Forced Exposure New Releases for the Week of 10/31/2022
New music is due from Carla dal Forno, Peter Knight, and Skalpel, while old music is due from Tom Zé, Lorette Velvette, and Guided By Voices.
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NEW RELEASES FOR THE WEEK OF 10/31/2022
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AGUIRRE RECORDS (BELGIUM)
CAT #: ZORN 080LPBRANNTEN SCHNURE Getraumt Hab Ich Vom Martinszug LP
Originally released on cassette in 2016 on Feathered Coyote Records. Brannten Schnüre are one of those neo-romantic music experimentalists who add to a long tradition of celebrating folk tale and exoticism. Their meticulously crafted loops, hesitant melodies and heavily nostalgic lyricism could easily be translated to what the late philosopher and music critic Mark Fisher called "hauntology", a postmodern longing for a lost future. To describe the beauty of Geträumt Hab' Ich Vom Martinszug, however, the term seems somewhat dissatisfying. Romanticism is a hard nut to crack in the Anthropocene, and Brannten Schnüre's realms of the cerebral are too deeply ingrained in a German tradition of storytelling to define them within popular paradigm. Geträumt Hab' Ich Vom Martinszug was recorded in 2014 in Würzburg and functions as the autumn part of the band's seasonal cycle quadrilogy (the other segments being Aprilnacht (SicSic), Sommer im Pfirsichhain (Aguirre) and Durch unser zugedecktes Tal (Youdonthavetocallitmusic)). It deals with the Saint Martin's parade, a mostly European tradition to celebrate the medieval spirit of Saint Martin of Tours, friend of children and patron of the poor. Around November 11th, children come out on the streets with lanterns and sing ancient songs in exchange for sweets. It's a period of snugness and expectation, of yearning and dreaming, and therefore a consummate subject for the duo to scrutinize. To the adult's ear the dream of the Saint Martin's parade isn't all that consolatory. The dark and slow loops of Christian Schoppik rather sound like motifs for a welcome paralysis. Sometimes as a gentle backdrop for vocals by Katie Rich and Schoppik himself, the repetitive structures serve as tricksters that trade innocence for the uncanny. The dream becomes a fever dream which quickly absorbs the listener into a vacuum, an eternal post-panic attack semi-relief. Maybe that's the amazing paradox of Brannten Schnüre. The space they occupy is never comforting -- as if being locked up inside a Carl Grossberg painting -- but it's also a subliminal aural zone you do not want to leave. It's music as being, as a stream, devoid of climax or catharsis. And because it is flux and being, and exists to be taken, it speaks in art's purest form. Layout by Johannes Schebler. Mastered by Pieter De Wagter. Edition of 500.
CAT #: ZORN 092LPJAMAL CREATIVE ARTS ENSEMBLE, THE KHAN Drum Dance To The Motherland LP
Reissue. There's not another album on the planet that sounds even remotely like vibraphonist Khan Jamal's eccentric, one-of-a-kind masterpiece, Drum Dance To The Motherland. Thirty years after its release, the album's tapestry of sound, fearless abstractions, relentless grooves, cool swing, flashes of ecstasy, and pan cultural embrace remain powerful and beyond category. One of only three albums released on the Philadelphia-based Dogtown label, it was barely distributed beyond the city's limits when it came out in the early '70s. Finally available again, a really stunning document of musical exploration, a classic session. In its improbable fusion of free jazz expressionism, black psychedelia, and full-on dub production techniques, Drum Dance remains a bracingly powerful outsider statement fifty years after it was recorded live at the Catacombs Club in Philadelphia, 1972. Comparisons to Sun Ra, King Tubby, Phil Cohran, and BYG/Actuel merely hint at the cosmic otherness conjured by The Khan Jamal Creative Arts Ensemble and by sound engineer Mario Falana's real-time enhancements. Clearly, the members of the Khan Jamal Creative Arts Ensemble saw African American music as a continuum that stretched from the Motherland through the blues, R&B, jazz, and free jazz, and they prided themselves on mastering the continuum. In the early '70s, these were fairly new ideas, but they had taken firm root in Philadelphia. The search for an African American music that is modern and culturally progressive but rooted in an African tradition is the music's heart and soul. Its connection to the specific African American community in Philadelphia is its immediate inspiration. "My ancestors eventually show up in my music every time I play," Jamal says. "I've always said that my backyard is Africa." Originally issued by Jamal in 1973 in an edition of three hundred copies on Dogtown Records, Drum Dance To The Motherland was effectively a myth until eremite's 2005 CD reissue. With the master tapes long vanished, the audio was transferred at Sony Music's 54th street studio from a minty copy of the original LP. Includes an insert with Ed Hazell's detailed telling of Drum Dance's incredible history. Under License from Eremite Records.
CAT #: AU 1010LPRUSSELL, ARTHUR Love Is Overtaking Me 2LP
2022 repress. "Compiled from over eight hours of material, Love Is Overtaking Me reaches back further to Russell's first compositions from the early `70s, the most rare and, at the same time, arguably the most accessible part comprising 21 demos and home recordings of unreleased pop, folk and country songs selected by Audika's Steve Knutson, Ernie Brooks and Russell's companion, Tom Lee. A number of the songs feature prominently in the film Wild Combination: A Portrait of Arthur Russell."
BANG! RECORDS (SPAIN)
CAT #: BANG 161LPANTISEEN The Dawn Of Antiseen 1984-1986 LP
Witness the sonic evolution of Antiseen with these tracks, originally released on their mid-80s EPs and now all together for the first time on vinyl. Newly remastered and with previously unreleased photography, this is the "Kings of Destructo-Rock" at their most primal! According to Jeff Clayton's words: "What you have here is a collection of the earliest releases of a band made up mostly of small southern town guys trying to make a name for themselves in the 'big city'. With little help or guidance (with the exception of a few very influential cases) we created what became our sound and our attitude that would stay with us for four decades. Come hear the Dawn Of Antiseen." For fans of GG Allin, Dwarves, Bored! Edition of 600.
CAT #: CF 145LPFLACCID MOJO Flaccid Mojo LP
"Twin giant towers of amps grinding out minimal beat bloop, the transient sound molecules smell of burning gear and the floor of the pit -- this is organic, electronic music at its finest. Dance? Why not. Freak out? For sure. Brothers from a different mother (Bjorn Copeland and Aaron Warren) à la two-thirds of Black Dice have come together with this fantastic debut [Flaccid Mojo] for us. These are mean beat vipers, spitting and tumescent on the abattoir floor. I would call it drug music, but I'm not sure what drugs these humans consume. Stem cell and adrenal gland cocktails I'm guessing. Futuristic and primal it is, beats from the Thunder-Dome, fight music for fuckers. I've seen them on two separate occasions blow the power for an entire building. Baller move, boys. Produced perfectly by Chris Coady (look him up to be impressed). This record is a burning car in a field and I love it. For fans of Black Dice, Container, Whitehouse, Negativland, Ralph Records, minimal beats à la Profan, vintage Japanese noise, Severed Heads, windburn and chapped lips." --John Dwyer
CAT #: CT 036LPKING TUBBY Dub From The Roots LP
2022 repress. "There are very few individuals who command the respect of dub aficionados greater than 'The Dubmaster' himself, King Tubby. On Tubby's venerable 1974 release Dub from the Roots, he introduces us to the 'Shalom Dub', a method of mixing flying cymbals with horns in what he describes as 'going in and out in a dub way'. Borrowing from the forty fives of Johnny Clarke, Jackie Edwards, Cornell Campbell, John Holt, and Horace Andy, King Tubby takes the listener on a journey through a vast array of different emotions, rhythms and soundscapes. One of the standout cuts, 'Iyahta' explores Tubby's use of deep electric basslines to evoke a melodic calmness in the listener, while 'Mine Field' and 'Hijack the Barber' bring you back with the cavernous echoes of stabbing guitars, horns, and cymbals. Though previously released by different labels on a variety of dusty pressings and formats, Clocktower's reissue of Dub From The Roots is the definitive edition of this 'Dubmaster' classic, featuring audio mastered from the original analog tapes."
CRANES RECORDS (FRANCE)
CAT #: CR 039LPHOWARD, HARRY Slight Pavilions LP
The name Harry Howard might sound familiar to the melancholy-noisy connoisseurs of the past four decades. In the Howard family, the last-born, Harry, does way more than just curating the now-noise temple that are Pop Crimes' Nights dedicated to his late brother Rowland -- gathering people like Lydia Lunch, Bobby Gillespie, Mick Harvey, Jonnine and Conrad Standish, JP Shilo, or even Nick Cave himself. Alongside his experience alongside Crime and The City Solution or These Immortal Souls, the Australian summons the feverish melodies of The Gun Club, Nikki Sudden, or Gallon Drunk and then crushes them into a Suicide-like stern production where the drum machine is Queen. Slight Pavilions' nine tunes are battered by no-wave and post-punk's hammers just to be plunged into a cold southern-gothic romanticism that is the finest of Australia's productions. Far from being into the easy referencing, it is here a precious precipitate of the noisiest side of contemporary music that is offered to us. By the way, Harry's perpetrating the odious crime of being pop and danceable in spite of it all. The new record by Rowland S. Howard's brother. Nine tracks of no-wave, post-punk, and southern-gothic romantism.
