainbow is released for the first time ever with the full artwork as initially conceived by Lightning Bolt in 2003. Front and back artwork familiar to fans is still there but now in a full wrap. This wrap has full-color artwork on the inside, originally only available as a small insert. The LP jacket itself is never before released artwork created at the time of the album. All artwork has been created by Chippendale.

File Under: Noise Rock
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Lillie Mae: Other Girls (Third Man) LP
Lillie Mae’s new Third Man Records album Other Girls features eleven new, original songs produced by Grammy-winner Dave Cobb at Nashville’s famed RCA Studio A. The Nashville singer, songwriter, downtown scene slayer, and most-wanted fiddler signals a reclaimed confidence and bold evolution here, telling women’s stories – including her own – that build on the strength of her 2017 Jack White-produced debut. Lillie Mae led a sequestered childhood touring in a motorhome with her musician parents, constricted by religious boundaries. In her adolescence she busked from RV parks to the Rio Grande, swept through Nashville clubs, and achieved Top 40 country status in her sibling group Jypsi, but on Other Girls, a new side of herself emerges with more to say than ever before. She embraces personal triumphs on “I Came For The Band (For Show),” breathes new perspective into “Terlingual Girl,” a song she wrote as a 19-year-old in the South-Texan desert, and professes brave truths as heard in “You’ve Got Other Girls for That.” After a vagabond past, crossing paths with hundreds of musicians, she limits the cast of Other Girls to just her brother, sister, and a few trusted collaborators.

File Under: Folk, Country
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Charles Mingus: Mingus Mingus Mingus Mingus (Impulse) LP
Verve and Impulse! Records launch the new Vital Vinyl series with UMe, celebrating essential jazz LPs from the enduring catalogues of the two iconic labels. Throughout 2019, Verve and Impulse! will be making no fewer than 40 key albums from the 1950s, ’60s and ’70s available again on 180-gram vinyl. Each will feature their original cover artwork, track listings and liner notes. Some of these albums will become available for the first time in years, while others that are already in print will now be perennially available. This 1963 recording is a major showcase for the multi-talented Charles Mingus as a bassist, pianist, and writer. From the blues-painted bass moaning that opens “II BS,” to the blazing fire of “Hora Decubitis,” these tunes come furiously barreling out one after another. Speed and density aside, however, there are also multi-color, lovely tunes like Duke Ellington’s “Mood Indigo” and Mingus’ paean to Lester Young. More than anything, though, Mingus Mingus Mingus Mingus Mingus is a major document due to the presence of two alternating big ensembles, anchored by Jaki Byard on piano and fronted by a herd of horn players, Eric Dolphy and Booker Ervin chief among them.

File Under: Jazz
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Jonas Munk & NicklasSorensen: Always Already Here (El Paraiso) LP
Jonas Munk and Nicklas Sørensen team up for a genre-defying record that explores American minimalism, psychedelia, and electronic music — both vintage and contemporary. On a foundation of interlocking guitar and synthesizer patterns, the duo constructs lengthy pieces that are experimental yet welcoming in nature, precisely executed yet with room for soaring improvisation. Always Already Here pays homage to the masters of classical minimalism (Steve Reich, Terry Riley) and the pioneers of electronic music and kosmische (Brian Eno, Manuel Göttsching), still it doesn’t sound derivative or retrospective. The type of hypnotic bliss Munk and Sørensen strive for is distinctly timeless. Always Already Here came to life during a handful of intense sessions in Munk’s studio in Odense, Denmark. However, from a larger perspective the record seems to be a culmination of several years of collaborating. From 2010-2014, Munk recorded and produced three full-length albums for Sørensen’s band Papir, and in the period 2015-2017 the two collaborated on Sørensen’s two solo efforts Solo and “Solo 2”. During the same period they have occasionally performed live as a duo, playing semi-improvised shows based around guitars and synthesizers. These live shows have assuredly influenced their collaborative work with an explorative, animated quality ? which is especially apparent on the album’s free flowing, zen-orientated B-side. Always Already Here ties together several musical threads: academic pattern-music, psychedelia, avant-garde sound exploration as well as a highly melodic sensibility. It’s a multi-layered, colorful album that demands full sonic immersion.

