Tag Archives: vinyl

…..news letter #903 – library for daaaaays…..

Ooooof! Now I know not everyone is into library records, but may you should be, and what better time to get into them, we just acquired a pretty big collection of KPM as well as a bunch of other titles from Studio G, Timing, NFL, etc. Anyway, pretty fun and once in a blue moon type score. But, if that REALLY isn’t your bag, we got lots of other great stuff in this week too, the new Sarah Davachi is stellar, the new Suzanne Ciani is killer, Shellac peel sessions are amazing. All in all, a fine, fine week! Come for a dig.

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…..picks of the week…..

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Sarah Davachi: Pale Bloom (W. 25th) LP
Pale Bloom finds Sarah Davachi coming full circle. After abandoning the piano studies of her youth for a series of albums utilizing everything from pipe and reed organs to analog synthesizers, this prolific Los Angeles-based composer returns to her first instrument for a radiant work of quiet minimalism and poetic rumination. Recorded at Berkeley, California’s famed Fantasy Studios, Pale Bloom is comprised of two delicately-arranged sides. The first—a three-part suite where Davachi’s piano acts as conjurer, beckoning Hammond organ and stirring countertenor into a patiently unfolding congress—recalls Eduard Artemiev’s majestic soundtrack for Andrei Tarkovsky’s Solaris. “Perfumes I-III” employs the harmonically rich music of Bach as a springboard for abstract, solemn pieces that sound as haunted as they are dreamlike. While the first half of Pale Bloom showcases Davachi’s latent Romanticism, the sidelong “If It Pleased Me To Appear To You Wrapped In This Drapery” reveals the Mills College graduate’s affinity for the work of avant-garde composers La Monte Young and Eliane Radigue. Softly vibrating strings rise and fall like complementary exhalations of breath. As the fluctuating pitches create overtones that pitter and pulse, the piece slowly and subtly evolves—suggesting a well-tempered stillness, yet without stasis.

File Under: Ambient, Classical, Minimalism
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FKR099LP_CUSuzanne Ciani: Flowers of Evil (Finders Keepers) LP
As a genuine vanguard of electronic music composition at the forefront of the modular synthesizer revolution in the late 1960s, Suzanne Ciani’s forward-thinking approach to new music would rarely look to the past for inspiration, which makes this unheard composition from 1969 a rare exception to the collective futurist vision of Ciani and synthesizer designer Don Buchla. In choosing to adapt the controversial prose of French poet Charles Baudelaire, Suzanne would join the ranks of ongoing generations of pioneering musicians like Olivier Messiaen, Karlheinz Stockhausen, Serge Gainsbourg, Etron Fou Leloublan, Celtic Frost, and Marc Almond (not forgetting Star Trek’s William Shatner!), all equally inspired by the 19th century writer’s works of “modernité” (modernity), a self-coined term dedicated to capturing the fleeting, ephemeral experience of life in an urban metropolis, best exemplified in Les Fleurs du mal (Flowers Of Evil). In her varied career that would combine art gallery installations, major film soundtrackings, and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling, and timeless. Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. For the many enthusiasts that have already drawn the parallels between Baudelaire’s writings and experimental/electronic music (a relationship rivalled only by the likes of J. G. Ballard and Aldous Huxley) some might instantly recognize an unconscious sistership between this recording and another 1969 electronic adaptation of Flowers Of Evil by celebrated female electronic composer Ruth White. An interesting distinction of White’s excellent version of Flowers Of Evil (released via Limelight records) is that its dark tone generation and vocal manipulation was created with a Moog synthesizer, the commercially triumphant rival to Suzanne and Don’s Buchla Systems. The fact that Ciani’s version was never intended for commercial release is also poetically reflective of the nature of Ciani and Buchla’s alternative perspective. The choice to present this extract from Flowers Of Evil in its intended French language further distances Ciani’s faithful reaction from some of its better-known variations. Having attempted to voice the poem herself, the multilingual Italian-American composer’s French accent did not meet her own standards, resulting in the request for a fellow unnamed French student who lived on campus at Mills College in Oakland to accurately verbalize the section of Baudelaire’s collection entitled Élévation.

File Under: Early Electronic
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…..new arrivals…..

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Amyl and the Sniffers: s/t (ATO) LP}
Melbourne, Australia’s Amyl and The Sniffers’ self-titled debut album was produced by Ross Orton (Arctic Monkeys, M.I.A) and comes with 11 blistering tracks boasting 70’s throwback anthemic guitars and breakneck drumming with human firecracker Amy Taylor leading the 29-minute auditory assault. The Fader says that, “the Australian band recall the heady days of punk: spiky, wild, provocative, and a little dangerous with a fierce live reputation.” Taylor explains that lead single, “‘Got You’ is about that feeling you get when you first start seeing someone and you’re excited to see them, no matter what shit they got. You just see them at the pub and it feels like the most exciting thing in the world, like you’re so lucky they’re even there. It’s definitely one of the “sweetest” songs on the album, and less punky. It was kind of inspired by Split Enz.”

File Under: Punk
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Bad Religion: Age of Unreason (Epitaph) LP
Since Bad Religion’s formative years the acclaimed Los Angeles, CA punk rock band has steadfastly advocated for humanism, reason, and individualism. Now, when these values are in decline and nationalism and bigotry are on the rise, the group’s message has never been more essential. Their seventeenth slab, Age of Unreason delivers a powerful and inspired response – a political and deeply personal treatise on all they believe in. “The band has always stood for enlightenment values,” co-songwriter and guitarist Brett Gurewitz explains. “Today, these values of truth, freedom, equality, tolerance, and science, are in real danger. This record is our response.” The songs on Age of Unreason are both furious and meticulously crafted. There are references to contemporary events; racist rallies, Trump’s election, the erosion of the middle class, Colin Kaepernick’s protest, alternative facts, conspiracy theories, and there are homages to the literary and philosophical works that have long inspired the band. The track “Chaos From Within” uses the band’s iconic fast, powerful and melodic sound to examine the current border wall controversy with the lyrics, “Threat is urgent, existential / with patience wearing thin / but the danger’s elemental / it’s chaos from within.” As co-songwriter and lead singer Greg Graffin says, “Throughout history, walls have been used to keep the barbarians out, But it seems to me that the truly barbaric aspect of a civilization is the chaos that comes from within.” Co-produced by Carlos de la Garza, Age of Unreason is a timely work of immense power and one of their very best. Society’s step backwards has propelled the legendary band decidedly forward. There is an elevated craft in the way the song “Candidate” vividly evokes the current president, “I am your candidate / I am bloody lips and makeup /I’m your caliphate, opioids and mutilation / a celebrity and my name is competition.” Another track, entitled “The Approach,” addresses the possible demise of democracy with the lyrics, “There’s a moral and intellectual vacuum / and you’re right to be lookin’ askance / philosophically moribund, revolution hasn’t a chance.” This record is both a dire warning and testament to resilience. The overall message being – seek truth about the world and oneself. As Graffin, who holds a PhD in the history of science, says, “When I saw all these headlines about how terrible our world had become, I started doing a lot of reading. I read about the French revolution, the American Revolution, the Civil War, and I started to recognize that this is a pattern of history and something we should never venture into. There are ample warnings against it. Every school child should know this but it’s hard to get people to read about these things. Maybe this album can help. Because right now, with social media, we are just playing a version of kill the guy with the ball.”

File Under: Punk
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Baroness: Gold & Grey (Abraxan Hymns) LP
“Our goal is, was, and will always be to write increasingly superior, more honest and compelling songs, and to develop a more unique and challenging sound. I’m sure we have just finished our best, most adventurous album to date. We dug incredibly deep, challenged ourselves and recorded a record I’m positive we could never again replicate. I consider myself incredibly fortunate to know Sebastian, Nick and Gina as both my bandmates and my friends. They have pushed me to become a better songwriter, musician and vocalist. We’re all extremely excited for this release, which includes quite a few “firsts” for the band, and we’re thrilled to be back on tour to play these psychotic songs for our fans. Expect some surprises. This [cover art] painting was born from a deeply personal reflection on the past 12 years of this band’s history, and will stand as the 6th and final piece in our chromatically-themed records.” – John Baizley

File Under: Metal
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Baroness: First & Second (Hyperrealist) LP
Baroness’s now-classic formative material finally sees a proper reissue with their first two 12-inches compiled as one deluxe LP. A lot dirtier, punker and more metallic than their current rock-infused, catchy weirdness, First & Second is an important document in the lineage of this excellent band, and all 38 minutes of music have been completely remixed and remastered for a much fuller sound than ever before. Housed in a beautiful gatefold jacket with guitarist / vocalist John Dyer Baizley’s elaborate and intricate artwork (spread through the exterior, interior and printed dust-sleeve), this foil-stamped beauty comes on complimentary both black and clear colored vinyl.

File Under: Metal

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Bikini Kill: Reject All American (Bikini Kill) LP
Reissued!!! Bikini Kill’s final studio album originally released in 1996 on Kill Rock Stars. Bikini Kill was a feminist punk band that was based in Olympia, WA and Washington, DC, forming in 1990 and breaking up in 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (aka Billy Boredom) played guitar and Kathi Wilcox played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early ’90s via their political lyrics, zines, and confrontational live performances.

File Under: Punk
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Bikini Kill: Pussy Whipped (Bikini Kill) LP
Reissued!!! The debut full-length from BIKINI KILL originally released in 1993 on Kill Rock Stars. Includes the track “Rebel Girl,” listed # 27 on Rolling Stone’s “Most Excellent Songs of Every Year Since 1967” list. Bikini Kill was a feminist punk band that was based in Olympia, WA and Washington, DC, forming in 1990 and breaking up in 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (aka Billy Boredom) played guitar and Kathi Wilcox played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early ’90s via their political lyrics, zines, and confrontational live performances.

File Under: Punk
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Marion Brown: Three For Shepp (Superior Viaduct) LP
In 1966, when Marion Brown was ready to make his first record as a leader, he was standing on the shoulders of giants. Formative associations with Ornette Coleman and Sun Ra established Brown as a saxophonist to watch, and he had already appeared on free jazz landmarks Archie Shepp’s Fire Music and John Coltrane’s Ascension. Originally released on Impulse!, Brown’s debut lays down three startling originals and three tunes by Shepp—echoing his mentor’s 1964 homage to Coltrane, Four For Trane. Featuring Grachan Moncur III on trombone, Dave Burrell on piano and Norris “Sirone” Jones on bass, Three For Shepp balances fiery energy and delicate precision. Side A showcases Brown compositions that mix modal structures with ecstatic playing, particularly when the bandleader chases Moncur and Burrell on the exhilarating “The Shadow Knows.” On the album’s all-Shepp side, “West India” draws inspiration from India and Africa, while the feverish post-bop of “Delicado” demonstrates the band’s versatility, swept by the wheeling drums of Beaver Harris. Even this early in his career, Brown stood apart from his peers in “the new thing.” His solos were as gentle as they were furious. Informed by the African American folk traditions of his native Georgia and an enthusiastic embrace of the avant-garde, his music would confront and challenge society. As Brown says in the original liner notes, “The music is definitely a part of what’s going on in the black revolution in America.” Three For Shepp still sounds crucial today (over 50 years later) and remains a vital statement of jazz’s past, present and future.

File Under: Jazz
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Burial: Claustro/State Forest (Hyperdub) 12″
“It’s been nearly two years since Burial’s last solo releases: In late 2017, he enjoyed an unusually productive spell, putting out three 12″s in just a few months’ time, each one subtly expanding the boundaries of his sound. “Subtemple” and “Beachfires” were pure ambient; “Rodent” was a brooding, heads-down house groover; and “Pre Dawn”/”Indoors,” for Boddika’s Nonplus imprint, were cavernous rave anthems as big as anything he’d ever done. With “Claustro,” he returns to the UK garage that has always been fundamental to his sound. The rimshot-heavy beat shuffles and swings like it’s 1999 all over again, and the way he chops up the vocals has the unmistakable air of the 2-step bootlegs of R&B hits that once ruled the UK’s dancefloors. It’s slathered in all the vinyl hiss and moody sound effects we’ve come to expect from Burial, but despite the murk, the whole thing just moves, with overlapping vocal hooks, buried MC shouts, and errant rave stabs contributing to the forward motion.” – PITCHFORK

File Under: Electronic

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Bill Callahan: Shepherd in a Sheepskin Vest (Drag City) LP
As you listen to Shepherd In a Sheepskin Vest, a feeling of totality, of completeness, steals over you, like a thief in broad daylight. Of course it does —you’re listening to a new BILL CALLAHAN record! The first one in almost six years! What more do you need to complete you? Or perhaps, after all the time, the obvious needs to be made just a little more explicit? First, it’s a different kind of record. Bill’s now writing from somewhere beyond his Eagle-Apocalypse-River headspace, and Shepherd In a Sheepskin Vest is very much its own beast. The songs are, by and large, shorter, and there are more of them. It took almost all of the previous three albums to add up to that many. Plus, twenty’s a lot of songs! But again, it goes a lot deeper than that. Moving gradually from reflections upon the old days in “Ballad of The Hulk” and “Young Icarus” to the immediacy of the present moment in “Watching Me Get Married” and “Son of the Sea”, Bill traces the different life lines, casually unwinding knotty contradictions and ambiguities with an arresting stillness. The sense of a life thunderstruck by change infuses Shepherd In a Sheepskin Vest—the songs wander from expressions of newfound joy and great contentment to other snapshots, considerations of the not-joy that we all know. Unsettling dream-images and mythic recollections are patiently received; the undertow of the past is resisted, pulling against it instead into the present, accepting revolutions of time and the unconscious as a natural flow.