CAT #: DIS 193LPHAMMERED HULLS Careening LP
"Hammered Hulls' debut LP, Careening, may very well be the last record to be recorded and mixed at the famed Washington, D.C. area recording studio, Inner Ear. Engineered by studio owner Don Zientara and produced by Ian MacKaye, Careening was started right before the pandemic lockdown and completed in summer/fall of 2021. A new band of long-time players, Hammered Hulls' music hews close to some of their early influences. Alec MacKaye is the voice, Mark Cisneros is the guitarist, Mary Timony takes a nimble and rarely-heard turn as bassist, and Chris Wilson commands the drums. Each of them bring their individual imprint to the total sound. This concussion of strength upon strength, unified by vulnerable songs, only barely contained, is the signature sound of Hammered Hulls."
CAT #: ELK 1028LP
FILE UNDER: SOUNDTRACKVA Black is Beltza II: Ainhoa 2LP
Black is Beltza II: Ainhoa arrives and, with it, the soundtrack of almost thirty songs. Black is Beltza, the first feature film directed by Fermin Muguruza was released in 2018. Now that it is three years since the death of his brother Iñigo Muguruza, Fermin presents the second part of Black is Beltza as a tribute to his younger brother."Ainhoa, daughter of Manex and Amanda, will embark on her journey of initiation in the mid-80s. In our country, when we talk about the '80s, how quickly words, images and a certain atmosphere come to everyone's mind (even to those of us who were born almost twenty years later). And between words, images and atmosphere, something else, pieces of a puzzle that would later help us to take a picture of the era, among other things: sounds, melodies, songs. Music, after all . . . We follow Ainhoa through almost thirty songs, from Kabul to Pamplona and from Amed to Marseilles, or Beirut, or Havana. With vindictive songs by groups such as Kortatu, Cicatriz, Barricada or RIP, which formed part of the Basque Radical Rock, we will jump to the Basque Country in the '80s of the last century . . . Although most are original songs, there are also beautiful versions made from the vantage point of this second decade of the 21st century: Broken Brothers Brass Band sings to Nicaragua and Mursego curses the bourgeoisie with the strength of the four strings of the cello and the piano. In addition to the contribution of the versions, 'Maite Arroitajauregi', Mursego, has been responsible for the original music of the film. A collection of songs that will also put us out of our village . . . Redskins tell us about power from the UK and The Pogues combine traditional Irish melodies with Turkish flair. We will travel through Lebanon with the sweet melodies of Soapkills and Taniah Saleh, friends of Muguruza during his months in Beirut. The fundamentalists silenced the voices of the Afghans Bakht Zamina and Khan Qarabaghi, ending their lives, but as long as a people sings, you know, death is far away . . . We will approach Palestinian folklore accompanied by the voice of Amal Murkus and we will smell the streets of the south of France with the Marseille band Massilia Sound System, the sound system that performed in Pamplona in 1992 alongside Negu Gorriak. And we will jump from Kurdistan to Cuba with the Afro-Cuban rhythm of Brenda Navarrete..." --Amets Aranguren Also features Imanol, Benny Moré, Mikel Laboa, Wajiha Rastagar, Welatê Me, and Joseba Tapia.
CAT #: ESPDISK 1023LPWRIGHT, FRANK Frank Wright Trio LP
Reissue, originally released on ESP Disk' in 1966. Frank "The Reverend" Wright was one of the most powerful saxophonists to pick up on Albert Ayler's freedom and ferocious playing. Born in Mississippi and raised in Memphis, TN and then Cleveland, OH, he started in music as a bassist in blues bands but switched to tenor sax under the influence of his Cleveland friend Albert Ayler. Wright's "energy music" approach to tenor saxophone was influenced by Ayler but at the time in the '60s Wright's intensity was unmatched and utterly distinctive. He followed Ayler to New York City, arriving in 1964 and fitting into the scene right away John Coltrane offered him a spot on his album Ascension in early 1965, though Wright demurred. ESP Disk' owner Bernard Stollman signed Wright on the spot upon hearing him sit in with Coltrane, and on November 11, 1965, Wright went into a New York studio to record his debut album, considered a free jazz classic. Wright's influence can be traced down to Charles Gayle, Sabir Mateen, and other hard-blowing tenormen, but even so, he remains unique. Personnel: Frank Wright - tenor saxophone; Henry Grimes - bass; Tom Price - drums. "Wright was throwing together ideas in a spirit of jubilation." --Clifford Allen, All About Jazz "... easily recommended to open-eared listeners who enjoy hearing fiery sound explorations." --Scott Yanow, AllMusic
CAT #: ESPDISK 1053LPWRIGHT, FRANK Your Prayer LP
Reissue, originally released in 1967. Frank Wright returned to the studio in May 1967 to make his second album using a quintet of players little-known at the time but now legends to free-jazz cognoscenti. Trumpeter Jacques Coursil, who almost made an album for ESP-Disk' himself, went on to the greatest fame of the players besides Wright; alto saxophonist Arthur Jones was not recorded nearly as often as his talents deserved; Steve Tintweis's stint playing with Albert Ayler raised the young bassist's profile; Muhammad Ali was Coltrane drummer Rashied Ali's brother. Together they raise the roof on a free-jazz marathon that still stands as Wright's magnum opus. "Your Prayer finds Wright refining the bag his solos come from, yet maintaining a firm hold on the ecstatic free-blues shout that makes up most of his solo language... Your Prayer is a rather lengthy slab of high-energy grit, but its unified forward and upward motion make for a firmly rooted sonic liberation." --Clifford Allen, All About Jazz "Rather intense at times, these emotional performances... still sound groundbreaking three decades later." --Scott Yanow, All Music Personnel: Frank Wright - tenor saxophone; Arthur Jones - alto saxophone; Jacques Coursil - trumpet; Steve Tintweis - bass; Muhammad Ali - drums.
FAR OUT RECORDINGS (UK)
CAT #: FARO 170CDAZYMUTH Light As A Feather CD
2022 repress. Far Out Recordings present a reissue of Azymuth's Light As A Feather, originally released in 1979. Four decades on and Azymuth have reached legendary status amongst fans worldwide and across the music industry thanks to the trio's pioneering blend of traditional Brazilian jazz and proto funk fusion from the early '70s right through to the present day. In 1979, the band's first Milestone Records release, Light As A Feather quickly became one of the best-selling LPs of the year. Featuring the worldwide disco/fusion hit single "Jazz Carnival" and going on to sell more than half a million copies internationally, the album stayed in the UK Top 20 for eight straight weeks. An incredibly well thought out album both in pace, song selection and musicality, Light As A Feather marked a maturing of the band as they began to rightfully utilize the studio as an instrument itself, embracing numerous mixing and recording techniques not yet common for the time as well as pioneering the use of the Big Muff and Dolby System to great effect. The end result is an album that endures to this day as a jazz funk masterpiece. Far Out Recordings present this seminal recording remixed and remastered from the original tapes. Featuring previously unreleased tracks and remixes from house stalwarts Theo Parrish, Ashley Beedle, Mark E and Yam Who?, this definitive edition of Azymuth's breakthrough LP is a must-have for connoisseurs and an invaluable introduction to the Azymuth sound for the uninitiated.
CAT #: FARO 194CDAZYMUTH Fenix CD
2022 repress. Continually pushing the boundaries of jazz, funk, electronic music and disco, as expressed through their signature samba swing, the Brazilian mavericks Azymuth, have recreated the energy of those spellbinding seventies sessions which would launch them into international recognition and confirm their status as one of Brazil's most successful bands. Since the passing of keyboard maestro Jose Roberto Bertrami in 2012, remaining members Ivan Conti and Alex Malheiros have worked tirelessly to keep the spirit of Azymuth alive, and to continue the legacy of Bertrami's genius. But Fênix also marks a new era as the Azymuth trio is complete once again, by special guest keyboardist Kiko Continentino. A hugely talented pianist, composer and arranger, Kiko has worked with the likes of Milton Nascimento, Gilberto Gil and Djavan, and the fresh energy and inspiration he has brought to the group is undeniable. The album also features Brazilian percussion legend Robertinho Silva, one of Brazil's most important and influential players. From the disco-carnival title track to sunny jazz-funk head-nodder "Orange Clouds", through to the deep-space samba "Corumbá", Azymuth have drawn upon five decades of consummate craftsmanship which, coupled with their endless desire for experimentation and improvisation, has resulted in a ten-track journey encapsulating the full spectrum of Azymuth's brilliantly colored expressionist fusion. With all the cosmic energy and masterful musicianship you'd expect from the three-man orchestra, Azymuth rise from the ashes! Recorded in Rio De Janeiro in May 2016 with producers Daniel Maunick and Joe Davis.