File Under: Kosmische, Minimalism, Ambient
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Pharmakon: Devour (Sacred Bones) LP
Devour marks the fourth full-length record from Margaret Chardiet’s project Pharmakon and her most intense output to date. Like her previous albums, Devour comes with a strong concept that is exorcised throughout the five demolishing tracks on the album, using imagery and language of self-cannibalism as allegory for the self-destructive nature of humans. Each of the five songs echoes a stage of grief associated with this cyclical chamber of self-destruction and the chaos surrounding us that leads us to devour ourselves in an attempt to balance the agony. The album was recorded by Ben Greenberg (Uniform) and is the first Pharmakon album recorded live in studio. The A and B sides were each recorded as a continuous take with vocals from start to finish, marking a totally new process for the artist that allows the ferocity and immediacy of her live performance to resonate throughout. Devour also explores new sonic territory, with denser electronics, groovier hooks, and moments of her most unhinged vocal deliveries to date. As one of the premiere vanguards of modern industrial and power electronics, Chardiet continuously pushes the genres and everyone involved in them, and with the release of Devour, she has once again changed the game.

File Under: Electronic, Industrial
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Steve Roach: The Magnificent Void (Hearts of Space) LP
For the first time ever on vinyl, Steve Roach’s Hearts of Space Records solo debut “The Magnificent Void”. A Magnum Opus of pure oceanic sound and Roach’s most sophisticated atmospheric work to date. The final track “Altus”, Latin for both “”high”” and “”deep””, says much about this work. The most demanding and textural of Roach’s work, it has more in common with 20th century avant-garde than other genres. A chilling and beautiful continuous flow of harmonic sound-worlds. Melody and harmony are present throughout in a surreal play of light and dark colors.

File Under: Ambient, Electronic
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Sonny Rollins: On Impulse! (Impulse) LP
Verve and Impulse! Records launch the new Vital Vinyl series with UMe, celebrating essential jazz LPs from the enduring catalogues of the two iconic labels. Throughout 2019, Verve and Impulse! will be making no fewer than 40 key albums from the 1950s, ’60s and ’70s available again on 180-gram vinyl. Each will feature their original cover artwork, track listings and liner notes. Some of these albums will become available for the first time in years, while others that are already in print will now be perennially available. Sonny Rollins made some excellent recordings for Impulse! in the mid-1960s, a time when his unassailable skills and acrobatic approach made him a leading saxophonist, and one of the few to rival John Coltrane. Each of the five tracks collected here tell the complex, glorious story of Rollins’s talent, especially in the stretched-out solos where his knack for inventively de- and re-constructing melodies is evident. Highlights include “On Green Dolphin Street,” “Everything Happens to Me” and “Three Little Words.”

File Under: Jazz
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Archie Shepp: Fire Music (Impulse) LP
Verve and Impulse! Records launch the new Vital Vinyl series with UMe, celebrating essential jazz LPs from the enduring catalogues of the two iconic labels. Throughout 2019, Verve and Impulse! will be making no fewer than 40 key albums from the 1950s, ’60s and ’70s available again on 180-gram vinyl. Each will feature their original cover artwork, track listings and liner notes. Some of these albums will become available for the first time in years, while others that are already in print will now be perennially available. Among the more radical musicians signed to Impulse! was Archie Shepp. The saxophonist initially spent six years with the label, from 1964-1969, during which time he released eleven very varied albums including the free music classics Four For Trane, Fire Music and Mama Too Tight. Popular yet non-commercial, 1965’s Fire Music finds Shepp working in a sextet with the likes of alto saxophonist Marion Brown and drummer Joe Chambers and showcasing both his compositional and improvisational prowess with the multi-part “Hambone” serving as the undeniable standout. His music grew more politicized as the decade wore on, blending avant-garde flavors with soul, funk and African influences (Shepp would return for a second stint at Impulse! in the early 70s).