File Under: Indie Rock, Folk
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857661008162_mainAlice Coltrane: Eternity (Antarctica Starts Here) LP
Released in 1976, Eternity was Alice Coltrane’s first album for Warner Bros. after eight wondrous records on Impulse! Combining the drones and textures of India, the gospel and R&B of her Detroit youth and the dissonance of modern classical composition, Coltrane’s music in the ‘70s would become increasingly difficult to categorize. Having moved a few years earlier to California (where she founded the Vedantic Center, an Ashram for spiritual studies), Coltrane stretches out on Eternity—incorporating various musical styles, including a stirring adaptation of Igor Stravinsky’s The Rite of Spring—and the results are dazzling, both in sonic scope and emotional range. Opener “Spiritual Eternal” sways between Alice’s exploratory organ and the dramatic swell of lush strings. A meditative solo piece for harp, “Wisdom Eye,” precedes the rollicking rhythms of “Los Caballos,” which showcases some of her finest soloing. “Om Supreme” is the album’s first track to be built around bhajans (Hindu devotional songs). Featuring graceful keyboards backed by an angelic choir, this piece hints at the ecstatic devotional music that she would later make with members of her Ashram. While Coltrane would delve deeper into her spiritual journeys and continue to expand her musical interests on subsequent LPs, Eternity remains a vivid and compelling display of her unique vision, myriad talents and passions.

File Under: Jazz, New Age
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857661008179_mainAlice Coltrane: Radha-Krsna Nama Sankirtana
(Antarctica Starts Here) LP
Radha-Krsna Nama Sankirtana was the first of two albums Alice Coltrane released in 1977 (the other being Transcendence). Coltrane’s music during this period grew out of an epiphany in which she would renounce secular life and don the orange robes of a swamini (spiritual teacher in the Hindu tradition). Musically, this meant leaving jazz behind (at least partially) and embracing the chants and rhythms of devotional music. The first half of Radha-Krsna is mostly filled with simple arrangements of bhajans (Hindu devotional songs) and features the singing of students from the Vedantic Center, the Ashram that Coltrane founded in 1975. The group bounces with the joy of a gospel choir (not coincidentally, some had backgrounds in Southern Baptist churches). A rapturous aura permeates opener “Govinda Jai Jai” with Alice leading on Fender Rhodes. On “Prema Muditha,” she returns to acoustic piano (her main instrument in the early part of her career) to deliver a powerful and poignant theme. Sidelong “Om Namah Sivaya” beams with probing organ improvisations accompanied by the drumming of her 13-year-old son Aruna John Coltrane, Jr. This closing track offers a strong indication that even if Alice Coltrane was turning toward new traditions for inspiration, her music was still something that only she could make.

File Under: Jazz, New Age
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857661008186_mainAlice Coltrane: Transcendence (Antarctica Starts Here) LP
Transcendence was not only Alice Coltrane’s last studio album for Warner Bros., it would also be her last studio work for nearly three decades. While Eternity and Radha-Krsna Nama Sankirtana followed the composer’s muse through an exciting range of musical styles and influences, Transcendence is perhaps the most fully realized of the three LPs, synthesizing the best elements of each into a monumental whole. Side one consists of intimate compositions with Alice’s pointillist harp enhanced by intricate string arrangements. At times, the emotional climaxes in “Radhe Shyam” and the title track sound like the score to an epic film. This would be the closest Coltrane ever came to chamber music, yet rendered with her uniquely spiritual tint. Side two moves into celestial territory with uplifting chants, light handclaps and bluesy organ. These call-and-response chants, featuring members from her Ashram, completely embody both African-American gospel and Hindu devotional traditions, an uncanny fusion that is transformed through Alice’s pure spirit. What runs through the album’s two musical halves is a powerful sense of devotion and discovery. At this point in her life, Coltrane was on a journey toward truth through sound, and Transcendence gives the listener a front row seat to this quest.

File Under: Jazz, New Age
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857661008193_mainAlice Coltrane: Transfiguration
(Antarctica Starts Here) LP

By the late ’70s, Alice Coltrane had largely gravitated away from jazz, incorporating Hindu chants and hymns into her music to reflect a newfound sense of creative omnipotence. However, in April 1978, she would return to her roots, performing at University of California, Los Angeles to make her first and only live album. Transfiguration, featuring drummer Roy Haynes and bassist Reggie Workman, showcases Alice’s many compositional talents and fierce improvisatory abilities. Throughout this double LP set, her playing evokes the time spent in her late husband John Coltrane’s band and the avant-garde music of her earlier years. As biographer Franya J. Berkman writes, “Her up-tempo keyboard work here is the most exciting of her commercial career. With its rapid-fire transpositions of short figures; its long modal passages, rhythmic play, and timbral inventiveness; its sustained energy and burning pace; and the unrelenting support of Haynes and Workman, she takes leave of the jazz business with a truly breathtaking swan song.” Alice Coltrane would not revisit jazz on record for another 26 years, turning instead to spiritual music made with students at her Vedantic Center and self-releasing a series of cassettes under her Sanskrit name, Turiyasangitananda. It is hard to imagine a better farewell than the intense and spellbinding Transfiguration.

File Under: Jazz, New Age
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John Coltrane: Coltrane ’58: Prestige Recordings (Craft) BOX
John Coltrane’s importance and influence have never been greater. While active for a relatively short period – from 1957 to ’67 – he was an intrepid spirit who developed at a feverish pace. Coltrane’s breakout year, when his mature sound first grabbed ears and his own recordings began to sell consistently, was 1958. Coltrane ’58: The Prestige Recordings, from Craft Recordings, chronicles the exciting story session by session, featuring all 37 tracks Coltrane recorded as a leader or co-leader for the independent Prestige label in those twelve months. This collection captures him in creative high gear – developing the signature improvisational style that journalist Ira Gitler famously dubbed “sheets of sound.” Equally importantly, the box presents the music in unsurpassed sound. Produced by Nick Phillips, the vinyl box includes eight 180-gram LPs, remastered from the original analog tapes by Paul Blakemore (all recorded by renowned engineer Rudy Van Gelder), and cut by Clint Holley from 24-bit/192kHz transfers. The lavish, linen-wrapped, portfolio-style book features an eye-catching design and includes 40 pages containing extensive liner notes by Grammy-winning American music historian Ashley Kahn, rare ephemera and historical photographs of the saxophonist and his collaborators, including several taken by renowned jazz photographers Francis Wolff and Esmond Edwards. The 5CD edition, containing a 76-page book, is a faithful replica of the 8LP vinyl box. Coltrane ’58 brims with the shared jazz repertoire of the day – blues, bebop standards and familiar ballads – as well as original compositions and obscure tunes Coltrane rediscovered. Together they offer an array of emotional depth and instrumental prowess, showing how the rising saxophonist was actively stretching sound and increasing the intensity, and shifting the direction of what jazz performance was about. Included are definitive versions of “Lush Life,” “Lover Come Back to Me,” “Stardust,” “Good Bait” and “Little Melonae”; first recordings of originals like “Nakatini Serenade,” “The Believer,” “Black Pearls” and the heartfelt “Theme for Ernie”; and extended tenor saxophone tours-de-force such as “Russian Lullaby,” “Sweet Sapphire Blues” and “I Want to Talk About You” that anticipate the stratospheric heights Coltrane would reach in the 1960s. In 1958, Coltrane was still two years away from emerging as a bandleader, but his membership in ensembles led by Miles Davis and Thelonious Monk had propelled him into the spotlight as one of jazz’s most exciting and controversial figures. Coltrane ’58 serves as a window onto the shock and awe – and eventually deep appreciation – Coltrane generated during this period, when his sheets of sound approach pushed the bebop ideal of slaloming through a tune’s chordal pathways to its extreme. To be sure, Coltrane ’58 is more than sheets of sound: It’s the sound of Coltrane working and smoothing out those sheets and exploring other ideas as well. For example, he frequently played in double-time – as if the chords were moving twice as fast as the rest of the band – and, if the music called for it, he’d decrease the intensity, caressing and embellishing a melody, an aspect that could calm the toughest critics. Coltrane ’58 reveals other significant aspects of Coltrane’s emergence, too, like his growing status in the hard bop brotherhood of the day. He recorded with contemporaries (many future legends in their own right), including pianist Red Garland; guitarist Kenny Burrell; trumpeters Donald Byrd, Freddie Hubbard and Wilbur Harden; bassist Paul Chambers and drummers Art Taylor, Jimmy Cobb and Louis Hayes. The sessions all took place in Rudy Van Gelder’s legendary home studio in Hackensack, New Jersey, where so much of the best jazz of that era was recorded. Coltrane’s music of 1958 benefits from a marked blue-collar, pressure-cooker aesthetic: Born in three-hour sessions with minimal rehearsal, head arrangements and mostly first takes, these tracks provide a true and transparent view of the talent Coltrane was able to draw upon and the timeless, improvised magic they created together. It’s a challenge today to imagine how radical Coltrane must have sounded sixty years ago to jazz listeners accustomed to a gentler, lyrical flow. In his liner notes, Ashley Kahn sees an enduring relevancy in Coltrane’s bold chance-taking, as a creative artist and an African-American: “In the context of current headlines and an overriding sense of déjà vu, Coltrane’s music rings clearer than ever, with even greater meaning than it had in 1958. What he was playing then never felt less than urgent and relevant – subversive even. It still sounds that way.” Remarkably, the majority of this music wasn’t released until the ’60s on various albums after Coltrane’s emergence as a bandleader, denying these 37 tracks the chance to tell their own collective story. By sequencing this music in the order of its original creation, Coltrane ’58 clearly delineates Coltrane’s first full year as a recording artist, finally allowing fans to experience – track by track – the emergence of a master improviser in his first great career crest.

File Under: Jazz
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5ce855fa55567_mainBill Converse: Hallways (Dark Entries) LP
We are pleased to present ‘Hallways’ the third full length from Austin, Texas analogue hardware enthusiast Bill Converse. Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. ‘Hallways’ is an 80 minute journey spread across 12 tracks and 2 slabs of vinyl. All tracks were recorded directly to tape with no overdubs, made at Converse’s home studio over the past 2 years. Bill says, “One idea for this album is ‘through bardos’, the gap or moment of transition between two things according to Buddhism. Like an experience in meditation and attempting to find realization/s on the way through the illusory and interdependent nature of good old fashioned REALITY.” Built around crunchy synthesizers, harsh drum machines and jarring acid lines, the tracks share a darker tone than Bill’s previous albums and one song features guest vocals by music gourmet Carlos Souffront, a true DJ’s DJ from Detroit. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each 2xLP is housed in a jacket designed by Eloise Leigh with rich purple and smokey turquoise kaleidoscopic patterns.

File Under: Electronic, Acid, Experimental
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DOA: 1978 (Sudden Death) LP
Sudden Death is excited to announce the release of the D.O.A. album 1978. It’s a 21-track collection of never released demos, rare tracks and early singles from Canada’s punk pioneers. Joey Shithead went deep into the vault and came up with some super exciting and raw punk rock. The album title and art concept is a spike-haired nod of the head to that early, dynamic era ofthe band and to the seven great former members who have since passed on. Their spirit and talent played a huge role into launching the band into worldwide prominence. The two constants on the album are Joey and Chuck Biscuits, who play on every track. From the start of 1978 begins their wild, “I don’t give a shit” approach to punk rock. Now some forty years later one can hear it all, starting with the never-seen-the-light-of-day demo version of “The Enemy”. This demo has a different set of lyrics that speaks to fighting Nazis—strange, what is old is new and vital again. There’s a ton of exciting tracks that range from the never heard before, such as “Bored And Suicidal”, “The Mutant”, “No God No War”, “Rip Dis Joint”, “No Way Out” and “Rent-A-Riot”, to classic early singles like “Fucked Up Ronnie”, “Disco Sucks”, “World War 3”, “The Prisoner” and “13”. Also included are demo versions of “America The Beautiful” and “Liar For Hire” with Biscuits drumming, which are wildly different than the classic versions you hear on War On 45. On this collection are the origins of hardcore and a full blast of D.O.A’s politics and raucous humour.