CAT #: FARO 213LPMAZZOTTI, ANA Ana Mazzotti LP
2022 repress; LP version. 180 gram vinyl; includes download code. Far Out Recordings present an official reissue of Ana Mazzotti's self-titled album, originally released in 1977. An artist as imaginative and unique as Ana Mazzotti doesn't come around often. Dubbed a "super-musician" by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti's short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti's premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil's Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school's choir, and at twenty-one she led her city's premier chorus, the Coral Bento Goncalves. When rock n' roll hit South America in the '60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1977, Mazzotti took her debut album back to the studio, releasing the album with a new running order and new ethereal cover art, ostensibly another crack at commercial success following the small scale of the independently funded first release. With intimately re-recorded vocals, and the bonus of gorgeous horn arrangements and a new track: the carnivalesque "Eta, Samba Bom", replacing Roberta Flack's hit "Feel Like Making Love", Ana Mazzotti (1977) delivers Mazzotti's refreshingly cool musical style even more effortlessly, while retaining the all magical energy of her debut. A cult Brazilian treasure. Remastered.
FEEDING TUBE RECORDS
CAT #: FTR 390CSBASSETT/SAMARA LUBELSKI, MARCIA West Coast Live Cassette
"Recorded at three dates on a 2019 tour of Western North America, this new release by the reboutable duo of Marcia Bassett (guitar) and Samara Lubelski (violin) is the first trade release of a tape originally done in an edition of 23 to be sold on tour. The music is as brilliant as it always is when these two stars collide. Marcia's control of feedback drones is exquisite and pairs perfectly with Samara's long-tone string work. The three pieces here are uniformly awesome assemblages of harmonic frequencies and textures that flow into each other as though they were poured from a single head. The two shorter pieces on the a-side slide through each others' tone holes like electric eels playing basketball with hoop snakes. It can be hard to differentiate sources for the individual voicing, but the results resonate with glowing purity of purpose, and a sort of feverish dream logic that ebbs and flows like blood. The longer piece on the B-side is a full-on carousel ride through a landscape shifting constantly beneath your feet. It's like riding the break of a slow-motion earthquake, where the land itself forms curls you can shoot through if you have the balance to hang on. It's great stuff to hear if you happen to live inside the west coast's 'Ring of Fire,' but it's also mighty fine listening heard from the safety of the Pioneer Valley. Or wherever you happen to reside. So do it." --Byron Coley, 2022
CAT #: FTR 716CDGARCIA, MARGARIDA Good Night CD
"Portuguese bassist Margarida Garcia has collaborated with some of our favorite artists -- Marcia Bassett, Loren Connors, and Chris Corsano, among them. Loren even wrote the liner notes for Good Night, which is about as a solid an endorsement as anyone is ever likely to get. So, we are proud and excited to present the first solo album she's released through a US label. The three tracks on Good Night are all lovely slides into pools of quivering dream gel. Performed on an amplified upright bass, the arco flow of her playing (with what I assume to be light electronic effects in certain passages) moves like a field of lava sheets overlapping as they move away from their source. The effect is a bit dizzying, since as a listener you feel attached to these sheets in one place or another, and they are constantly shifting. The sound of Garcia's bass is hard to place in one genre. There are bits that remind of Bertran Turetsky's modern classical work, but other parts have drone content with distinctly psychedelic undercurrents (a truly subjective opinion), and others that put me in mind of Randall McClellan's droned-based electronics pieces like 'Distant Voices.' All over the map? You might say that. But only if you had a very fine damn map. Margarida Garcia's Good Night will take your brain to a lot of new places. For just pennies a mile. Dig it." --Byron Coley, 2022
CAT #: FOB 067LPSZEMZO, TIBOR Skullbase Fracture LP
Issued by Leo Fegin's visionary record label in 1993, Leo Records, this refreshed and revised reissue collection of Hungarian composer Tibor Szemz?'s chamber pieces with spoken text -- composed in the 1980s for the legendary GROUP 180 -- is unlike anything else of its kind. No one has survived life. Everyone has died from it so far. Man must realize that He is responsible for His own life and fate and must insist upon this responsibility beyond all limits. And since man has dissociated himself from the sphere of irrationality, He has no way of getting in touch with death, or of establishing control over it. How we achieve the final result is merely of secondary importance. If the vision is clear to everyone, there is no need at all to look back. In a time of complete mental disturbance, only one chance remains to us: crystal-clear thinking. This leads you back to total mental disturbance, which everyone has died from so far. (Pavel Havli?ek -- Miklós Erdély -- Tibor Hajas)Text and Music - Language and Speech - Sound and Music: The common basis of the three works by Tibor Szemz? heard on this album is the inalienable relationship to text -- as an a priori principle. Text and music: the formal attributes of significance, intentions, and levels of meaning inherent in verbal communication as it is transformed into audible code. Language and speech: the structural level of communication, where it becomes purposeful expression, acoustic statements of variable modality. Vocalization as sublimation. Sound and music: By becoming an auditory signal, communication is deprived of its sense and reduced to musical articulation and abstraction. "Skullbase Fracture": Shards of reality -- senseless, disconnected fragments of recorded "living speech" -- simultaneously disintegrate and merge to create meaning through the musical process, while it is degraded and stylized to represent a single layer of the ambient noise one would hear in a hospitality setting. "Optimistic Lecture": The theses -- like a practical, everyday user's manual to cognitive tendencies and aims as they apply to the entirety of existence -- convey their meaning through simplified rhythmic speech, galvanized into commands. As a counterpoint to recited prayers, they comprise a uniform soundscape. "The Sex Appeal of Death": The head-on simplicity of communication creates such extremely reductive musical interrelations that they cannibalize themselves in a necessary and inevitable fashion. And, in this manner, the text as well.
FUTURE SHOCK (ITALY)
CAT #: FS 4463LPRETSIEM, BOKAJ Psychedelic Underground LP
Reissue of Bokaj Retsiem's Psychedelic Underground, originally released in 1969. Credited as one of the best late '60s German psych-rock albums, Bokaj Retsiem's ("meister Jakob" in reverse) Psychedelic Underground is an eccentric, soulful, acid and fuzzy rockin' essay that clearly prefigures a part of the krautrock movement. Featuring Rainer Deigner, former guitar for the '60s beat German group Former Bonds, as the only credited musician and composer on this album (although other musicians assisted him on bass, keyboards, and that B3 Hammond and Leslie sound), this is basically Rainer's freaked-out tribute to his favorite children's song, "Meister Jakob", consisting in trippy instrumental sections, furiously savage E-guitar crescendos, amazing psych-rock improvisation, with just a hint of '60s US psych-garage. A real enthusiastic psych-kraut trip for fans of Vanilla Fudge, Hendrix, and Iron Butterfly. Cyan blue vinyl.
CAT #: FS 4464LPDEMIAN Demian LP
Reissue of Demian's self-titled album, originally released in 1971. One of the bands that helped build the great Austin, TX music scene (the "live music capital of the world"), Demian was actually Bubble Puppy with a new name and sound. While Bubble Puppy was classic psychedelia, Demian was hard rock in the vein of bands like Atomic Rooster. Recorded live-in-studio at LA's legendary "Record Plant" studio in 1970, Demain was also one of the first bands to feature dueling lead guitars. Despite the high quality of the songs and the local buzz this album generated at the time, due to mismanagement, Demian soon faded into the record collecting beyond. Aqua blue vinyl.
CAT #: FS 4473LPSUZUKI/MASAHIKO TOGASHI QUINTET, HIROSHI Variation LP
Future Shock present a reissue of Hiroshi Suzuki/Masahiko Togashi Quintet's Variation, originally released in 1969. Essential jazz album among the influences of the future-jazz quartet Sleep Walker by trombonist Hiroshi Suzuki. Variation is a joint project including the legendary jazz drummer Masahiko Togashi featuring pianist Yuji Ohno, saxophonist Jun Suzuki and trumpeter Tetsuo Fushimi. Masahiko Togashi was a major figure alongside Masahiko Sato, Masayuki Takayanagi, and Yosuke Yamashita in the blooming of free jazz in Japan in the late sixties whose Variation is one of the iconic masterpieces.
GUIDED BY VOICES INC.
CAT #: GBVI 116CDGUIDED BY VOICES Scalping The Guru CD
"Scalping The Guru is an archival Guided By Voices release, envisioned and sequenced by Robert Pollard as a cohesive album, featuring select tracks from four GBV EPs released in 1993-1994 by Domino, City Slang, Siltbreeze and Engine Records. These hard-to-find records are essential for fans of Vampire On Titus and Bee Thousand, with classics including 'My Impression Now,' 'Matter Eater Lad,' and 'Big School.' They feature the line-up that includes Robert Pollard with Tobin Sprout, Mitch Mitchell, Kevin Fennell, Jim Pollard, Dan Toohey, Greg Demos, and Larry Keller. Recorded on four-track cassette by Tobin Sprout, with some songs lovingly fucked with by Mike Hummel."
CAT #: GBVI 116LPGUIDED BY VOICES Scalping The Guru LP
LP version. "Scalping The Guru is an archival Guided By Voices release, envisioned and sequenced by Robert Pollard as a cohesive album, featuring select tracks from four GBV EPs released in 1993-1994 by Domino, City Slang, Siltbreeze and Engine Records. These hard-to-find records are essential for fans of Vampire On Titus and Bee Thousand, with classics including 'My Impression Now,' 'Matter Eater Lad,' and 'Big School.' They feature the line-up that includes Robert Pollard with Tobin Sprout, Mitch Mitchell, Kevin Fennell, Jim Pollard, Dan Toohey, Greg Demos, and Larry Keller. Recorded on four-track cassette by Tobin Sprout, with some songs lovingly fucked with by Mike Hummel."