File Under: Jazz
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Whitney: Forever Turned Around (Secretly Canadian) LP
Forever Turned Around came together over several sessions across the country. Though Julien Ehrlich is Whitney’s lead singing drummer while Max Kakacek is the lead guitarist, when writing, both transcend their roles to piece together each offering lyrically and compositionally. After a session with producers Bradley Cook (Hand Habits, Hiss Golden Messenger) and Jonathan Rado (Weyes Blood, Father John Misty) helped color in the arrangements, the album revealed itself when they reunited with original rhythm guitarist Ziyad Asrar in his basement Chicago studio – the same place where they hashed out debut Light Upon The Lake. Restlessness is at the heart of Whitney’s resonant sophomore album – priorities shift, relationships evolve, home can become far away, and even when luck momentarily works out, there’s still that underlying search for something better. Happiness can be fleeting but this album proves that even when it feels like time is turning on its head and there’s either a moment of clarity or crippling doubt, there’s still beauty in figuring it all out.

File Under: Indie Rock
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Why?: AOKOHIO (Joyful Noise) LP
Yoni Wolf has spent the last two decades traveling the remote sonic terrain where underground hip hop, avant-pop, and psych-rock meet. Some of Yoni’s most compelling and critically-praised musical experiments have been issued under the moniker WHY? and his latest entry is no exception. On AOKOHIO Yoni condenses the essential elements of WHY? into a stunningly potent musical vision. Co-produced by Yoni and his brother Josiah, AOKOHIO presents a rich palette of musical voices that emerge and disappear into a constantly shifting kaleidoscope of sound. While the album features many notable guest contributors, from Lala Lala’s Lillie West, to Nick Sanborn and Amelia Meath of Sylvan Esso, the listener’s attention remains squarely directed on Yoni’s voice and vision. AOKOHIO finds Yoni rethinking fundamental aspects of his approach to creating and delivering his music. The album is presented as six movements comprised of two to four songs each, with some segments appearing as brief fragments that dissolve within seconds. Ultimately AOKOHIO sees Yoni pushing to find meaning and peace of mind in the moment, even if it’s not exactly where he wants to be. “The title is sarcastic I guess,” Yoni offers. “But it’s also wishful. A lot of my album titles have been names of maladies, like Alopecia and Mumps, Etc. I don’t want to project that into the world. You know, ‘A-OK Ohio, I’m here and it’s fine.’ It’s like a mantra, ‘A-OK Ohio, I’m here and it’s OK.’ Even though in reality, everyday I’m like, ‘I’ve got to get the hell out of Ohio.'”

File Under: Hip Hop
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…..Restocks…. 

Belle & Sebastian: If You’re Feeling Sinister (Matador) LP
Black Midi: Schlagenheim (Rough Trade) LP
Calexico and Iron & Wine: Years to Burn (Sub Pop) LP
Clash: London Calling (Epic) LP
Miles Davis: Kind of Blue (Columbia) LP
Father John Misty: Pure Comedy (Sub Pop) LP
Johnny Griffin: Introducing (Blue Note) LP
Hot Snakes: Jericho Sirens (Sub Pop) LP
Ikebe Shakedown: The Way Home (Colemine) LP
Jamie XX: In Colour (XL) LP
Khruangbin: Universe Smiles Upon (Night Time Stories) LP
Kids See Ghosts: s/t (Universal) LP
Mdou Moctar: Ilana: The Creator (Sahel) LP
National: Boxer (Beggars) LP
Radiohead: Kid A (XL) LP
Sleep: Holy Mountain (Earache) LP

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…..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

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…..

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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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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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