File Under: Punk
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721616809824_mainFetid: Steeping Corporeal Mess (20 Buck Spin) LP
While home to fertile forests, soaring peaks and copius precipitation, the Pacific Northwest lately has also become a breeding ground for something more nefarious, more grotesque, more… Fetid. Since 2016 Fetid has steadily swelled like a venereal boil upon death metal’s infected anatomy. The band’s Sentient Pile Of Amorphous Rot demo introduced the mustiest corners of the globe to their abhorrent peculiarities. Now, having sliced into the furthest reaches of some unfortunate’s intestinal mucosa, they’ve ripped out a Steeping Corporeal Mess of festering death metal barbarity. All one needs to know is that from the opening of “Reeking Within” to the closing moments of “Draped In What Was”, Fetid consume from the inside out, tearing through flesh, liquifying and engulfing the entire host body into formless horror. “Feel it breath, feel your fear, the time is now, they are here…”

File Under: Metal
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LDG36000_Robert Glasper: Canvas (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 launches in May 2019 with the reissue of three remarkable Blue Note debuts – Herbie Hancock Takin’ Off, Dexter Gordon Doin’ Allright, and Robert Glasper Canvas – and will continue with three albums released each month for the coming year. On his acclaimed 2005 Blue Note debut Canvas, pianist and composer Robert Glasper proved he had jazz chops in abundance with his acoustic trio featuring bassist Vicente Archer and drummer Damion Reid, while a hip hop sub-context lay just beneath the surface in the album’s skittering beats, hinting at future directions that Glasper would take on albums like the Grammy-winning Black Radio years later. The album featured special guests Mark Turner on tenor saxophone plus vocalist Bilal, and presented Glasper’s signature sound on nine original tunes as well as a nod to one of his biggest influences Herbie Hancock with a version of “Riot.”

File Under: Jazz
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Herbie Hancock: Takin’ Off (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 launches in May 2019 with the reissue of three remarkable Blue Note debuts – Herbie Hancock Takin’ Off, Dexter Gordon Doin’ Allright, and Robert Glasper Canvas – and will continue with three albums released each month for the coming year. On his excellent debut album Takin’ Off – recorded and released in 1962 – jazz legend Herbie Hancock arrived fully formed at the helm of an impressive quintet with trumpeter Freddie Hubbard, tenor saxophonist Dexter Gordon, bassist Butch Warren, and drummer Billy Higgins. Though rooted firmly in hard bop, the brilliant pianist and composer presented his own strikingly original voice on this auspicious six-song collection consisting entirely of his own compositions from the funky hit “Watermelon Man” to the timeless ballad “Alone and I.”

File Under: Jazz
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647603404660_mainIntelligence: Un-Psychedelic in Peavey City (V.M.I.) LP
“Still panting from their installment in Castle Face’s Live In San Francisco series (where they ran a greatest hits clinic for basement sweat-rats) and from mega-mind Lars Finberg’s outside solo oddballer, Moonlight Over Bakersfield, The Intelligence return in Neu-veau mode with Un-Psychedelic In Peavey City, their tenth studio album-amalgam.  Load up on electrolytes, all ye who enter here… “The customary tin / aluminum milestone won’t fit this true band of steel:  the current Intelligence iteration is the most forceful and dynamic of any line-up in the project’s history.  Although each performer has been smeared across myriad recordings and tours for years, the now-time assemblage of Drew Church (bass), Dave Hernandez (guitar) and Kaanan Tupper (drums) currently positions The Intelligence as a world-class unit, with members playing in partnership with conductor Finberg rather than at his sometimes-service.  Lars is giving the back-rubs now, not getting ‘em—a delightful and cruel twist. “There’s no aspect of Un-Psychedelic In Peavey City that tilts toward phoned-in safe plays, no easy feat for a 10-albums-deep unit.  For this collection, the band cast off the comforts of their traditional cosmopolitan haunts (Sacramento, Costa Mesa, etc.) in favor Grass Valley’s Louder Studios, a wilderness recording burg (OK OK, with a pool, yes) helmed by Tim Green, a twiddler maestro who has assisted Bikini Kill, Melvins, Comets On Fire, Wand and countless others in sterling fashion.  The resultant recordings are the most expansive Intelligence material imaginable—perhaps Un-Psychedelic, but certainly free, playfully abstract and awesomely stretched out.”
—Mitch Cardwell

File Under: Punk
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655030118319_mainYuzo Iwata: Daylight Moon (Siltbreeze) LP
Daylight Moon is Yuzo Iwata’s first outing since his debut, Drowning In The Sky, got the green light in 1999 on the legendary Org label. While Yuzo’s been living stateside for a couple of decades, his roots, style and fluidity harken back to the Kichijoji Minor days of the late seventies Tokyo underground scene. He also put in some time as a member of Tori Kudo’s Maher Shalal Hash Baz early on and there’s no one else in Philadelphia who can make that claim. His pedigree is legit. As is his playing. For fans of Kousokuya and Hallelujahs especially and PSF and Org label output overall. Limited re-pressing of 300.

File Under: Japanese, Psych
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LDJ43238_Joy Division: Unknown Pleasures 40th Anniversay (Rhino) LP
Factory Records owner Tony Wilson gambled label profits and his life savings on the recording of Joy Division’s debut album. With producer Martin Hannett at the helm, the band crafted a stark musical statement that would endure as a milestone. 1979’s Unknown Pleasures charted a confident course through grim personal realities and steely, often disjointed soundscapes. The album’s ten classic tracks resonate with the atmospheric textures and deep sonic spaces of Hannett’s production. Highlights include “Insight,” “Disorder,” “New Dawn Fades” and “She’s Lost Control.” While the album’s black sleeve has become one of the most iconic designs in popular music history, the original design was supposed to be white-with-black accents which is reflected in this 40th anniversary colored 180g vinyl LP edition. It’s a celebration of one of the most important albums of our time as well as a landmark in music/design crossover history.

File Under: Punk, Post Punk
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FKR092LP_CUZdenek Liska: Ikarie XB-1 (Finders Keepers) LP
With this previously unreleased 1963 score for Jindlich Polák’s Ikarie XB-1, Finders Keepers present an “elusive” musical artifact by Zdeněk Liska, the label’s third soundtrack by the composer. Fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman, and Stanley Myers. But having waited patiently behind the borders of the wider landscapes of international cinema, Liska’s musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like “lost”, “rare”, and “unreleased” in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin, and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivaled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Lubos Fiser, Zdeněk Liska’s filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liska is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his “client” who would in-turn end up working under this composer’s creative direction. Not only was Liska a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilizing primitive sample techniques by “looping” a film’s existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liska would independently develop his own techniques which had simultaneously become known in Paris as musique concrète. It is a direct extension of these experiments that saw Liska also draw parallels with Walter Branchi (Ennio Morricone’s main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liska a relatively untraveled pioneer of early electronic composition and sound design due to his unlikely global environment. Remastered from the original tapes with the full cooperation of the National Film Archive in the Czech Republic.

File Under: OST, Czech, Experimental
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759718532425_mainLTD: Stop Und Fick Dich (In The Red) LP
King Khan has scoured the earth to find the most rocking freaks of nature this side of the planet to form what he calls “an all-star cream of the crop rock ’n’ roll lifers association” aka Louder Than Death aka LTD—Looch Vibrato and Aggy Sonora (of the legendary Magnetix) on guitar and drums, and Fredovitch, the mighty organ surfer of the Shrines, throws out the keys and picks up the bass. King Khan assumes the position of frontman / lead shouter / effeminate cult leader (by choice). What is born is a maelstrom of pure unadulterated, unhinged, unbelievable rock ’n’ roll baptized in the salty sea water of Bordeaux, France, waterboarded with the finest wines, choked with the smelliest cheeses, dipped into a vat of oysters, octopus and shrimp. This is not just a band, its an orgy of the damned! King Khan summons the punk rock demons buried in his bodacious brown back side, lathers up the listeners in his mystical oils and leaves the audience thirsty, horny, riled up, ready to dance upon the apocalypse and punch it in the face all in one mighty fell swoop. King Khan on the other players: “I once saw Looch Vibrato take a pair of glasses off someone’s face and stick them in his mouth and crunch them into dust, all because he warned him not to drink a warm can of beer filled with his own piss. Aggy Sonora, is the love child of Peggy from the Gories and Anaïs Nin. She beats her drums as senselessly as sensually. The sound of lust and labour rammed into one mystical inauguration of the pleasure dome. Fredovitch (aka Freddie Rococco) was once mistaken for the son of Roky Erickson by Japanese music magazines. He is in fact a son of a gun and the greatest bass player since sliced brie. When he isn’t playing bass he is conducting orchestras in his mind and preparing to take over the world of classical music. His motto is : you slap my bass, I’ll slap yo’ face… and fuck your mom.” Tired of the smoke and mirrors of the modern music world? Then trust in this Union of Lifers. They chose the path to enlighten lives with simple, pure, decadent ordering of chaos. They found the beat in the slow death of the human race, and they have come to save your uncool niece.

File Under: Punk
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647603403663_mainPow!: Shift (Castle Face) LP
Just when one thought one knew what to expect from POW! they surprise everyone with a vigorous and rabid album’s worth of moody cybernetic punk that’s frankly their best yet. Their fourth album is oil-dipped in a rainbowed slick of dread, yet the songs are buoyed by tight tunes that seem to have a lot of fun among the ruins of the future, perhaps with an eye to a less gloomy horizon? Melissa Blue’s sharp elbowed synths jostle with Byron Blum’s zap gun guitar in an ominous fog of oscillations, and yet somehow it gets the toe a-tapping. The band got darker and more catchy at the same time, for which some credit is due to the excellent drumming of Cameron Allen and the fantastically future savvy production by Byron Blum and Tomas Dolas. Lots of sticky punk heart resin-layered in a futuristic-scanning bionic bop.

File Under: Punk

5cb74347681cd_mainRakta: Falha Comum (Iron Lung) LP
With a slight line up change in the drum department we see Rakta tighten up their more tense, soundtrack natured developments alongside their more sparse and vulnerable elegance. They consistently manage to create a tripped out creep chamber with room to explore as the aura builds to nightmare crescendos juxtaposed with shaking silences. Simultaneously eerie and serene. With each new release we see more and more of what makes this group so essential in the canon of modern music. Recorded by Fernando Sanches. Mastered by James Plotkin. Art by Andre Penteado, Karlla Girotto and Rakta. Edition of 300 copies on black vinyl housed in a beautiful printed inner sleeve inside a heavy duty reversible cover 24pt. jacket with a vellum insert and downward card included.

File Under: Post Punk
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LDR48993Sam Rivers: Contours (Blue Note) LP
On the staggering Contours, a 1967 Blue Note release, multi-instrumentalist Sam Rivers (tenor and alto sax/flute) leads a fine quintet featuring Herbie Hancock (piano), Ron Carter (bass), Freddie Hubbard (trumpet), and Joe Chambers (drums) through a set comprising four robust originals that wonderfully tow the line between the avant garde and traditional hard bop. Rivers’ very personal style is key in the structure as well as in the execution of this session and reminds us of the crucial role he played in the mid-Sixties. Produced and hand-picked for release by Music Matters co-founder Joe Harley, mastered from the original master tapes by Kevin Gray at Cohearent Audio, pressed on 180g vinyl at RTI, and housed in a deluxe gatefold jacket, audiophile jazz vinyl doesn’t get any better. The Blue Note Tone Poet Series was born out of Blue Note President Don Was’ admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. The label brought Joe Harley (from Music Matters), aka the “Tone Poet,” on board to curate and supervise a series of reissues from the Blue Note family of labels. Extreme attention to detail has been paid to getting these right in every conceivable way, from the deluxe gatefold jacket graphics and printing quality to superior mastering (all analog direct from the master tapes) by Kevin Gray to superb 180-gram audiophile LP pressings by Record Technology Inc. Every aspect of these Blue Note/Tone Poet releases is done to the highest-possible standard. It means that you will never find a superior version.

File Under: Jazz
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5cb4ab4078f0d_mainJ. Robbins: Un-Becoming (Dischord) LP
J. ROBBINS has been the guitarist/singer and primary songwriter (or pushiest collaborator) in several bands since the early ’90s, including Jawbox, Burning Airlines, Channels and Office of Future Plans. He has also played bass for Government Issue and the Vic Bondi project, Report Suspicious Activity. For the bulk of that time, he has also been active as a recording engineer/producer, working with musicians from around the world at his Baltimore-based studio, the Magpie Cage. J. started performing as a solo artist around 2010, making occasional low-key releases on Bandcamp and contributing to two benefit compilations that were released on Germany’s Arctic Rodeo Records. Un-Becoming—which came together in short bursts of activity spread out over the long stretch between 2016 and 2019—is his first full-length solo record. On 11 of the LP’s 12 songs, J. is joined by Peter Moffett on drums, Brooks Harlan on bass, and Gordon Withers on cello and guitar.