CAT #: TRS 2201LPC'MON TIGRE Scenario LP
Tradition and experimentation are two familiar territories that C'mon Tigre, a duo who find their identity by working with musicians from all over the world, can balance between very well. As they did for their debut album (2014), they have put together a multicolored collective for their second record Racines (CT 002CD/LP, 2019) and now their third album Scenario. Sailing from the Mediterranean basin and being guided by the fascination for Africa and the Middle East, C'mon Tigre give rise to a personal language, made up of mixtures with jazz, Afrojazz, the rhythmics of hip-hop, funk, club music. All without ever confining their songs to one style, but pushing the exploration as much as possible, into a dimension that every journey worthy of this name should encompass. With the musicians they work with, the exchange and experimentation continue till the end, the songs can take different directions at any time. The result is a mixed, cosmopolitan record, which escapes from any label for the affirmation of a free attitude. It led C'mon Tigre to seek a connection with dancefloor culture, even if considered only as an evocation to revisit in a personal way. This cinematic imagery pushed C'mon Tigre to translate their musical wandering into a visual form, as they already did in the past with animated videos made with the painter Gianluigi Toccafondo and 3D artist Sic Est for "Underground Lovers" and "Behold The Man", two tracks from the previous record. Now the will to merge music and images is even greater with a wide selection of photo taken by Paolo Pellegrin. Paolo has spent the last 30 years documenting the world. He lives and testifies to issues regarding living conditions, poverty, sufferance and violence, always implementing an anthropological approach. A subjective but detached gaze, which is both a reflection and an analysis, that coincides with an attitude of openness, respect, and interest in the times of history, an odyssey between human and inhuman. Scenario wants to tell about what defines us as human beings: joy, connection, anger, sense of belonging, pain, anguish, violence, dignity. These are tales of someone observing with stretched ears. Features Xenia Rubinos, Mick Jenkins, and Colin Stetson. 180 gram black vinyl.
CAT #: TRS 2202LPC'MON TIGRE Scenario (White Vinyl) LP
LP version. 180 gram white vinyl; includes 64-page booklet. Tradition and experimentation are two familiar territories that C'mon Tigre, a duo who find their identity by working with musicians from all over the world, can balance between very well. As they did for their debut album (2014), they have put together a multicolored collective for their second record Racines (CT 002CD/LP, 2019) and now their third album Scenario. Sailing from the Mediterranean basin and being guided by the fascination for Africa and the Middle East, C'mon Tigre give rise to a personal language, made up of mixtures with jazz, Afrojazz, the rhythmics of hip-hop, funk, club music. All without ever confining their songs to one style, but pushing the exploration as much as possible, into a dimension that every journey worthy of this name should encompass. With the musicians they work with, the exchange and experimentation continue till the end, the songs can take different directions at any time. The result is a mixed, cosmopolitan record, which escapes from any label for the affirmation of a free attitude. It led C'mon Tigre to seek a connection with dancefloor culture, even if considered only as an evocation to revisit in a personal way. This cinematic imagery pushed C'mon Tigre to translate their musical wandering into a visual form, as they already did in the past with animated videos made with the painter Gianluigi Toccafondo and 3D artist Sic Est for "Underground Lovers" and "Behold The Man", two tracks from the previous record. Now the will to merge music and images is even greater with a wide selection of photo taken by Paolo Pellegrin. Paolo has spent the last 30 years documenting the world. He lives and testifies to issues regarding living conditions, poverty, sufferance and violence, always implementing an anthropological approach. A subjective but detached gaze, which is both a reflection and an analysis, that coincides with an attitude of openness, respect, and interest in the times of history, an odyssey between human and inhuman. Scenario wants to tell about what defines us as human beings: joy, connection, anger, sense of belonging, pain, anguish, violence, dignity. These are tales of someone observing with stretched ears. Features Xenia Rubinos, Mick Jenkins, and Colin Stetson.
CAT #: JR 001LPBIRTHDAY PARTY, THE Peel Sessions Vol. 1 LP
"In the early '80s very few bands could match the intensity and sonic violence of Australia's The Birthday Party. Fronted by a young and hungry Nick Cave the band delivered an intoxicating mix of rusty blues and mutant rockabilly, post punk sensibilities, noise and experimentation that exploded when played live and these absolutely essential collection of live radio recordings are a powerful proof of that. This first volume contains the first two Peel sessions the band recorded for the BBC, on September 1980 and April 1981."
CAT #: JR 002LPBIRTHDAY PARTY, THE Peel Sessions Vol. 2 LP
"In the early '80s very few bands could match the intensity and sonic violence of Australia's The Birthday Party. Fronted by a young and hungry Nick Cave the band delivered an intoxicating mix of rusty blues and mutant rockabilly, post punk sensibilities, noise and experimentation that exploded when played live and these absolutely essential collection of live radio recordings are a powerful proof of that. This second volume contains the last two Peel sessions the band recorded for the BBC, December 1981 and November 1982."
KALLISTA RECORDS (UK)
CAT #: KALLISTA 002LPDAL FORNO, CARLA Come Around LP
LP version. Carla dal Forno resurfaces with the news of plans to release her third album, Come Around, via her own Kallista Records imprint. Now, based in the township of Castlemaine, Central Victoria, the Australian artist returns self-assured and firmly settled within the dense eucalypt bushlands. Dal Forno grapples with ideas of home, disorder and insomnia in the swift pop structures of her DIY/post-punk forebearers such as Young Marble Giants, Virginia Astley, and Broadcast. Three years since the launch of her label, Kallista Records, dal Forno finds stability in Castlemaine (pop. 6,750), her third home city in as many albums. After nearly a decade of moving, recording and touring out of Berlin and London, Come Around embodies a newfound solitude born of/in elemental pop hooks and enlightened songwriting. The title track, "Come Around," offers the best example of this confident, fresh candor. It's an elegant invite into dal Forno's sharp new focus beckoning old friends, relationships and audiences into her resettled home. This meandering pop hit strikes between the melodic simplicity of Anna Domino and YMG and the arrangement hooks of The Cannanes and Movietone, capturing dal Forno at her most welcoming with arms wide open. Other tracks like "Mind You're On" recalls the bass driven heft of dal Forno's previous work but where past albums projected the pastoral idyll from the urban jungles of Berlin and London, the lyricism and production on Come Around embody her current lived experience in the Australian regions where space, strong bonds and solitude are in high supply. Returning to rekindle relationships with people and places and joining in trysts amidst the foreboding badlands cuts through the whole record, as on "The Garden of Earthly Delights," a cover of The United States of America's 1968 track. There is joy if you look for it but, as dal Forno warns on "Caution": "I sell caution word of you." Mistrust and doubt are not completely vanquished. Having embarked on such a radical physical and creative journey since the last record, dal Forno lays bare the passing of time and the oscillating waves of energy and ennui that go with it. This is plain to see on "Stay Awake" and instrumentals like "Deep Sleep" and "Autumn," which gives rise to anxiety and insomnia in her new sunburnt home. Yet "Slumber" offers a glimmer of respite sitting within the chaotic circus of production that channels Kendra Smith, General Strike, and The Flying Lizards. This track, a duet with English artist, Thomas Bush, searches for solace in the arms of another. Nothing is left unsaid on Come Around. Having finally found limitless time and space, dal Forno does well not to waste any bit of it.
CAT #: KR 095LPZEITKRATZER James Tenney LP
By zkr director Reinhold Friedl's personal request now available on vinyl for the first time: zeitkratzer's critically acclaimed interpretations of groundbreaking compositions by James Tenney. James Tenney (1934-2006) was a composer, music theorist, and pioneer especially in the field of microtonal music, being an influential part of the so-called New York avantgarde scene (Cage, Feldman). Besides his compositional work, Tenney was teacher at various universities with students like Charlemagne Palestine, Carl Stone, or Catherine Lamb, and a close friend with Eliane Radigue. This album by zeitkratzer presents compositions by Tenney whose music has been part of zeitkratzer's repertoire since their beginning: "Critical Band" -- Tenney's late classic -- with maximum clarity and precision of bearing tone rhythms and microtonal tuning as light effect and the first recording of "Harmonium #2". Both works demonstrate the remarkable power and resplendent sharpness which Tenney achieved with his microtonal settings. zeitkratzer's approach to Tenney's music as a sensual sound adventure, finally available on vinyl. 180 gram vinyl; includes download postcard; download includes additional track, "Koan: Having Never Written A Note For Percussion".
LE POP CLUB RECORDS (UK)
CAT #: PCR 058LP
FILE UNDER: SOUNDTRACKCOLOMBIER, MICHEL Le Hasard et la Violence LP
Le Hasard et la Violence is a strange French-Italian movie which came out in 1974 and was directed by Philippe Labro and written by Jacques Lanzmann. It was a time of thesis films on ultra-violence such as Stanley Kubrick's A Clockwork Orange (1971) and John Boorman's Deliverance (1972). Labro's feature film di?ers from those of his American counterparts by an almost dreamlike approach and a soft psychedelia. A sort of lysergic atmosphere that has more to do with the idea of an LSD trip at Castel's than with Californian counterculture. Mid-life crisis is embedded in this story of criminologist Laurent Berman (Yves Montand), vacationing on the French Riviera to write an essay on violence. He is both the victim of an assault and of his love for Constance Weber (Katherine Ross), a young doctor who pushes him over the edge. Within this cinematic paradigm, it was a stroke of genius to ask Michel Colombier to compose the music for his film. Michel Colombier, to recall, is a musician of classical formation, who went to the Conservatoire Supérieur de Musique in Paris. His music for Le Hasard et la Violence re?ects his career: from Gainsbourg to the Beach Boys, via Paul Williams. A soundtrack that goes from neoclassical to contemporary, via groovy pop and slow music. Not to mention the main theme, a killer ballad with timeless lyrics. There is in the song performed by Drupi (known in France for "Vado Via"), a kind of romanticism specific to Colombier. Let's forget the post-post modern irony that is no substitute for intelligence and be caught by the emotional power of this soundtrack.
LE TRES JAZZ CLUB (FRANCE)
CAT #: LTJC 002LPIMADA TRIO + 2, MASARU Green Caterpillar LP
2022 repress; Le Très Jazz Club present a reissue of Masaru Imada Trio + 2's Green Caterpillar, originally released on Three Blind Mice in 1975. Fuzati (Klub Des Loosers), producer and die-hard crate digger, has teamed up with Modulor to launch the Le Très Jazz Club label, dedicated to jazz vinyl reissues. For the first two releases, Mine (LTJC 001LP) and Green Caterpillar, presented here, Le Très Jazz Club has chosen to celebrate Japan. Japanese jazz is sadly one of the best-kept secrets in music. But, it would be stupid to not discover Green Caterpillar by Masaru Imada Trio + 2. Led by Masaru Imada and his Fender Rhodes, the record opens with "A Green Caterpillar", an 11-minute piece whose groove is somewhat reminiscent of Marc Moulin and his Placebo band. "A Straight Flash" continues along this line, while on "Blue Impulse" and "Spanish Flower" sees Imada use the piano in a much more modal style.
MACRO RECORDINGS (GERMANY)
CAT #: MACROM 068CDLOOM & THREAD Island Grammar CD
Loom & Thread appear to present a take on this most classical of springboards of improvised music: the piano trio. Indeed, Daniel Klein on drums and Tobias Fröhlich on double bass forge that highly engaging, interlocking framework, set in complex juxtaposition to what emanates from the corner of Tom Schneider on keys. This would be a superbly satisfying triangle of planar relational wonder on its own. Imaginative re-adaptation of unexpected shifts, re-grouped into coherent streams of musical thought. Superb clarity despite the pressurized density of form, the emergence of intricate order from spontaneous play. And yet this would be an utterly incomplete description. Because a dozen directions and dimensions and interdependent layers open like trap doors all around, shattering any first impression of a familiar context within just a few seconds of listening. What appears to be piano improvisation in the post-bop tradition soon exhibits abrupt disruptions, impossible shifts, improbable repetitions, movements in frequency and dynamics beyond the physical capabilities of a fixed-pitch instrument deemed so familiar. How so? Tom Schneider samples his own playing and continuously feeds it back into the ongoing collective stream of the trio. Assigning starting points to the sampled phrases, these are then treated as independent musical events just like the individual tones they contain: a second order of access is created. Signifier and signified in the hands of the same musician, thus driving a two-pronged plane of immanence. This meta-improvisation is thrown at the other two players who now find themselves embroiled in some kind of three-dimensional chess game: fending off simulacra and responding to both, idiosyncratic primary phrases of tones and a vibrant multitude of sampled variants. Reflexivity: the piano/sampler continuum with its multi-layered access points to improvisational mapping is then attacking and soothing and further teasing the appropriately angular rhythm section. A wondrous dissolution of the divide between experiencing now and accessing memory.
CAT #: MIDWICH 011LPMAGAS, JAMES MARLON Confusion Is My Name LP
"James Marlon Magas has been reborn -- or perhaps, more accurately, born for the first time in his most undiluted image. Confusion Is My Name is his first album under his full given name, and the first album in over a decade to position him as a proper frontman at the microphone against the backdrop of his idiosyncratic electronic productions. It arrives as a statement of purpose, a detonation to vaporize the debris and clear out new territory. The album lays out his most diverse menu of styles and experiments to date, veering from technoid noise-pop animated by his maniacal vocal performances, to hallucinogenic psych rock with analog synths repurposed into bludgeoning guitar riffs, to something that resembles lounge music as performed by a delirious crooner on the eve of the world's destruction. Meticulously sculpted over the better part of five years, Confusion Is My Name takes up the reins of multiple eras of James Marlon Magas's output and conglomerates them into some rendition of the ultra-Magas. Just as his participation in the band Couch cast him as a swaggering vocalist howling out unhinged tirades, the Magas of today returns to a version of that role with an equal measure of demoniac belting and brain-melted post-crooning. Magas recasts his analog synths into the role of the guitar in some moments, even achieving a sense of back and forth 'stumming' with their oscillating wails -- not to be confused with the actual overdriven guitar contributions of French noise maven Electronicat on 'Lay My Money.' Other guests appear amidst the Confusion. Former Blues Control member Lea Cho pours out a rapid-fire keyboard solo on the climax of 'Feathers in the Clouds,' hitting like a boogie-woogie pianist on speed atop Magas's squelching synths. New Orleans freak music luminaries Miss Pussycat and Quintron contribute vocals, flute, and percussion to album opener 'Irma, Irma.' Chicago experimental/free-jazz veterans Fred Lonberg-Holm and Julie Pomerleau join in on the delicate album-closer 'Kiss on the Cheek' with their plaintive cello and violin layers brushing against Magas's Rhodes. For all its dense frameworks of production, James Marlon Magas's vocal performances occupy our full attention throughout Confusion Is My Name. He takes chances on the mic. He embraces some skewed rapping on 'Watch,' spitting bars alongside director/actress Asia Argento, with whom Magas collaborated as a composer on the 2014 film Misunderstood. Argento's verse finds her incanting a whispered malediction in her native Italian. Magas embraces the role of the quasi-doom metal vocalist on 'Stone,' all while his drum programming pummels us with snares and kicks more in the vein of electro. Magas inhabits the personas that each track calls for with unbridled confidence. This time around, he stands before you as a rock star, some type of demented oracle, and lays it all out on the table. He's not asking you to follow him if you don't want to, but he knows you can't stay here. Nowhere is safe, yet at least you could choose to spend the last of your energy in the company of James Marlon Magas as he serenades you into oblivion."
MONO-TONE RECORDS (FRANCE)
CAT #: MT 034LPVELVETTE, LORETTE Don't Crowd Your Mind LP
Limited 2022 restock. First time ever on LP for Don't Crowd Your Mind, a compilation of songs from Lorette Velvette, originally on rare 45s and CDs. The collection sees the ex-Panther Burns and Hellcats member with guests like Alex Chilton, Mick Collins, Lee Baker, Doug Easley. Garage blues and raunch n' roll, originals songs, and startling covers -- the true Memphis sound, savage and soulful!
CAT #: MONO 021LPDRUMM, KEVIN The Back Room LP
Limited restock. Kevin Drumm is a Chicago-based experimental artist and one of the most important musicians in the electroacoustic noise scene. During his career he has worked with great improvisers such as Mats Gustafsson, producer Jim O'Rourke and saxophonist Ken Vandermark. Kevin Drumm's Imperial Distortion (HOS 134LP) and Sheer Hellish Miasmah (EMEGO 053LP) are must-hear albums of contemporary avant-garde. The Back Room is a vinyl reissue of a previously self-released album. Two years ago, Drumm prepared by himself 100 copies of a CD-R full of intensive noise. The whole conception from the beginning sounded like something recorded not for a CD but for an LP. There are two parts: one consists of three very short, high-pitched pieces. Another part is built with two long compositions where you can hear and even feel many shades of analog electronic noise, with all of its brutal beauty.
MUNSTER RECORDS (SPAIN)
CAT #: MR 432LPLOS SPEAKERS En El Maravilloso Mundo De Ingeson LP
Officially reissued for the first time, originally released in 1968. By 1968, Colombian rock had left behind its affinity with yéyé and go-go music. In Medellín, Discos Fuentes had terminated its contract with Los Yetis, whose farewell record Olvídate (1968) set a strong anti-establishment tone. While the fire of protest that had spread rapidly among students in Paris was dying out, young people in Bogotá voiced their discontent. Aware of the effervescent political climate across the world, Los Speakers wrote their last record between June and September of the convulsive year of 1968. In order to give shape to these new songs they needed a space where they could experiment freely with sound. The music historian and critic and sound engineer, Manuel Drezner, made a providential appearance and offered the innovative Ingeson studios to the trio under one condition: that his company's name was included in the title of the record. For four months, Rodrigo, Manuel, and Roberto created a record that was completely different to anything on the Colombian rock scene at that time. Los Speakers used cutting-edge equipment to record and mix El Maravilloso Mundo De Ingesón. It was the first time local musicians had access to a multichannel mixing desk where they could experiment with all kinds of bold sound effects. The silences between songs were replaced with brief intervals of sound including the noise of a train running over a passer-by, a bomb exploding... Although it's often labelled a conceptual record, the four compositions that each of the band members contribute reveal different aesthetic personalities. From the strong influence of Renaissance and Baroque poetry and music to the virulent social critique and pacifist statements, suffused with religiosity and mysticism. Armed with the demo tape, Los Speakers presented the project to CBS, Philips, Sonolux, and Bambuco. The labels' verdict was unanimous: not very commercial and very costly. The group reacted to this negative response by pooling their personal savings, inventing a fictious record label called Kris and released the record just as they had imagined it. This led to the creation of a graphic concept unheard of in Colombia: the record included a booklet containing photos, texts, and illustrations. Although there was a big media roll out, which included TV appearances and features in newspapers and magazines, as predicted the album was a commercial failure... El Maravilloso Mundo De Ingesón is one of the most brilliantly whacked-out psych LPs to emerge from South America. An almost impossible to find cult record.