File Under: Indie Rock
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LDS12418_Shellac: The End of Radio (Touch & Go) LP
Shellac record number 16, The End of Radio, is comprised of two previously unreleased BBC Radio Peel Sessions. The 1994 session was recorded at BBC Maida Vale Studio 3 and originally aired on John Peel’s BBC Radio One show in July of 1994. The four songs were recorded to 24-track and then mixed to stereo on the same day. While a studio version of “Crow” was released in October of 1994 on the band’s debut album At Action Park, studio versions of “Canada,” “Disgrace” and “Spoke” would not appear on any Shellac albums until much later (1998’s Terraform and 2007’s Excellent Italian Greyhound) – making the 1994 Peel Session recordings the only official recordings of these songs for several years thereafter. The 2004 Peel session is a “Live From Maida Vale” session recorded live to stereo in front of a small audience at BBC Maida Vale Studio 4. It originally aired in December of that same year. As with the 1994 session, this recording includes songs that were previously unreleased and would not appear as album versions until years later. (Album versions of “The End of Radio,” “Steady As She Goes” and “Paco” were released in 2007 on Excellent Italian Greyhound). 2LP-set packaged in a top-load single pocket wide spine jacket with two printed inner sleeves. Also includes a single CD of the full album. Mastered at Chicago Mastering Service and manufactured at RTI in Camarillo, California, on 180 gram audiophile quality vinyl.

File Under: Punk
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FKR098LP_CUGuy Skornik: Tusk (Finders Keepers) LP
From Guy Skornik, the composer and arranger behind Popera Cosmic and Pour Pauwels (1971), comes the enigmatic instrumental cues that provided fellow existentialist and notorious auteur director Alejandro Jodorowsky (The Holy Mountain, 1973) with the soundtrack music to what is now considered his rarest and most overlooked feature film, Tusk (1980). As part as Finders Keepers’ ongoing dedicated Jodorowsky soundtrack series, the label present the original film edits from the 1979 studio sessions featuring Steve Hillage (Gong) and members of Cossi Anatz. Following his mind-melting masterpieces Fando & Lis (1968), El Topo (1970), and The Holy Mountain, Jodorowsky’s “disowned” attempt at a family film retains the director’s ongoing demand for intense, experimental film music resulting in what is undeniably one the best kept sonic secrets from the darker corners of this coveted filmography. Cherry-picked from pre-recorded synthesizer-fueled, cosmic pop sessions by Skornik, these compositions provided Tusk with arabesque new age synthesis alongside full-blown ambitious electro rock, as well as classic French Fender Rhodes-driven romanticism during some of this lesser-spotted movie’s most memorable moments. Presented here in isolation, Guy Skornik’s multifarious futurist-pop evokes worthy comparisons to Ash Ra Tempel, Eno’s Bowie and Suzanne Ciani, mapping an unlikely journey between Magma and 10cc in the process. Don’t ignore Jodorowsky’s “elephant in the room” — you never know what is hidden in the trunk. Tusk not only unearths a lesser-known Jodorowsky gem, but forms another spiritual circle in the label’s alternative pop universe, forming new twines in the Finders Keepers family tree.

File Under: OST, Electronic
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This Kind of Punishment: In The Same Room (Superior Viaduct) LP
With This Kind Of Punishment, Graeme Jefferies and Peter Jefferies produced some of most adept DIY sounds to emerge from New Zealand’s 1980s post-punk scene. After their phenomenal self-titled debut and classic A Beard Of Bees, the brothers would make one last album together, In The Same Room. Originally released in 1987 on Flying Nun, In The Same Room is perhaps the straightest rock offering in TKP’s esteemed catalogue. Opening track “Immigration Song” expertly pairs jagged guitars with wrathful vocals—resulting in one of the most celebrated moments in their recording career—while “Don’t Go” puts the full breadth of the Jefferies brothers’ method on display: spiraling riffs, somber baritone and chamber-like calm give way to frenzied rhythms and antagonistic lyrics. From deeply insular songwriting to hands-on production, This Kind Of Punishment draw the listener in close—nearly within the same room as the players—and remain rooted in a distinct approach to presentation that is inseparable from their music.

File Under: Post Punk
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Tomb Weavers: We Dig Sounds (13 O’Clock) LP
After releasing five singles over the past few years on 13 O’ Clock Records, Burger Records, and Get Hip, the debut album from the TOMB WEAVERS has finally arrived! The power trio out of Monterey, California deliver twelve new songs on their new album We Dig Sounds, merging late ’60s heavy psych rock moves with lots of moody, introspective, late ’60s style garage rock vibes, and a generous amount of dawn of the ’70s style psychedelic hangover hard rock crunch! Presented on 150 gram vinyl, get ready to dig the colorful,vibrating sounds of the Tomb Weavers! Download code included. “A great new psychedelic garage band who sound like ancestors of Glass Sun or Scorpio Tube. It’s got that dark and heavy Psychedelic Disaster Whirl sound”—50Thirdand3rd

File Under: Psych

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Denis Wise: Wize Music (Finders Keepers) LP
Finders Keepers presents Denis Wise’s Wize Music, one of the most unique and unlikely exponents of the highly collectible genres of ambient electronics, experimental tape-music and PINA (Private Issue New Age). This English-born Jamaican-raised sound designer, artist and existentialist furrowed his own unblinkered path through lesser-charted electronic fields for many moons before eventually teaming up with Bill Laswell (with Material) and Daevid Allen in New York to bring self-taught synthesis to Gong during their most oblique periods. Creating two impossibly rare self-pressed vinyl LPs of conceptual inner-visionary outer-galactic angular tonal-dronal alien-art soundscapes in the process, the man known under figure shifting guises such as Dennis Wise/Denis Weise/Dr. Wise combined a culture of sound system circuitry and radiophonic trickery adding teapot poetry and sci-fidelity future-folk to his magnetic mesh. Presented here as the first ever dedicated Wize Music collection, this record combines compositions spanning 1979-1984 in both a solo capacity as well as small-group projects featuring members of the Emerald Web band. Imagine a comic book where a Funkenstein monster called “Laraaji-Scratch Perry” invaded your record shelf while Komendarek and Holger Czukay kept lookout. Dr. Dennis might be the only one Wise enough to outsmart all of them with his powerful amorphous anesthetic.

File Under: Ambient, New Age, Experimental
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X: More Fun in the New World (Fat Possum) LP
The fourth studio album by American rock band X, released in September 1983 by Elektra Records. Includes the single “The New World,” which appeared on the soundtrack to the 1986 movie Something Wild.

File Under: Punk
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X: Under the Big Black Sun (Fat Possum) LP
The third album from the legendary Los Angeles punk band X. Originally released in 1982 on Elektra. Includes the hits “The Hungry Wolf” and “Come Back To Me.”

File Under: Punk
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X: Wild Gift (Fat Possum) LP
A reissue of X’s essential second album originally released by Slash in 1981, and the second in a series of X reissues on Fat Possum.

File Under: Punk
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Various: Chevance (etc) (Bornbad) LP
France at the crossroads of the ’70s: the Chevance collection revolutionizes music for children. Mixing forward-thinking folk and avant-garde jazz, driven by a strong literary spirit, its exceptional catalog was created under the direction of producer Philippe Gavardin, in the tradition of the Saravah label or iconoclastic publisher Harlin Quist. It brought together a band of classically inspired free musicians, propelling its singers into orbit by exploiting all the fantastical potential of texts by Jean Tardieu, Robert Desnos, Jacqueline Held, and many others. More strictly instrumental, its younger sibling, the Sonoriage collection completed the company, dedicating itself to the acousmatic exploration of children’s familiar environments. The small collection named Chevance was founded by Philippe Gavardin in the course of the 1970s. Gavardin, notably with free jazz drummer Jean-Louis Méchali, forged the identity of this series of recordings for the younger generations: musically Janus-faced, definitely literary, impregnated with a surrealism that echoed the decade’s psychedelic and libertarian experiments. Each record took a clear direction: modern fables, bestiaries, musical tales, cookbooks; words were the backbone of every release. Features Anne et Gilles, Steve Waring, Christine Combe, Jean-François Gaël, Le Groupe Organon, Alain Savouret, and Naomi Moudi.

File Under: Folk, Jazz, Psych, Experimental, Children
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…..Restocks…. 

Altin Gun: Gece (ATO) LP
Beach Boys: Pet Sounds (Capitol) LP
Better Oblivion Community Center: s/t (Dead Oceans) LP
Budos Band: V (Daptone) LP
Susan Christie: Paint a Lady (Finders Keepers) LP
Suzanne Ciani: Buchla Concerts 1975 (Finders Keepers) LP
Suzanne Ciani: Lixiviation (Finders Keepers) LP
Alice Coltrane: A Monastic Trio (Superior Viaduct) LP
Galaxie 500: This is Our Music (202020) LP
Guided By Voices: Warp and Woof (GBV) LP
Herbie Hancock: Mwandishi (Antarctica Starts Here) LP
Joe Henderson: Stateof the Tenor Vol 2 (Blue Note) LP
King Gizzard & The Lizard Wizard: I’m In Your Mind Fuzz (Castle Face) LP
Joe McPhee: Nation Time (Superior Viaduct) LP
OST: Moomins (Finders Keepers) LP
Popera Cosmic: Les Esclaves (Finders Keepers) LP
Jessica Pratt: s/t (Birth) LP
Pusha T: Daytona (Universal) LP
Maggie Rogers: Heard in a Past Life (Universal) LP
Ty Segall & White Fence: Hair (Drag City) LP
Ty Segall: Melted (Goner) LP
Smiths: Queen is Dead (Rhino) LP
T Rex: The Slider (Demon) LP
Sharon Van Etten: Remind Me Tomorrow (Jagjaguwar) LP
Jean Claude Vanier: L’Enfant Assassin des Mouches (Finders Keepers) LP
War on Drugs: Lost in the Dream (Jagjaguwar) LP
Ween: Mollusk (Plain) LP
Ween: 12 Golden Country Greats (Plain) LP
Wipers: Over the Edge (Jackpot) LP

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…..news letter #902 – one oh?…..

Oooooooo another week of killer new arrivals. It’s probably going to start slowing down as we slide into summer, but then again, maybe not. It’s gonna be rainy this weekend, so put on your coat and come for a dig before you shut in for the weekend with some new tunes.

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

CHECK OUT OUR WEBSTORE!!! 
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…..picks of the week…..

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Not Glass: Forma (Ecstatic) LP
Not Glass is the debut collaboration between Alessio Natalizia (Not Waving) and his longtime correspondent Dimitris Papadatos (Jay Glass Dubs), paying tribute to Latin and Greek authors Ovid and Heraclitus in a suite of dramatic electronics and cryptic rhythms comparable to a theatrical soundtrack. Knowingly, ironically pretentious, yet serious with it, Forma is the result of years of daily Facebook chats between the London and Athens-based artists where they cemented the album’s concept around key quotes by the legendary poet/philosophers, who hail from their respective homelands of Italy and Greece. The results are in effect a spellbinding attempt to transmute those notions within the collaborative, contemporary framework of their music, using patented palettes of hardware, vocals, and FX to render and reflect core classical mythological and philosophical ideas about drama, love, metaphysics, cosmology and the “unity of opposites”. On this timeless plane, Natalizia and Papadatos both step outside of themselves to find “what opposes unites”, spaciously consolidating their typical, yet contrasting, rhythm-driven approaches in a reverberant, often beatless sphere of exploration. Removed from their usual handrails, the artists operate at their most open-ended and subtly suggestive, amorphously shapeshifting from gloaming shadow plays of synth and keys to investigate arcane percussive impulses and iridescent ambient whorls. The result is a perfect, finely shaded marriage of their mutually esoteric, outsider Southern European energies, which intuitively acknowledges and inhabits the paradoxes of their respective styles. The illusively static yet mercurial ebb-and-flow of the atmospheric intro “Fallite Fallentes” sets the scene, where “Dum Loquor, Hora Fugit” invokes a viscous but brittle tangle of wide bass and pointillist rhythms beside a stately cello vignette “Ludicrum” that recalls aspects of Scott Walker’s mystic charm “Soused”. The rapid arps and slow moving, glassy pads of “Pauper Ubique Iacet” conjure a sublime tension that becomes diffused into the cavernous, hollow dub dread of “Ut Ameris, Amabilis Esto”, possessed with its throaty, processed vocal, and the lonely strings and plasmic electronics of “Forma Bonum Fragile Est” connotes a psychedelic coming-to-terms with their artistic/philosophic duality. Mastered and cut at Dubplates & Mastering, Berlin. Edition of 500.

File Under: Ambient, Electronic, Dub
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KRANK220LP_CUTim Hecker: Anoyo (Kranky) LP 
“Anoyo (‘the world over there’) draws from the same sessions which led to the 2018 work Konoyo but rendered starker, solemn, and stripped back, with more of a naturalist tint. Tim Hecker’s processing here moves in veiled ways, soft refractions and whispered shrouds woven within improvisational sessions of traditional gagaku interplay, evoking a sense of vaulted space, temples at dawn, shredded silk fluttering in the rafters. This is boldly barren music, skeletal and sculptural, shaped from wood, wind, strings, and mist. Modern yet ancient, delicate and desolate, Anoyo inverts its predecessor to compellingly conjure a parallel world of illusion, solitude, and eternal return.”