MUSIC ON VINYL (NETHERLANDS)
CAT #: MOV 2353COL-LPPENTANGLE Basket Of Light (Yellow & Orange Marbled Vinyl) LP
"Basket Of Light is the most progressive release by the British folk-rock group Pentangle. Traditional English folk songs are reinterpreted with a mix of jazz, pop and rock influences. The album opener 'Light Flight' has become their signature song, which was also the theme song from BBC1's first color drama series Take Three Girls. With Basket Of Light, Pentangle proved they could release a progressive, ground-breaking work without keyboards, much studio trickery or even electric instruments. The original Pentangle was active in the late 1960s and early 1970s. During the recordings of Basket Of Light, line-up included Bert Jansch, John Renbourn, Terry Cox, Danny Thompson and Jacqui McShee. Basket Of Light is available as a limited edition of 1000 individually numbered copies on yellow and orange marbled vinyl, housed in a gatefold sleeve."
MY VIA NERO'S NEPTUNE
CAT #: MY 004LPWOEHRLE AND MICHAEL YONKERS, JIM Borders of My Mind LP
Original pressing from 1974.
NOPAPER RECORDS (POLAND)
CAT #: R 132CDSKALPEL Origins CD
The Polish duo Skalpel release their new album Origins. Origins is an inspiring contemporary vision adapting various currents of electronica and dance music of the millennium era. Marcin Cichy and Igor Pudlo, the duo's founders, on Origins: "This album is a kind of prequel. We return to the music of the '90s that we had listened to and that inspired us before we discovered the potential of jazz sounds. A bit of a fictional compilation like those once released by Mo'Wax, Ninja Tune, Wall of Sound, !K7. Nostalgia mixed with the desire to update those ideas gives the music a contemporary sound. At the same time, this is an eyewitness and earwitness testimony of one of the most interesting chapters in the history of electronic music." Throughout the years, Skalpel have been blending local, traditional jazz inspirations by means of new electronica. This original approach sparked interest of Ninja Tune who subsequently released Skalpel's two enthusiastically received albums: Skalpel (2004) and Konfusion (2005). These paved the way to the Gilles Peterson Worldwide Award nomination. Their critically acclaimed 2020 album Highlight (NOPAPER 120CD/LP) together with the follow-up: Escape Remixes EP (which included a remix by rising modern classical star Hania Rani and globally respected house duo Catz 'N Dogz), accrued many streams. Skalpel's full spectrum of their imagination and skills was also enhanced by their well- received concerts with a live line-up. For fans of: The Cinematic Orchestra, Bonobo, Kruder & Dorfmeister, DJ Shadow.
CAT #: R 132LPSKALPEL Origins 2LP
Double LP version. The Polish duo Skalpel release their new album Origins. Origins is an inspiring contemporary vision adapting various currents of electronica and dance music of the millennium era. Marcin Cichy and Igor Pudlo, the duo's founders, on Origins: "This album is a kind of prequel. We return to the music of the '90s that we had listened to and that inspired us before we discovered the potential of jazz sounds. A bit of a fictional compilation like those once released by Mo'Wax, Ninja Tune, Wall of Sound, !K7. Nostalgia mixed with the desire to update those ideas gives the music a contemporary sound. At the same time, this is an eyewitness and earwitness testimony of one of the most interesting chapters in the history of electronic music." Throughout the years, Skalpel have been blending local, traditional jazz inspirations by means of new electronica. This original approach sparked interest of Ninja Tune who subsequently released Skalpel's two enthusiastically received albums: Skalpel (2004) and Konfusion (2005). These paved the way to the Gilles Peterson Worldwide Award nomination. Their critically acclaimed 2020 album Highlight (NOPAPER 120CD/LP) together with the follow-up: Escape Remixes EP (which included a remix by rising modern classical star Hania Rani and globally respected house duo Catz 'N Dogz), accrued many streams. Skalpel's full spectrum of their imagination and skills was also enhanced by their well- received concerts with a live line-up. For fans of: The Cinematic Orchestra, Bonobo, Kruder & Dorfmeister, DJ Shadow.
ON THE CORNER RECORDS (UK)
CAT #: OTCR 017LPEDRIX PUZZLE Coming of the Moon Dogs LP
Edrix pulses in the distant sky. Modal meditations, hypnotic bowed formations, and detuned throbs of echo and bass reverberate from the ruins of Planet Battagon. A puzzle, a tremor detected in the stars buried deep in the decay of Neptunia retracting at breaking speed. Edrix pulses in the distance... Rising from the rubble of Planet Battagon's cosmic collision of shimmering improvisation and bass- weight electronics, producer, multi/instrumentalist and veteran drummer, Nathan "Tugg" Curran (Basement Jaxx, Kano, Bryan Ferry) returns with London-based ensemble, Edrix Puzzle's latest celestial disturbance, Coming of the Moon Dogs, via On The Corner Records. Presenting the latest chapter in Curran's reimagined v3050 dub of Mwandishi-era Herbie Hancock, Edrix Puzzle swap its mother planet's rattling Battagon sub-bass and improvised, machine-bebop of bleep, for live acoustic bass (Tom Mason), classical violin (Darren Berry), and Stockhausen-esque experiments. Recorded remotely across ten months during lockdown, the full-length follow-up to Edrix's 2021 Rise To Eris EP, also features Oli Savill (percussion) and Martin Slattery (bass clarinet, saxophone), two long time Curran collaborators and members of Planet Battagon. Tugg the creator can be found on acoustic drums, drum synths, and machines. Whilst Curran's Planet Battagon idles in the galaxy, Edrix's post punk silhouette appears in temporary total eclipse, resurrected and in transit, ready to emerge from the darkness.
CAT #: ROKU 029CDJIHA AND ROY CLAIRE POTTER, PARK To Call Out Into The Night CD
Full recording of one of the most engaging and beguiling Late Junction live sessions -- the one-off first meeting between Korean multi-instrumentalist Park Jiha and writer and performer Roy Claire Potter. It's an unlikely pairing which works from the first breath. Park Jiha plays the saenghwang, a Korean mouth organ which she blows in long multiphonics to set pace for Potter's words. They unfurl a scene slowly in front of you, rich and focused, shifting your field of vision and drawing you in, elsewhere. It's impossible not to follow, not to look for where they point. When the piri sounds for a flooded town on the B side, the water flows between your own feet; Potter's words a sometimes frightening hörspiel in scouse. Though the details are fine, the space each artist gives one another and their instruments, their language, is given to the listener in turn. A careful melody picks out a route for words with no fixed meaning, a body with no fixed direction, and you are invited to listen and see a kind of music made visible in its inference.Influenced by linguistics and performance theory, Roy Claire Potter makes performance, text, drawing, installation and film, and often collaborates with musicians and sound artists to make audio for music festivals and radio. Across the wide range of their practice, Roy tells stories built from fragmented, intense images that depict moving bodies or domestic scenes and architectural settings. Roy's interest in subtext and narrative sequencing is felt in the way they use fast-paced talking or reading speeds, and restricted or partial views of space. Complicated social or group dynamics, and the aftermath of violent events are common themes in Roy's work and are usually treated with a dark, sometimes willful humor.Park Jiha creates exploratory music rooted in traditional Korean instrumental performance. To this session she brings three instruments: a Korean hammered dulcimer called a yanggeum, a saenghwang which is an instrument made of 24 slender bamboo pipes attached to a bowl and played like a harmonica and a double-reed bamboo flute called a piri, which sounds similar to an oboe.Recorded and mixed on January 30, 2020 by Rob Winter, Pete Smith and Andy Rushton at Maida Vale Studios, London.