File Under: Ambient, Electronic
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FOX003LP_CULes Rallizes Denudes + Be: There’s No Heaven Like Hell (Alternative Fox) LP
One of the strangest and most enigmatic groups in the history of rock n’ roll, Les Rallizes Denudes, also known as Hadaka no Rallizes or Hadaka no Rarizu, were a Japanese experimental rock band that is often cited as a pioneering force of the noise rock movement. The story of the band is as strange and difficult as the music they made and although much of the tale is shrouded in mystery, everything apparently begins around Kyoto’s radical anti-establishment communes of the late 1960s, where androgynous frontman Takashi Mizutani formed the group in November 1967 while attending Kyoto University. Hard facts are in thin supply and the band’s name employs complex punning that essentially equates to “Fucked Up and Naked” in Japanese, a slang reference to being high on drugs. Inspired by the Velvet Underground and other groups employing prominent, overamplified guitar, the band’s music was typically based on repetitive rhythmic patterns bolstered by Mizutani’s heavily distorted lead guitar, though the poor sound quality of early demos apparently turned Mizutani away from studio recordings, rendering much of their output in the form of live bootlegs, supplanted by the occasional leaked studio demo. Early performances were given as accompaniment to avant-garde theater groups, though the group was soon deemed too loud to be a mere accompaniment, and membership fluctuated frequently, with Mizutani being the only constant, though he retreated from public view following the 1970 Red Army hijacking of Japan Airlines flight 351, with the assistance of original Rallizes bass player, Moriaki Wakabayashi, who subsequently fled to North Korea; the band continued to sporadically record and perform under various guises until 1997. The two versions of There’s No Heaven Like Hell, presented here, was recorded on April 1, 1975 at Rallizes House in Fussa, a small town to the west of Tokyo, joining Mizutani with keyboardist/guitarist Taisuke Morishita’s experimental group Be, originally known as Yellow. The first version takes the form of an epic slow drone, featuring Mizutani on acid guitar, backed only by Morishita’s pulsating synthesizer lines; the second version is in full marathon mode, an hour-long dirge that sees the spacey duo joined by drummer Shunichiro Shoda and a plodding bassist in the latter portion.

File Under: Japanese, Psych
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…..new arrivals…..

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Aggrolites: Reggae Now! (Pirates Press) LP
You can’t keep a good band down. With ceaseless, unwavering fan support, The Aggrolites reconvened in late 2015 to lay down three songs, “Aggro Reggae Party,” “Help Man” and “Western Taipan,” which reminded them that, hey, they’re still pretty damn good at this. They never gave up, thankfully! That one-off recording session was the spark that eventually created this album, certainly their best to date. REGGAE NOW! is the Aggrolites’ sixth full-length, and first with Pirates Press Records. Written and recorded throughout 2018, the album finds these architects of “Dirty Reggae” reestablishing their signature sound, re-recording those three songs from 2015 as well as adding on 11 more originals that snap, crackle and pop just as much as your favorite Aggro songs from back in the day. “Their tunes perfectly echo the human chemistry you can hear in those early Jamaican productions,” says reggae icon Don Letts. “The band’s old-school analog sound totally captures the spirit of the music I grew up on.” “The Aggrolites have stretched out, and gotten it even more right, at exactly the right time,” agrees Lynval Golding, vocalist/guitarist for Two-Tone legends the Specials. “This is THE album.”

File Under: Reggae, Rocksteady
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Azymuth: Aguia Nao Come Mosca (Mr. Bongo) LP
Golden-era, 1977, Brazilian jazz-funk-fusion album from the legendary, Azymuth. Lush Rhodes, soaring synths and fusion guitars from Malheiros and Bertrami combine with the inimitable drum grooves from Ivan “Mamao” Conti that create the signature Azymuth sound. The album moves from mellow soulful moods, into screaming disco-jazzfusion, samba funk, synth boogie and ends with a tough 160bpm Batucada workout. This is actually the first Azymuth album that we have released on Mr Bongo, which came as a surprise to us too.

File Under: Brazil, Jazz, Funk
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KHZ1001LP_CUSir Richard Bishop & W. David Oliphant: Beyond All Defects
(Twenty One Eighty Two) LP
Although Sir Richard Bishop (SRB) and W. David Oliphant (WDO) worked together periodically in the ’80s through Sun City Girls and Maybe Mental, they never set out to simply work together as a duo. Fast forward to 2011, SRB, feeling the need to temporarily step out of his solo guitar zone, approached WDO with the idea of this joint collaboration… Beyond All Defects was composed and recorded live in the studio in Phoenix, Arizona in December of 2011 (remastered in 2018 by Mark Gergis) and presented on vinyl for the first time by Twenty One Eighty Two Recording Company. The sonic landscapes presented here find their origins in Tibet, and are heavily inspired by Tibetan Buddhism — specifically the body of teachings known as Dzogchen. Many of the musical ideas for this project were literally derived from dreams the night before they were created. The remaining ideas were formed centuries ago. Sir Richard Bishop plays acoustic guitar throughout. Often detuned, bowed, and beaten, the guitar was “treated” by Oliphant during the live recording process. SRB also provided audio from field recordings he captured in India. WDO used a variety of computer software with a MIDI controller to create all the other sounds. All tracks were captured in real-time, direct to disk. Beyond All Defects is the first in a series celebrating the audio adventures created by Arizona sonic composers. Clear vinyl; Edition of 500.

File Under: Electronic, Tribal
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Causa Sui: Summer Sessions Vol. 1 – 3 (El Paraiso) LP
Causa Sui’s three volumes of Summer Sessions are back in print, originally released in 2009. This time on the band’s own label, on individual LPs for the first time since they were first released in 2008 and 2009. Re-packaged in El Paraiso’s signature style. Originally the Summer Sessions were intended as a side project for the band — a chance to explore their love for other genres such as American free jazz, krautrock, 1970s soundtracks, as well as the psychedelia and detuned stoner-rock that characterized Causa Sui’s first two albums. But these three albums came to define the band, and have become modern classics of psychedelia and progressive rock since their initial release ten years ago. In a scene often characterized by loyalty to a specific period, there’s something refreshing about Causa Sui’s eclectic approach. With several guest appearances by Coltrane-devotee Johan Riedenlow on sax and electronics wiz Rasmus Rasmussen, Causa Sui venture far beyond stoner-rock platitudes. Take the grandiose opening statement for example — the 24-minute “Visions Of Summer” taking up the entire A-side on Vol. 1: here new and old sounds dissolve in a mind-bending excursion that recalls Future Days-era Can, breezy tropicalia or Herbie Hancock’s Mwandishi group, as much as it sparks associations to Kyuss or Hendrix. Other tracks, such as the frenetic “Rip Tide” on Vol. 2 (EPR 002LP), heads into straight up free jazz territory with Riedenlow going absolutely bonkers on the sax. But this set also allows plenty of room for atmospheric pieces such as the sun-drenched “Venice By The Sea” on Vol. 3 (EPR 003LP) or the Morricone-esque “Cinecitta” on Vol. 2.

File Under: Psych
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Alice Coltrane: Live At The Berkeley Community Theater 1972 (BCT) LP
Previously unreleased and not known to exist soundboard recording of Alice Coltrane Sextet live in Berkeley California in 1972! Featuring a dream line-up of Charlie Haden, Ben Riley, Ashish Khan, Pranesh Khan, Bobby W., and Alice Coltrane. Newly re-mastered from the original tapes.

File Under: Spiritual Jazz
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Vernon Elliott: Clangers OST (Trunk) LP
Trunk Records presents a reissue of Vernon Elliott’s Clangers: The Original Television Soundtrack. Out of print since its original release on CD in 2001, a classic Trunk Records release gets a rare repress; this is naïve and pastoral space music at its very best. In 2001 Jonny Trunk started working with Oliver Postgate and his Smallfilms archive. The first music issued was the unreleased music from all 26 episodes of Clangers. To create the soundtrack, all music was originally “drawn” by Postgate — sketched out in graphic form on the original scripts. This was then translated by his good friend and regular musical collaborator Elliott into the music we know and love. It was all recorded in a village hall in Kent in the late 1960s and released originally in 2001 by Jonny Trunk, garnering a mass of fine reviews including a full 5 stars from NME. Listening today, these recordings have lost none of their naivety and charm, and the Clangers soundtrack remains a seminal work of both TV and intergalactic musical history. Album produced by Jonny Trunk. Full color sleeve with notes included.

File Under: OST
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Galactic Explorers: Epitaph for Venus (Mental Experience) LP
Mental Experience present a reissue of Galactic Explorers’ Epitaph For Venus. Another album from the Pyramid label shrouded in mystery and produced by Toby Robinson in Cologne, circa 1974. Kosmische and head sounds with plenty of Minimoog, analog synths/keyboards, effects, loops, tape manipulation, treated percussions, etc., courtesy of Galactic Explorers, an electronic, minimal, ambient krautrock trio featuring Reinhard Karwatky (Dzyan). Take a trip to the inner regions of your mind, see ancient solar systems forming, and listen to cosmic winds and vibrations while sine waves of pure bliss will give you total peace of mind. RIYL: Terry Riley, Popol Vuh, Sand, Peter Michael Hamel, Tangerine Dream, Baba Yaga, Cluster, Cozmic Corridors, Brainticket. 24-bit domain remaster from the original tapes; Insert with liner notes by Alan Freeman, head boss at Ultima Thule and author of The Crack In The Cosmic Egg (1996).

File Under: Kosmische, Psych
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Herbie Hancock: Dedication (Get on Down) LP
“Never before released on vinyl outside of japan. Packaged with a full-color obi-strip. Dedication by Herbie Hancock is an anomalous entry in the discography of the revered jazz-fusion keyboardist. The album was recorded over the course of a single day, in the middle of a tour of Japan at Koseinekin Hall in Tokyo, and for years would be available exclusively in Japan. Produced a month ahead of his 1974 studio album Thrust, the follow-up to his career-defining album Head HuntersDedication‘s tracks were noteworthy for how drastically different they were from the material that followed. Gone was the dangerously funked-out rhythm section goodness of the Headhunters; instead Hancock is alone, performing four solo pieces on grand piano, electric keys, and synthesizer. Side one features Hancock at his most introspective, featuring romantic, ballad-like takes on two of his 60s pieces: ‘Maiden Voyage’, and ‘Dolphin Dance.’ Side two, on the other hand, is almost a polar opposite, utilizing early techno rhythms through Fender Rhodes electric keyboards, and the sample-and-hold features of the ARP 2600 synthesizer, rendering spacey, exploratory jams such as the original track ‘Nobu’, and an electro-funky take on ‘Cantaloupe Island’. (Two tracks which predicted Hancock’s eventual electro-funk dominance in the 1980s.) A unique and momentous obscurity of Herbie Hancock’s catalog, Dedication has never seen a vinyl release outside of Japan prior to now. Nearly 30 years later, Get On Down has sought to allay that, with a premium-grade Record Store Day reissue worthy of any jazz collector’s archives, or any crate digger’s armament.”

File Under: Jazz
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Moulay Ahmed El Hassani: Atlas Electric (Hive Mind) LP
Hive Mind Records present a double-LP compilation of songs by Moulay Ahmed El Hassani, a master of modern Moroccan music, who updates traditional folk forms with drum machines, autotune, and incredible psychedelic guitar. Moulay Ahmed El Hassani is practically unknown outside of his home country of Morocco where he’s released over 50 albums on cassette and CD over the past 30 years, however Hive Mind Records seek to remedy that situation with the release of this compilation featuring songs originally released on Ahmed’s own label, Sawt el Hassani, between 2006 and 2014. Ahmed writes his own songs, plays all instruments himself, records and self produces at his home studio in Beni Mellal. His unique sound takes influence from a variety of Moroccan folk forms, particularly the Izlan and Ahidous styles of the Amazigh people of the mid-Atlas region. Ahmed has blended these styles with the rai and chaabi that were popular across the country through his youth. The resulting sound is like a twenty-first century folk music for a people caught somewhere between a vision of their own idealized pastoral past and a turbo charged, technologically driven urban future. Ahmed has embraced new musical technologies and his songs are made up of complex, polyrhythmic drum machine patterns, subtle loops, washes of new age synth, heavily autotuned male and female duet vocals, and his signature psychedelic microtonal guitar playing. His songs are sometimes gentle and melancholic, and sometimes more upbeat, but always deeply lyrical and melodic, and all feature lyrics in Amazigh and Arabic that deal with social issues and universal themes of love and loss. There’s really very little that can be said in a press release to can prepare you for the sound of Moulay Ahmed ElHassani’s music, other than that you’re unlikely to have heard anything quite like it before.

File Under: Morocco, Folk, Psych
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The Heavy: Sons (BMG) LP
Welcome back to The Heavy, Britain’s most incendiary party-starters and reliably impossible to pigeonhole funk-soul-hiphop-rock-dance gang. Five albums and over a decade into their career, most bands start to ease down. The Heavy have instead made Sons, as uplifting and urgent an album as you’re likely to hear all year. Not wasting a note in its 10 full songs, Sons is a series of short, sharp shocks which doesn’t let up from the opening defiant attack of “Heavy For You” until the last hurrah of redemptive closer “Burn Bright.” In between, there’s the film noir drama “Fighting For The Same Thing,” irresistible disco “Put The Hurt On Me,” “Simple Things'” beautiful celebration, the scuzzy glam-rock of “A Whole Lot Of Love,” “Better As One’s” glorious call for unity…Sons is essentially its own greatest hits compilation of everything that makes The Heavy a unique force in British music.

File Under: Funk, Soul, Hip Hop
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Fumio Itabashi Trio: Rise & Shine (Studio Mule) LP
Studio Mule present their third reissue of Fumio Itabashi with Rise And Shine: Live At The Aketa’s, originally released in 1977. Rise And Shine Live At The Aketa’s was his second release of 1977, and it was recorded at legendary Jazz Club in Tokyo. This album was actually recorded before his first release Toh. “Jumping Board” on side A is a Japanese hard bop classic. Itabashi’s cover version of “My Funny Valentine” is very sweet and elegant while the main track, “Rise And Shine”, is one of his best work. At times the album is reminiscent of Pharaoh Sanders if he played piano. Limited initial press.

File Under: Jazz
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Mauskovic Dance Band: s/t (Soundway) LP
Soundway Records present the eponymous debut LP from in-demand Amsterdam five piece, The Mauskovic Dance Band — fusing no-wave dance punk, Afro-Caribbean rhythms, and space disco in a “controlled explosion” (The Quietus). Entirely self-produced, the band has reiterated their favorite elements of the ’70s and ’80s legacy of the Afro-Latin psychedelic music of Colombia and Peru, interpreting it through the context of modern-day Amsterdam. The output is a lo-fi no wave groove all its own — rooted in a deep love of champeta, Palenque, psychedelic cumbia, chichi, classic Afrobeat, and picó soundsystem culture. Since the release of their Down In The Basement EP EP on Soundway Records in early 2018, the band have found themselves on a hectic European touring schedule — not to mention being involved in other side projects. Following stints with Turkish psychedelic folk rock group Altin Gün, and touring with the re-formed ’70s Zamrock outfit W.I.T.C.H., Nic Mauskovic also teamed up with Dutch neo-psychedelic artist Jacco Gardner to form the “cinematic Balearic disco” duo of Bruxas (released by Dutch institution Dekmantel) — and together, they mixed The Mauskovic Dance Band debut album in Lisbon. Lead single “Space Drum Machine” encapsulates the band’s prototypical brand of busy rhythmic patterns interwoven with insistent synth stabs and vibrant disco toms, layered with an elastic guitar riff drawing inspiration from Kenyan kikuyu and benga styles. High-pitched vocals describe being on a flight together and inciting each other to press a button of unknown consequence with “push it, push it” — and push it they do, at breakneck pace. And of course, the undeniable influence of Amsterdam’s hotbed of underground dance producers shines through as it does on all tracks – with the vintage psychedelic swirl of synthesizer, lo-fi drum machines, and tape recording. RIYL: Jacco Gardner, Bruxas, Nu Guinea, Voilaaa, Sofrito, Meridian Brothers, EUT, Altin Gün.

File Under: Latin, Psych
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NA5185LP_CUTom Nehls: I Always Catch the Third Second of a Yellow Light
(Now Again) LP

Gatefold jacket with obi. Hand taped front and back covers, an homage to Nehls’ hand assembled original. Contains a 16 page booklet with Nehls story told in great detail, with never before published photos. Download card for WAV files of the album and unreleased music. “A rock concept album, as progressive as it is psychedelic, recorded by a 17-year-old Tom Nehls and his high school friends in Minneapolis over a three-month period in late 1972. Nehls original notes describe his influences: The Beatles, Zappa, Tolkien. But that amalgamation cannot prepare you for the depths that this wunderkind explored with first-time engineer Paul Stark, who would later co-found Twin/Tone Records and sign and develop punk legends The Replacements and dozens of other bands. Stark privately-pressed 1000 copies of I Always Catch The Third Second Of A Yellow Light and gave them to Nehls, who hand glued photo copied artwork on the front and back cover of the album and tried to sell copies to his high school friends. Shortly thereafter, 900 copies were destroyed when his parents’ basement flooded, Nehls went off to college, and his masterpiece was left, undiscovered and unappreciated, until fringe vinyl collectors in the early 1990s found and shared a handful of copies. Nehls’ album has gone on to be a welcome addition to the genre Paul Major called ‘Real People Music’; a wonderful and sincere exploration of the human predicament that reveals more of itself with each listen. Mastered from a flat transfer of Stark’s original master tapes, this is the best that this album has ever sounded. The Now-Again Reserve Edition of I Always Catch The Third Second Of A Yellow Light possesses a fidelity that Nehls’ rare original didn’t.”

File Under: Psych
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ACMOSLPX1_CUMichael O’Shea: s/t (Allchival) LP
AllChival present a reissue of Michael O’Shea’s self-titled album, originally released on Wire’s Dome Records imprint in 1982. Having sold his instruments to fund a nomadic 1970s lifestyle, eccentric Irish experimentalist Michael O’Shea was forced to create his own handmade answer to the sitars and zelochords he’d become accustomed to playing on his travels around the globe. Using an old door, 17 strings, chopsticks and combining them with phasers, echo units and amplification, the new device was to become his signature sound, mixing Irish folk influences with Asian and North African sounds in a mesmerizing and soulful new way. Born in Northern Ireland but raised in the Republic, O’Shea was keen to travel and escape the troubles of his home. Wandering throughout Europe and the Middle East, O’Shea found himself living and working in Bangladesh in the mid-Seventies where he learned to play sitar. A later period spent busking in France accompanied on zelochord by Algerian musician Kris Hosylan Harp led to O’Shea’s idea of combining both instruments as a homebuilt instrument — Mo Cara (Irish for “My Friend”). A combination of dulcimer, zelochord, and sitar, O’Shea would play it with a pair of chopsticks, striking the strings softly using Irish folk rhythms mixed with the rich, nostalgic sounds of the many Asian artists he’d encountered on his travels. Perfecting the instrument on the streets, there were further spells spent busking in the underground stations and cafes of London’s West End and Covent Garden. His work with Rick Wakeman never saw the light of day but O’Shea’s contact with the world of post-punk London ensured his name would live on. Introduced to Wire’s Bruce Gilbert and Graham Lewis via cartoonist Tom Johnston, O’Shea eventually acquiesced to an open invite to record at their studio. Turning up unannounced in the summer of 1981 the LP was recorded in a day in the legendary Blackwing Studios and released on Dome the year after. The first side features the fifteen-minute masterpiece “No Journeys End” with the B side featuring more input from Wire in processing the Mo Chara sound. After an aborted LP with The The’s Matt Johnson the following year, O’Shea quietly disappeared from the formal recording world and his brief but unique contribution to the music world came to a sad end with O’Shea’s passing in 1991. Remastered and reissued with the approval of both Dome and his surviving siblings.

File Under: Folk, World, Experimental
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DW3262_600xAlan Parker & Alan Hawkshaw: Black Pearl (DeWolfe) LP
Originally released in 1973, Black Pearl’s overall sound is the epitome of cool, orchestral funk / dramatic styles of the 1970s (e.g. “Next Stop LA”, “Collect”, “Oh! Militia”, “Choctaw”, “Black Pearl”, and “Blue Shadow”). Also featured are several more romantic, laid-back, emotive pieces such as “Miraculous Dream”, “Tryst”, “Sunny Monday”, “Melody and Lace”, “Monochrome”, “No Return”. Not to mention a couple of surprise solo honky-tonk piano jaunts – “The Vamp” and “Night of the Garter”.  An eclectic mix that is sure to pique anyone’s interest. The album was produced by Alan Parker and Alan Hawkshaw, who is perhaps best-known for composing “The Champ”, which has been widely sampled and emulated by hip hop artists.

File Under: Jazz, Funk, Library
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PAN087LP_CUPuce Mary: The Drought (Pan) LP
Building from a reputation of arresting live performances and critically-acclaimed releases, Puce Mary breaks new ground with The Drought, evolving from the tropes of industrial and power electronics to forge a complex story of adapting to new realities. Remnants of noise still exist, sustaining the visceral penetration offered on previous records, however The Drought demonstrates an intention to expand on the vocabulary of confrontational music and into a grander narrative defined by technical and emotional growth. Bringing together introspective examination with literary frameworks by writers such as Charles Baudelaire and Jean Genet, Puce Mary’s compositions manifest an ongoing power struggle within the self towards preservation. The traumatized body serves as a dry landscape of which obscured memories and escape mechanisms fold reality into fiction, making sense of desire, loss, and control. The Drought presents both danger and opportunity; through rebuilding a creative practice centered on first-person narrative and a deliberate collage of field recordings and sound sources Puce Mary injects an acute urgency across the album seeking resilience. “To Possess Is To Be In Control” makes use of lyrical repetition as an ambiguity of two selves, or a divided self, attempting to consume one another, while “Red Desert”, named after Michelangelo Antonioni’s 1964 film, portrays the individual subsumed by surrounding environmental forces. The seven-minute epic “The Size Of Our Desires” acts as the emotional tipping point of the record; amongst the ominous drone and dense feedback flutters almost-beatific melodies, while the lyrics reveal a romantic call to be swept up in the midst of an increasingly uninhabitable world. Rather than escape, The Drought dramatizes a metamorphosis in which vulnerability is confronted through regeneration. Noise and aggression no longer act as an affront to react against but part of a “corporeal architecture” where space, harmony and lyricism surface from the harsh tropes of industrial music. The Drought chronologizes the artist’s transformation through a psychological famine, new ways of coping akin to plant survival in a desert — to live without drying out. Features art by Torbjørn Rødland. Mastered by Rashad Becker at Dubplates & Mastering Berlin.

File Under: Experimental, Noise, Industrial
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Rainer Veil: Vanity (Modern Love) LP
After a five-year pause for breath, last releasing in 2014, Rainer Veil return with their debut full-length for Modern Love; an immersive, kinematic tumble through electronic forms from hyper trance to tape dub experiments and loose polyrhythms — a summoning of ‘ardcore spirits in flux. A hypnotic sound world tempered by weighty bass and angular construction, Vanity marks a breaking away from the binds of overthinking, an embrace of imperfection. It’s a brighter set of tracks then anything we’ve heard from Rainer Veil before, discarding the foggy filters and guitar pedals that were the signature of their first two EPs in pursuit of a more loose-limbed and swung ideal. Opening on the skeletal trance vapor-trail “Sim Screen” and the agitated “Repatterning”, you head into a ferociously asymmetric warehouse swerve “In Gold Mills” conjuring an uncanny, nighttime vision of suburban bass riddled with tension and bliss. “Shallows” retreats through isolation dub, echoing “Change Is Never Easy”, a re-worked house template fractured to its bare percussive core, while “FM2” entwines a double helix of DX7 patches with a heart wrench, and “Gauze” dismantles a mosaic of Kwaito patterns, buried under a haze of smoke. Tracing rapidly mutating electronic forms, from ringtone hooks to latinate rhythms and Razor synth edits, Vanity explores an instinctive swell of ideas and influences in perpetual and unstoppable forward motion, a sequence of flash frames captured and distilled for posterity. RIYL: Photek, Caterina Barbieri, SND, Lee Gamble, Gábor Lázár. Mastered and Cut at Dubplates & Mastering, Berlin. Edition of 500.