CAT #: ROKU 032CDNICOLS, MAGGIE Are You Ready? 2CD
First physical solo release from legendary vocal improvisor, dancer, and performer Maggie Nicols, and the follow-up to her brilliant Creative Contradiction (Takuroku, 2020). While she might be best known as an improviser (Spontaneous Music Ensemble, Feminist Improvising Group, Les Diaboliques), Maggie Nicols's talents stretch into song, dance, poetry, performance, and composition. When Cafe OTO was shut over lockdown, they invited her to follow-up the brilliant solo Creative Contradiction. "Songs" -- seemingly contradictory to the practices of free improvisation -- have been a vital part in Nicols's relationship to music. It was singing bebop with pianist Dennis Rose which nurtured and challenged Nicols, allowing her to develop her own skills and sound amongst a repertoire of standards swung in clubs and pubs. Singing alongside Julie Tippetts in Centipede showed her how heady experimentation could be woven into composition, and a more recent recording with pianist Steve Lodder is simply titled The Maggie Nicols Songbook. Are You Ready? recalls Nicols's own compositions from memory, working out tunes and turning them over. New routes down old paths form in moments of improvisation and all wrong turns are played out with joyous discovery. What John Stevens dubbed Maggie's "ability to find the 'rhythmelodic'" meets a willingness to be understood and to understand. Solo at the piano, Nicols is still firmly rooted in the collective however -- "Are You Ready / Sans Papiers" sets the words of poet Vicky Scrivener to tune; a tale of migration and struggle which is as important to Nicols as the songs her mother wrote. "Whatever Arises" - a companion disk to the 'Songs', is a meditation of sorts, a process of 'following the energy' which has its roots in John Stevens' work. "Improvisation gives the confidence to compose," Nicols told us in an interview about some of her archival tapes, and here the two are as important as each other. Beginning with breath and repetition, "Whatever Arises" allows Nicols to find new voices, accompanied by the piano and over dubbings of her tap shoes on the concrete floor. Brilliantly she is able to share her moments of discovery with the listener, finding comfort in vulnerability. Whilst rooted in Stevens' work, Nicols' improvisational techniques is also reminiscent of Pauline Oliveros's Sonic Meditations. Recorded at Cafe OTO July 15-17 2021 by Shaun Crook. Mixed by Shaun Crook. Mastered by Sean McCann. Artwork by Annalisa Colombara. Lettering by Rosella Garavaglia. Layout by Maja Larrson. Double-CD version includes a companion disc of freely improvised meditations entitled, "Whatever Arises".
CAT #: ROKURE 004LPMOHOLO OCTET, LOUIS Spirits Rejoice! LP
2022 restock. Otoroku present the first vinyl reissue of Louis Moholo Octet's Spirits Rejoice!, originally released in 1978 on Ogun Recordings. One of the most legendary free jazz records ever produced, Spirits Rejoice! is a high achievement in the movement of the era as it soars beyond oppression with a raucous and spiritually uplifting surge of movement and melody. Featuring Harry Miller, Johnny Dyani, Keith Tippett, Evan Parker, Nick Evans, Radu Malfatti, and Kenny Wheeler, this is former Blue Note artist Louis Moholo's first album under his own name and is a classic example of the cross-pollination between South African and British players. Mongezi Feza's 'You Ain't Gonna Know Me 'Cos You Think You Know Me" alone is enough to make your life a better place. Made with permission and in association with Ogun Recordings. Features an exact reproduction of the original artwork and liner notes, along with new liner notes from Matthew Wright. Remastered by Giuseppe IIelasi. High gloss sleeve.From Matthew Wright's new liner notes: "The South African melodies, now so familiar, were wholeheartedly taken on board by the individual musicians, their unity of purpose mirroring the belief in the strength of the collective. Stunning solos, often close to the edge, feature throughout -- Evan Parker and Keith Tippett on 'Shine Wherever You Are'; the contrasting trombone styles of Nick Evans and Radu Malfatti on 'You Ain't Gonna Know Me...'; the octet sounding like a full big band; and behind them, the relentlessly rhythmic urgency of the piano, bass and drums. Add to this Kenny Wheeler's moving and all-encompassing trumpet on the elegiac 'Amaxesha Osizi' and the joyous flamboyancy of 'Wedding Hymn' with Parker's relatively straight-ahead tenor and Tippett's dextrous piano solo over a bed of riffing horns, (fast) walking bass lines and a supreme sense of swing. Louis' early hero, Big Sid Catlett, would have loved it!"
CAT #: ROKURE 009LPPARKER, EVAN Six of One LP
2022 restock; originally recorded and released in 1980, Six of One beautifully captures the detail in Evan Parker's high frequency split tones for which he is now perhaps better known. Five years on from Saxophone Solos and with circular breathing and polyphonics well-worn into his live performances, Parker's experiments here produce sustained passages of brilliant flight. Set into the echoes and resonances of a St Judes On The Hill church, the results are stunning. Transferred from the original master tapes by Thomas Hall at Abbey Road Studios and released in an edition of 500."The recital commences with a split tone line of twining sine waves that expand and contract in telepathic collusion. Pitch dynamics narrow and redefine themselves more emphatically on the second piece where sliding legato rivulets born of Parker's compartmentalized tonguing create the sonic semblance of up to three separate voices emanating from the single reed speech center. It's a feat he's accomplished innumerable times since, but every fresh hearing never fails to open an aperture into a style of improvisatory expression that is at once wholly alien and intensely mesmerizing. There's also something strangely subterranean about the flood of sounds, like the rush percolating water through an underground aquifer system enroute to unknown tributaries. The third piece trades tightly braided tones for leaner and more linear phrases, but a vaporous trail of phantom notes still clings to the central line. And so it goes, with the illusion of repetition guiding the momentum, though Parker never explicitly repeats himself." --Derek Taylor, All About Jazz, 2002
CAT #: ROKURE 010LPPARKER, EVAN Saxophone Solos LP
2022 restock. OTOROKU reissue Evan Parker's first solo LP Saxophone Solos. Recorded by Martin Davidson in 1975 at the Unity Theatre in London, at that time the preferred concert venue of the Musicians' Co-operative, Parker's densely woven and often cyclical style has yet to form; instead throaty murmurs appear under rough-hewn whistles and calls -- the wildly energetic beginnings of an extraordinary career. Reissued with liner notes from Seymour Wright in an edition of 500."The four pieces across the two sides of Saxophone Solos -- 'Aerobatics 1' to '4' -- are testing, pressured, bronchial spectaculars of innovation and invention and determination. Evan tells four stories of exploration and imagination without much obvious precedent. Abstract Beckettian cliff-hanging detection/logic/magic/mystery. The conic vessel of the soprano saxophone here recorded contains the ur-protagonists: seeds, characters, settings, forces, conflicts, motions, for new ideas, to delve, to tap and to draw from it story after story as he has on solo record after record for 45 years. 'Aerobatics 1-3' were recorded on June 17th 1975, by Martin Davidson at Parker's first solo performance. This took place at London's Unity Theatre in Camden. 'Aerobatics 4' was recorded on September 9th the same year, by Jost Gebers in the then FMP studio in Charlottenburg, Berlin. Music of balance and gravity, fulcra, effort, poise, and enquiry. Sounds thrown and shaken into and out of air, metal and wood. It is -- as the titles suggest -- spectacular." --Seymour Wright, 2020
OWN IT (UK)
CAT #: OWNIT 001CDGIRLS IN SYNTHESIS The Rest Is Distraction CD
Experimental post-punk outfit Girls In Synthesis are set to release the eagerly anticipated follow-up to 2020's incendiary debut, Now Here's An Echo From Your Future (HARB 206CD/LP/S-LP). Entitled The Rest Is Distraction and available via the band's own label Own It, its mix of fractured guitar, crushing drums and bass, intense vocals and lyrical content create as challenging a record as you will hear this year. Formed in 2016, Girls In Synthesis are John Linger (bass, vocals), Jim Cubitt (guitar, keys), and Nicole Pinto (drums). The trio's double A-sided debut single The Mound/Disappear came out in the early part of 2017, and since then they have established themselves as the most forward thinking, viscerally challenging band around with unmissable live shows that continue to excite and astound in equal measure. Recorded last year amidst the uncertainty of continuous lockdowns as a result of the global Covid-19 pandemic, The Rest Is Distraction is far darker in content than its predecessor. Mainly exploring internal and mental struggles as opposed to external current affairs, it focuses on the claustrophobia of emotional anguish and continues to bravely delve into previously un-ventured topics. Featuring frequent collaborators funkcutter and Stanley Bad on horns and violin, respectively, two songs also see Eleni Poulou, ex-The Fall, on keyboards. The album was mixed by long-term collaborator Max Walker and features stunning landscape photography by Bea Dewhurst. The album was mastered in France by Ayumu Matsuo. Sonically atramentous and less one dimensional than the band's debut, The Rest Is Distraction takes its cues from Join Hands-era Siouxsie & The Banshees, Brainiac and Crass's Christ The Album, among others. From the first crackle of electricity on the opening track, to the heart wrenching taped voice-recording on the final outro, this album triumphantly retains every ounce of intensity and vitality that makes Girls In Synthesis the most captivating band to emerge from the UK DIY underground in recent years. Listeners will find The Rest Is Distraction a challenging, yet ultimately cathartic listen. Prepare yourselves for a sonic cleansing, Girls In Synthesis style. LP versions available on black vinyl (OWNIT 001LP) and grey vinyl (OWNIT 001COL-LP).
CAT #: POSSESED 001LPVA Welcome to Venice LP
"Released in 1984, and long out of print, Welcome to Venice is a milestone for crossover thrash fans all over the world. Put together by Suicidal Tendencie's Mike Muir and Louiche Mayorga on their Suicidal Records label it accurately represents the local Venice scene of the era and it's Hardcore Crossover stile. With songs by the legendary Suicidal Tendencies, Los Cycos (with Muir also on vocals), Beowülf, No Mercy and Excel, Welcome to Venice it's a banger sure to please any fan of the genre. Includes three bonus tracks not included on the original vinyl."