File Under: Electronic
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Ranaldo/Jarmusch/Urselli/Pandi: s/t (Trost) LP
New York based producer and engineer Marc Urselli had the idea to bring people together who had never met before and let that meeting of minds create beautiful soundscapes. Film director and musician Jim Jarmusch, Sonic Youth co-founder and guitarist Lee Ranaldo shared space with versatile drummer Balázs Pándi (projects with Keiji Haino, Venetian Snares, Merzbow) for a night session at Urselli’s EastSide Sound studio in downtown New York. These are the unfiltered results. Absorbing instrumental patterns of cinematic sounds and improvised rhythms. No overdubs, no editing. All was recorded live and analog, produced and mixed by Marc Urselli. The front/back cover photos were taken by photographer William Semeraro in Norway. That is why Marc Urselli gave all the songs titles inspired by Norwegian

File Under: Experimental
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BT048LP_CUDavid Rosenboom: Brainwave Music (Black Truffle) LP
Black Truffle present the first ever vinyl reissue of David Rosenboom’s legendary Brainwave Music, originally released on A.R.C. Records in 1975. This is an expanded double-LP edition with over 40 minutes of additional contemporaneous material. Pioneer of live electronics, innovator in music education, collaborator with artists as diverse as Jon Hassell, Jacqueline Humbert, Terry Riley, and Anthony Braxton, Rosenboom is renowned for his ground-breaking experiments with the use of brain biofeedback to control live electronic systems. Each of the three pieces that make up the original Brainwave Music LP integrates biofeedback with musical technology in different ways. In the side-long “Portable Gold and Philosophers’ Stones”, four performers have electrodes and monitoring devices attached to their bodies to receive information about brainwaves, temperature, and galvanic skin response. This information is analyzed and fed into a complex set of frequency dividers and filters, manned by Rosenboom, but essentially played by each of the performers through their psychophysiological responses. The result is a slowly unfolding web of filtered electronic tones over a tanpura-esque fundamental, possessing the unhurried, stately grandeur of an electronic raga. In “Chilean Drought”, three different variations of a text about a drought in Chile, read by a different voice in a different style, are associated with the beta, alpha, and theta brainwave bands. Alongside an insistent piano accompaniment, three constantly shifting vocal recordings are controlled by the relative preponderance of each of the brainwave bands in the soloist. “Piano Etude I (Alpha)”, the earliest piece included here, is based on research into the link between alpha brain wave production and the execution of repetitive motor tasks. As Rosenboom plays a very rapid, incessantly repeated pattern in both hands, two filters controlled by monitoring his brainwaves process the piano sound, moving gradually higher in frequency as the average alpha amplitude increases. For this reissue, the original LP is supplemented with an additional LP containing an unreleased 1977 live recording of Rosenboom’s “On Being Invisible”, in which the composer himself performs on an array of electronics that are fed information from his brainwaves. Stretching out over 40 minutes, the piece begins in similar territory to “Portable Gold and Philosophers’ Stones” but eventually becomes far wilder, building up to pointillistic bleeps and dense layers of electronic fizz that unexpectedly cut to near-silence. As Rosenboom explains, the piece creates a situation in which the “performer’s active imaginative listening became one of the ways to play their instrument, as well as an active agent in how self-organizing musical forms might emerge.” Includes archival images and new notes from the composer. Gatefold sleeve design by Lasse Marhaug. Mastered by David Rosenboom from the original analog tape masters. Cut by Rashad Becker at Dubplates & Mastering, Berlin.

File Under: Experimental
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OTR004LP_CUJesse Sharps Quintet & P.A.P.A.: Sharps & Flats (Outernational) LP
Issued on vinyl for the first time, Outernational Sounds presents a monumental spirit music document from the Los Angeles underground — Jesse Sharp’s slept-on deep jazz classic Sharps And Flats. “He became the Ark leader — he was hardcore. They’d all be quiet and listen to him when he talked” –Horace Tapscott, on Jesse Sharps. You could be forgiven for not knowing how important saxophonist, bandleader, and composer Jesse Sharps is. After all, the only album to come out under his name, Sharps And Flats, was recorded in 1985, and wasn’t issued on CD until 2004. But despite this seemingly small recorded footprint, Jesse Sharps is a major figure in the history of jazz music in Los Angeles. As the bandleader for Horace Tapscott’s Pan-Afrikan People’s Arkestra (P.A.P.A.) — the Marshall Allen to Tapscott’s Sun Ra — he led Tapscott’s seminal music community through its most cohesive phase. And, after a hiatus living in Europe, his return to Los Angeles in the 2000s saw him build a new group, The Gathering, which linked original heads including acclaimed singer Dwight Trible and legendary trombonist Phil Ranelin with a new generation of LA jazz voices, including none other than Kamasi Washington. Sharps has been around, and he’s made an indelible mark. At college, Sharps studied under Cecil Taylor. When he came back to LA he rejoined the Arkestra on flute and reeds, and eventually took over band-leading duties from the great altoist Arthur Blythe. Trusted completely by Tapscott, as bandleader Sharps turned the Arkestra into a well-drilled unit. This was the time of the classic P.A.P.A. recordings, 1978’s Flight 17, Live at I.U.C.C. (1979), and The Call (1978), and Sharps also wrote for the band. The funky, deep spirituality of compositions like “Desert Fairy Princess”, “Macramé”, and “Peyote Song III” has made his tunes among most celebrated in the whole P.A.P.A. catalog. Sharps And Flats was recorded in 1985 for Tom Albach’s legendary Nimbus West imprint, a label Albach had founded specifically to document the work of Horace Tapscott and his circle. Featuring a quintet of P.A.P.A. regulars at the height of their game, Sharps And Flats is one of the great lost Nimbus sessions — it lay unissued until 2004, and never saw a vinyl press. A lost classic of the LA underground, on wax at last!

File Under: Jazz
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SOAVE022LP_CURiccardo Sinigaglia: Ambient Music (Soave) LP
Soave present a reissue of Riccardo Sinigaglia’s Ambient Music, originally released in 1985. “Futuro Antico, the mesmerizing collaboration of Riccardo Sinigaglia with Walter Maioli and Gabin Dabirè evoked in its name the uncanniness of simultaneously witnessing past and future. Ambient Music, Riccardo Sinigaglia’s first solo work — recorded in Dec. 1984 and originally out on cassette from ADN Tapes in 1985 — ultimately delivers on that idea, embodying different irreconcilable time frames not just in name. From our vantage point, the sounds of the two performances — “Watertube” and “Ringspiel” — appear as though they arrive to us from a past which we have great difficulty in recognizing and imagining ourselves coming from while simultaneously working as a projection of a future that is both our contemporaneity yet also surpasses it. It’s this ability that Riccardo Sinigaglia’s work has of being both rooted in its context while instantaneously capable of transcending our own that makes him one of the key figures of that explosion of beauty and creativity that defines the peculiar iteration of radical minimalism that characterized the experimental and avant-garde music scene in Italy, particularly the Milanese one with its rich countercultural scenes crossing over into the long reverberating academic legacy of the Studio di Fonologia Musicale RAI di Milano during a hyperactive decade starting in the late 1970s . . . ‘Watertube’ starts as a synth and magnetic-tape based ambient soundscape that slowly adds what appears to be a prepared piano which eventually competes for audibility with a phrase that evokes the titular watertube, treated, looped, and stacked as it phase-shifts producing a busy polyrhythm that asynchronously gurgles and bubbles, approaching but never breaking into chaos. It’s some strange version of Eno’s oblique discreetness ostensibly being overwhelmed by the perversity of a Steve Reich-ian shape-shifting pattern but the moment the former is about to be overwhelmed the composition begins a slow recession back towards the system it originated from. ‘Ringspiel’ is a more playful yet warped affair, a complex ecology rather than a simple economy of sounds. Opening with a whimsical melody seemingly played on a prepared toy piano this gives way to a tape loop punctuated throughout the rest of the piece by individual sounds whose origins remain uncertain. These produce scattered melodies that underscore an electronic based minimalism with a synthetic heart that nonetheless showcases a pulsating, wet, fibrous core that beats with organic life. It ends not in the opening whimsy but in fragmenting percussive shards of sounds…” –Peter Sarram/Rome, March 2019

File Under: Ambient
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SME059LP_CUGiuliano Sorgini: Lavoro e Tempo Libero (Sonor Music) LP
Sonor Music Editions present a reissue of Giuliano Sorgini’s Lavoro E Tempo Libero, originally released on Goldfinger in 1980. A highly sought-after Italian library jewel with mental disco-funk cuts and sleazy grooves. The music here was used to score various documentaries for Italian Rai TV, Lavoro E Tempo Libero by the eclectic maestro Giuliano Sorgini is another stellar recording from the comprehensive Italian library world, very different from his ’70s masterpieces like 1971’s Under Pompelmo (CNLP 037LP) or 1974’s Zoo Folle, but with a perfect early ’80s sound and clear funky greatness mixed with some very beautiful chill jams. An insane set of dark funk bangers filled with drum breaks and beats, different refined moods with soothing airs and lounge-y suites, exquisite flute notes by Nino Rapicavoli, along with sharp guitars and sleazy basslines. Easily one of the top albums out of library labels Usignolo/Goldifinger. Renewed artwork. Remastered sound from the original tape. 180 gram vinyl; Editions of 500.

File Under: Library
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LDS010188_Soundwalk Collective & Patti Smith: Peyote Dance (Bella Union) LP
The sound of walking in a Mexican canyon transforms into the distinct beat of the heart, distant chants, sticks, stones, and the whistle of blowing wind: The Peyote Dance, a new album by Soundwalk Collective with Patti Smith, produced in collaboration with Leonardo Heiblum and Nicolas Becker, is a soundtrack of elements that invites us to explore a sacred space. The album takes as its starting point Antonin Artaud’s book The Peyote Dance, a work inspired by his revelatory experiences with the Rarámuri in 1936. It is the first in a triptych of albums to be released by Bella Union titled The Perfect Vision, which take their inspiration from the writings of three emblematic French poets: Antonin Artaud, Arthur Rimbaud and René Daumal, and their necessity to travel to different lands to acquire a new vision and perspective on themselves and artworks. Perhaps a perfect vision, it is one that allowed them to transcend forms and borders, both physical and mental. Recorded in the Sierra Tarahumara of Mexico, Abyssinian valley of Ethiopia, and Himalayan Summit of India respectively, the central idea is that each landscape holds sleeping memories that are the witness of human passage. Each album retraces the poets’ footsteps, channeled through on-location recorded soundscapes and musicalities, with Patti Smith revisiting the words that have been inspired by the landscapes. The triptych marks a new chapter in the collaboration between Soundwalk Collective (Stephan Crasneanscki and Simone Merli) and Patti Smith, who first worked together on Killer Road in 2016. The Peyote Dance focuses on a brief part of Artaud’s time, who traveled to Mexico City in early 1936 to deliver a series of lectures at the University of Mexico on topics including Surrealism, Marxism and theatre. In the summer, he traveled by train towards the Chihuahua region, and saddled by horse to the Tarahumara mountains with the help of a mestizo guide – which the album’s opening track, recited by Gael Garcia Bernal, evokes. Artaud was drawn to the story of the Rarámuri: Native Indian people who live in the Norogachi region of Mexico’s Copper Canyon, the Sierra Tarahumara. One of Artaud’s goals was to find a peyote shaman who could heal him; allowing him to recover from an opioid addiction. During his stay, encountering the Rarámuri Indians and peyote shamans of Tarahumara, and engaging in ceremonies, Artaud had a transcendental experience which resulted in the book The Peyote Dance. For the eponymous album, Soundwalk Collective and Patti Smith revisited writings from the book, and others texts written after Artaud’s return to France, where he remained in a mental asylum in Rodez undergoing electric shock therapy. During this dark period, the encounter with the Rarámuri stayed with him as his last significant, happy experience. The penultimate track on the album is a poem written by Smith in homage to Artaud’s last hours in Ivry. The album’s sonic method originates in the idea of following Artaud’s trace and returning to the village and cave where he lived. Gathering stones, sand, leaves, and many instruments such as violins and drums that the Rarámuri made themselves, the artists were able to awaken the landscape’s sleeping memories and uncover the space’s sonic grammar. Hearing the wind blowing through the valley, or entering a cave, one will find a specific silence or resonance. “Taking peyote in those regions, you have the feeling that everything is communicating with you as it was for Artaud – nothing has changed,” says Stéphan Crasneanscki, the founder of Soundwalk Collective who traveled to the Sierra Tarahumara to record on-site. “On an atomic level, there is no separation between you and any other organism: trees, leaves, flowers, but also stones and sand. There is no duality. Everything is embedded, everything has a soul, and the soul is timeless. We are not alone. These sonic spaces are pre-existing to us and will exist after us, to be able to listen to them is an act of presence.” Listening, reading and improvising to the tracks in the New York studio allowed Smith to channel Artaud’s spirit. “The poets enter the bloodstream, they enter the cells. For a moment, one is Artaud,” Smith says of becoming a conduit for the poet to speak through her, echoing the raw energy of the early punk scene. “You can’t ask for it, you can’t buy it, you can’t take drugs for it to be authentic. It just has to happen, you have to be chosen as well as choose.” The energy of his last poems reverberates and cannot be silenced, Smith says of The Peyote Dance. “We understand that this work and the artist are not dead, they find life in recording them.” The enduring power of Artaud’s text lies in its uncomfortable nature: 80 years after it has been written, it remains a disturbing, raw, explosive and trance-like chronicle of what it is to be alive.

File Under: Electronic, Experimental
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BF008LP_CUMasayuki Takayanagi New Direction Unit: April is the Cruellest Month (Blank Forms) LP
Masayuki “Jojo” Takayanagi (1932 – 1991) was a maverick Japanese guitarist, a revolutionary spirit whose oeuvre embodied the radical political movements of late ’60s Japan. Having cut his teeth as an accomplished Lennie Tristano disciple playing cool jazz in the late ’50s, Takayanagi had his mind blown by the Chicago Transit Authority’s “free form guitar” in 1969 and promptly turned his back on the jazz scene by which he was beloved. Takayanagi had found a new direction, an annihilation of jazz and its associated idolatry of hegemonic American culture. Aiming his virtuoso chops towards the stratosphere, Takayanagi dedicated himself to the art of the freakout, laying waste to tradition left and right, most notably via the all-out assault of his aptly-named New Direction For The Arts (later, New Direction Unit) and collaborations with like-minded outsider saxophonist Kaoru Abe. His innovations on the instrument parallel those of Sonny Sharrock and Derek Bailey and paved the way for the Japanese necromancy of Keiji Haino and Otomo Yoshihide, but even at its most limitless hurdling Takayanagi’s playing is propelled by the dexterous grasp of his foundations, to which he paid tribute with elegant takes on flamenco and Ornette Coleman’s “Lonely Woman.” Culled from 1975 sessions by the New Direction Unit, April Is The Cruellest Month was originally slated for release on ESP-Disk before the label’s untimely demise that year. Part of the period of Takayanagi’s career which he termed “non-section music,” one can only imagine how its unholy racket might have altered an international understanding of Japanese noise. On “We Have Existed” and “What Have We Given?”, the classic lineup of Takayanagi with Kenji Mori (alto sax, flute, bass clarinet), Nobuyoshi Ino (bass, cello), and Hiroshi Yamazaki (percussion) prove that free improvisation was thriving well beyond western Europe with a set of dilapidated, spacious clanging, Takayanagi’s squalling feedback and Mori’s Eric Dolphy moves undulating atop the joyous clamor. The cataclysmic “My Friend, Blood Shaking My Heart” is another story altogether. Infernal sheets of contorted sound find the berserk instrumentalists hopelessly entangled as they urge the explosion deeper and deeper into ecstatic oblivion. Rivaled in intensity only by John Coltrane’s The Olatunji Concert (1967), Peter Brötzmann’s Machine Gun (1968), and Dave Burrell’s Echo (1969), April Is The Cruellest Month deservedly sees the light of day on the vinyl format for which it was originally conceived, marking the first issue of Takayanagi’s music outside of Japan.

File Under: Free Jazz, Japan
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V25AH986LP_CUMasahiko Togashi/Steve Lacy/Don Cherry/ Dave Holland: Live at Yonin Chokin Kaikan Hall (Victory) LP
For this historical concert held at the Yubin Chokin Hall, in Tokyo on May 14, 1986, the legendary Japanese drummer Masahiko Togashi brought together an amazing line-up with such modern jazz luminaries as Steve Lacy (soprano sax), Don Cherry (pocket trumpet), and Dave Holland (bass). This particular album consists of four previously unpublished tracks (on vinyl), including some highly regarded Lacy’s compositions such as “The Crus”” and “Quakes” and Don Cherry’s African flavored anthem called “Mopti”. The Lacy-Cherry frontline flies over the agile, airy rhythm section of Holland and Togashi and the interplay between the four master musicians sounds loose and relaxed. This is a must-hear for any post free jazz fan.

File Under: Free Jazz
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FOX001LP_CUPiero Umiliani: Il Paradiso Dell’uomo (Alternative Fox) LP
Alternative Fox present a reissue of Piero Umiliani’s Il Paradiso Dell’uomo, originally released in 1963. Italian film composer Piero Umiliani enjoyed a long and illustrious career, creating nearly 200 film soundtracks, along with 40 music library LPs, and some 35 television themes. Born in Florence in 1926, he was first recognized internationally for his work on the soundtrack of 1958 crime caper I Soliti Ignoti (AKA Big Deal on Madonna Street, Persons Unknown or Le Pigeon), which featured noted jazz trumpeter, Chet Baker — the first time, in fact, that jazz music had been used for an Italian comedy feature. Umiliani teamed with Baker again in 1961, along with Croatian-American jazz singer Helen Merrill, for the soundtrack of Smog, a drama about an Italian lawyer’s unintended escapades in Los Angeles, and his work was later featured on American and British television shows, including The Muppets, the Benny Hill Show, and the Red Skelton Show. Il Paradiso Dell’uomo (AKA Man’s Paradise), subtitled “Forbidden Japan”, was a little-known documentary released in 1963 focusing on the roles assigned to women in the country, from the traditional pearl-fishing divers of the coast and urban factory workers to traditional dancers and the ambiguous world of geisha and striptease. This impossibly-rare soundtrack mixes eastern and western musical elements, veering from classical tropes to swing jazz, with Chinese singer Mei Lang Chang on a couple of tracks and singer/composer/musicologist Francesco Potenza leading the chorus on another. 180 gram vinyl.

File Under: OST, Library
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a2327265920_16Rick White & Eiyn Sof: The Opening (Blue Fog) LP
After Eric’s Trip, Elevator to Hell, Elevator, his Unintended project with the Sadies, a trio of solo albums as Rick White Album, and producing albums for Julie Doiron, 100 Dollars, and many more, in 2011, Rick White decided to take a step back from making music. His hiatus lasted over seven years, but now he’s back at it and he’s teamed up with a like-minded soul named Eiyn Sof. Singing in harmony together for all the vocals, the songs float within creepy mellotron melodies, echo guitars, dizzying synths and deep rolling bass and drum rhythms. It’s a brand new heavy spacey psychedelic fairytale of an album, and we’re very proud to bring it to life here. Limited vinyl run on blue fog coloured vinyl.

File Under: Space Rock
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LDY01129_Neil Young & The Stray Gators: Tuscaloosa (Reprise) LP
Neil Young’s Tuscaloosa: Live with the Stray Gators Features 11 Previously Unreleased Tracks from 1973: LP Mastered from the Original Analog Tapes by Chris Bellman at Bernie Grundman Studios Neil Young’s Tuscaloosa: Live features 11 previously unreleased tracks culled from a February 5, 1973 performance at the University of Alabama with his band the Stray Gators – bassist Tim Drummond, drummer Kenny Buttrey, pianist Jack Nitzsche and steel guitarist Ben Keith – who backed the iconic singer/songwriter on his landmark efforts Harvest and Time Fades Away. Tuscaloosa: Live features live versions of songs from Young’s eponymous 1968 debut (“Here We Are In The Years”) plus classics from his two biggest selling albums, 1970’s After The Gold Rush (“After the Gold Rush”) and 1972’s Harvest (“Harvest,” “Heart of Gold,” “Old Man,” “Out On The Weekend,” “Alabama”). Also included are cuts from Neil’s live album Time Fades Away (“Time Fades Away,” “Don’t Be Denied”) which would be released later in 1973 and songs from fellow catalog favorite Tonight’s The Night (“Lookout Joe,” “New Mama”) which wouldn’t be issued until 1975. Tuscaloosa: Live was produced by Neil Young and Elliot Mazer, mixed by John Hanlon, and mastered by Chris Bellman at Bernie Grundman from the original analogue tapes.

File Under: Folk, Prog
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MFM041LP_CU

Various: Outro Tempo II (Music from Memory) LP
Outro Tempo II: Electronic and Contemporary Music from Brazil, 1984-1996 is the second instalment of Music From Memory’s Brazilian series. This volume picks up where the first Outro Tempo (MFM 016CD/LP, 2017) left off, shedding light on a new wave of experimentalism that emerged in Brazil in the late 1980s and 1990s. The twenty tracks collected uncover another area of Brazilian music that looked to the future for inspiration. This time it drifts beyond the rainforest and into the pulsating heart of Brazil’s great cities, where it meets a generation of young artists eager to radically change the face of contemporary Brazilian music. In Outro Tempo II, the avant-garde and pop worlds meld in a haze of percussion and electronics. It presents another uncompromising and magnetic reinterpretation of the limits of Brazilian music. Outro Tempo II is compiled again by John Gómez and features original artwork by Alice Quaresma. Features May East, Dequinha E Zaba, Oharaska, Fausto Fawcett, R. H. Jackson, Edson Natale, Akira S, Low Key Hackers, Chance, Jorge Degas & Marcelo Salazar, Priscilla Ermel, Voluntários Da Pátria, Angel’s Breath, Tetê Espíndola, Nelson Angelo, Jorge Mello, Júlio Pimentel, and Tião Neto.

File Under: Electronic, Brazil
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ARCLP064LP_CUVarious: Sad About the Times (Anthology) LP
“You are alone in a hot tub on a warm summer night back in the ’70s. Scarcely a week earlier she was right there with you, laughing, gazing at the stars, the FM radio playing the top pop hits as you frolicked in the gurgling water. Now she’s gone. Really gone. Then a song you never heard before comes on the radio. You feel like it reaches into some place that has already been prepared in your mind. It is as if the song is reading you. The song really knows she’s gone, and more. What a great hook, you think. Then you never hear it again. You remember it really captured the way you felt, it sounded sad but somehow had a healing quality. Down but not out. It seemed familiar the first time you heard it, as if it had cut to the front of the line while the other meaningful songs in your life were taking years to get there. What was that song?I have good news for you. It’s on this album even if it’s not on this album. What we are talking about here is a time when there was only so much room at the top and limited alternatives to mainstream radio for a song to get heard. I made up the guy in the hot tub but not the nature of the song. It doesn’t matter exactly what the song is. Every song on this album is that song. They all could have been hits. Each with a different flavor, all subtly conveying universal emotions that are hard to describe but easy to feel. Little room at the top back then (another reason to be sad about the times…) but we have plenty of room in 2018. These songs come in the wake of the psychedelic sixties after the high-flying idealism had run its course and singer songwriters were ascendant. After the party, reality kicks in. You have to deal with yourself about how you deal with your friends and lovers. You can’t always work it out but you can sprinkle a little sugar on your sadness with songs like these to keep you company. You can hear echoes of folk rock, soft rock, even detect some psychedelic flashbacks but the atmosphere is dominated by that human being whose voice you are hearing. He’s not up on stage, he’s in your mirror. Have you ever felt sad about the times you are living in? Anyone who hasn’t seems to me at first lucky, but perhaps simultaneously cursed. This music reaches because it resonates with experiences in your own life that made you feel sad and alone. The artists here are dealing with difficult emotions. There’s a reason smiley faces don’t have ears. Sadness can be life affirming; these songs can open that door. If they couldn’t they wouldn’t be so enjoyable. ‘Heaven is boring, hell is where the action is’ someone said but if you mix the two together you might come up with some songs like these. Compiled by Mikey Young (Total Control / Eddy Suppression Ring) and Keith Abrahamsson (Founder / Head of A&R at Anthology Recordings), Sad About the Times is a set of North American ’70s jammers. With a hint of (at times) West Coast jangle, these tracks traverse the border between the power pop of the times and a late-night coke jam.” Features West, Hollins Ferry, Randy & The Goats, Willow, Art Lown, Jode, Norma Tanega, Perth County Conspiracy, David Chalmers, Jim Spencer, Hoover, Space Opera, Roger Rodier, Emmett Finley, Sky, The Smubbs, Oliver Klaus, Antonia Lamb, Kevin Vicalvi, Boz Metzdorf, and Dennis Stoner.

File Under: Rock, Pop
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…..Restocks…. 

Alice in Chains: Dirt (Music On Vinyl) LP
Altin Gun: Gece (ATO) LP
Aphex Twin: I Care Because You Do (Warp) LP
Arcade Fire: Suburbs (Sonovox) LP
Mulatu Astatke: Ethio Jazz (Heavenly Sweetness) LP
Bjork: Homogenic (One Little Indian) LP
Bjork: Vespertine (One Little Indian) LP
Boards of Canada: Geogaddi (Warp) LP
Boards of Canada: Music Has the Right to Children (Warp) LP
Brainiac: Electro Shock for President (Touch & Go) LP
The Clash: Sandinista! (Epic) LP
The Clash: Combat Rock (Epic) LP
Bob Dylan: Freewheelin’ (Columbia) LP
Bob Dylan: Nashville Skyline (Columbia) LP
Marvin Gaye: You’re the Man (Universal) LP
Dexter Gordon: Doin’ Allright (Blue Note) LP
Jamie XX: In Colour (Young Turks) LP
Johann Johannsson: IBM 1401: A Users Manual (4AD) LP
Jonathan Kawchuk: North (Paper Bag) LP
Khotin: Beautiful You (Ghostly) LP
Kids See Ghosts: s/t (Universal) LP
LCD Soundsystem: s/t (DFA) LP
LCD Soundsystem: This is Happening (DFA) LP
Efrim Manuel Menuck & Kevin Dora: are SING SINCK, SING (Constellation) LP
Mogwai: Come on Die Young (PIAS) BOX
Oasis: Definitely Maybe (Big Brother) LP
Orville Peck: Pony (Royal Mountain) LP
Pond: Tasmania (Interscope) LP
Pup: Morbid Stuff (Little Dipper) LP
Pedro Santos: Krishnanda (Mr. Bongo) LP
Thrush Hermit: Clayton Park (New Scotland) LP
Ween: La Cucaracha (Schnitzel) LP
Kanye West: College Dropout (Universal) LP
White Stripes: Icky Thump (Third Man) LP

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