RADIATION REISSUES (ITALY)
CAT #: RRS 121LPAGENT ORANGE Living In Darkness LP
2022 repress. Adventurous southern California punk trio Agent Orange was the first band to mix surf rock with punk. The group was formed in1979 in Placentia, a small town close to Fullerton and Anaheim, by front man Mike Palm on guitar and lead vocals, Steve Soto on bass, and Scott Miller on drums. That early line-up recorded the classic version of "Bloodstains" in 1979 as a demo produced by Daniel R. van Patten (of the group Berlin). A year later it was included on the seminal Rodney On The Roq compilation album released by Posh Boy Records. Meanwhile, James Levesque had replaced Steve Soto (Adolescents) and the new line-up released their own self-produced and self-released 7" EP in 1980. A year later, the group signed with Robbie Fields' Posh Boy Records for their debut LP, Living In Darkness, co-produced by Fields and former Simpletones guitarist, Jay Lansford. The album was recorded at Brian Elliot's store front studio in North Hollywood (a few years before Elliot struck gold writing Madonna's "Papa Don't Preach"). A milestone in California punk rock history. Includes five bonus tracks. Black vinyl.
CAT #: RRS 135LPGBH City Baby Attacked By Rats LP
2022 repress. Radiation Records present a reissue of GBH's City Baby Attacked By Rats, originally released in 1982. Street punk pioneers Charged GBH formed in Birmingham in 1978, the name referencing original bassist Sean McCarthy's trial for grievous bodily harm. The in-your-face hardcore of EP Leather, Bristles, Studs And Acne, paved the way for super-charged debut LP, City Baby Attacked By Rats, which hit the number two position on the British indie charts on release in 1982, as well as the mainstream top 20, despite being released by tiny independent, Clay Records. With a touch of Motorhead and Sabbath beneath their straight-up hardcore, City Baby is where the legend begins, capturing GBH at their bloodiest.
CAT #: RRS 136LPGBH City Babys Revenge LP
2022 repress; Radiation Records present a reissue of GBH's City Babys Revenge, originally released in 1983. After the chart-topping debut City Baby Attacked By Rats, Birmingham "UK82" punk pioneers Charged G.B.H. cut City Baby's Revenge, their second release for Clay Records, and even though a mere year had passed, City Baby's Revenge showed significant progression, Jock's guitar more obviously inspired by metal, the lyrics more explicit and the sound even rawer than before. With a cool take of the Stooges' "I Feel Alright" and the reggae/rockabilly-esque "Skanga", this acclaimed winner is the LP that broke the band in the USA and is arguably the best they ever recorded required listening for the band's devotees and all fans of metal-edged hardcore.
CAT #: RRS 137LPGBH Leather, Bristles, No Survivors And Sick Boys... LP
2022 repress; Radiation Records present a reissue of GBH's Leather, Bristles, No Survivors And Sick Boys..., originally released in 1982. In between the charting debut LP City Baby Attacked By Rats and the acclaimed follow-up, City Baby's Revenge, the independent Clay Records gathered all their Charged GBH singles for the shocking compilation, Leather Bristles No Survivors And Sick Boys..., capturing their versatility, as well as their shit-on-you attitude. The anti-war "Generals" is an early classic, "Necrophilia" tests the limits via an ironic salute to copulating with corpses and there are plenty of other shock-value moments, all delivered with their trademark blend of hardcore, metal, angst, rage and humor. Essential!
CAT #: RRS 158LPDISCHARGE 1980-1986 LP
Reissue. Formed in the northern industrial town of Stoke on Trent in 1977, Discharge changed punk with its distinctive brand of hardcore, making minimalist music with distorted guitar, drone-like bass, shouted anarchist themes and propulsive drumming, known as D-Beat. Originally issued in 1987, this killer compilation charts the best of their early years with Clay Records, from the full-on assault of "Realities of War", passing the chart-topping "Why?", to the shrieking sounds of "Grave New World", which edged further into metal territory. Listen and be awed by the power and the glory of one of the most influential punk and metal bands ever. Gatefold sleeve.
RAVE UP RECORDS (ITALY)
CAT #: RUR 088LPGYNECOLOGISTS, THE John Wayne Gacy: Original 80s Punk Rock from Indiana LP
Howlin' from Bloomington, Indiana, The Gynecologists were probably one of the most outrageous and repellent punk bands ever. Inspired by the everlasting violence of American society, their songs evoke a chilling maelstrom of depravation and amorality, while their obsession with sex and feces makes GG Allin look like a priest. The material on this anthology has never been released before on vinyl: while confirming a challenging musical creativity and the powerful vocals of frontman Tommy Afterbirth, it reveals unexpected links with American classic rock (take a listen to their cover of Grand Funk Railroad's "We're An American Band").
CAT #: RM 4153LPKNIGHT, PETER Shadow Phase LP
Australian composer and director of the Australia Art Orchestra, Peter Knight, resolves his extensive work as an improvisor and band leader into his first solo recording in a decade, Shadow Phase. This is a recording which charts out a sense of perpetual opening, in a time of restrictive movement. It is a music of verticality, spiraling simultaneously up and down, effortlessly generating a depth and openness that is reflected both compositionally and texturally. Shadow Phase is also a music of light and dark, of elements being revealed and concealed with unerring patience. Even at its most dynamic this is a music that carries itself with a quality of a reductive, yet effervescent landscape. It is a masterful exploration of sound, anchored by Knight's evocative approach to trumpet.From Peter Knight: "Most of this record was created in the shadow of COVID and deep in the maw of Melbourne's 2020 long winter lockdown. It is a meditation on the nature of connection. Restricted to a 5km zone, one of the only people I saw outside my family during this time was my old friend and teacher, Ania Walwicz. We met in the overlap between our zones on the waterfront near Docklands to walk and talk on bright, cool winter afternoons. Those conversations became large in my thoughts when Ania suddenly passed away in September. Her voice was in my head as I worked on this music, trawling through threads of ideas, recordings made on my phone, and thoughts jotted down in notebooks. Ania's practice as a writer relied on 'automatic' processes. Her work was informed by everything she had read (a lot) but it was created in the manner of dreams . . . I recorded everyday using the trumpet, my old Revox reel-to-reel, a couple of synths, a harmonium I lent from a friend, and whatever else was around. I worked mostly on just diving a little deeper each time I sat down to it. Through the simple process of exhalation, I explored my relationship with the trumpet, which has been through so many twists and turns. I let the tones produced by my breath unfurl on long tape loops and degrade beyond recognition through pedal and plugin chains, until the only imprint of the initial gesture remained. My process also involved long bike rides during which I'd listen to the work of previous days on ear buds, gliding through familiar streets made slightly strange by the absence of people and movement..."
ROOTS VIBRATION (BELGIUM)
CAT #: ROOTS 042EPGEORGES The Light 7"
Holy grail of US roots reggae. Sweet vocals on a carefully produced riddim and classic dub version on the b-side. Still the light shines so bright! More Relation started in 1977 in New York. They've recorded many now sought-after singles and one self-titled album. This release however was credited to Georges because one of the four band members was missing during the recording session.
CAT #: SAB 101LPKRAUS Fire! Water! Air! Kraus! LP
"Longtime Aotearoa/New Zealand producer Kraus has been a fixture in various underground North and South Island circles for twenty years, and his solo music has covered a lot of ground in that time. In recent years he's shifted focus from guitar-based recordings to synthesis-oriented electronic work, an approach that blooms in full color on Fire! Water! Air! Kraus!, his 19th full-length album and first all-electronic affair. Kraus obsessives will once more revel in the inventive use of melody and texture here, as well as the primitive futurist fusion of eastern/western psychedelia and tonal explorations of electronic pioneers like Suzanne Ciani and Laurie Spiegel, with a dash of exotica for good measure. Fire! Water! Air! Kraus! is a joyful, immersive listen, and Soft Abuse is thrilled to share it with the known universe."
SONG CYCLE RECORDS (UK)
CAT #: CY 980LPTOOP/PAUL BURWELL, DAVID Wounds LP
2022 restock; Song Cycle present the first reissue of Wounds by David Toop and Paul Burwell. Originally released in 1980 on Toop's Quartz! label, the album is representative of a seminal moment within the British music scene evolved around the London Musicians Collective in the late 1970s and early 1980s. Founded in 1976 by a group of improvising musicians and sound artists including Evan Parker, Peter Cusack, Lol Coxhill, Sylvia Hallet, Max Eastley, the LMC contributed to shape a new generation of free improvisers with broader interests ranging from the music of John Stevens, Evan Parker, and Cornelius Cardew, to non-western music experiences. David Toop and Paul Burwell came to know each other precisely in these crucial moments, to start a long-lasting collaboration on two separate but intertwined projects a trio with the artist and poet Bob Cobbing, and an improvisation duo. As result of the latter, the nine tracks included in Wounds are edited from a single performance at the LMC, date 30.6.1979. Recorded by Max Eastley and Russ Wood, these shows saw the employment of different musical instruments as well an odd number of found objects placed in front of the artists, on the floor, ready to be picked up and played. Electric guitar, flute, cassette, water, rubbish, explosives, six strings harp, bamboo fiddle, whistle were only a few of the wider arrange of instruments at the disposal of the two. The result is an ambivalent album, suspended between the unfolding of the time of performance, and the circularity of the ritual. And if the collage of texts appearing on the artwork demonstrates a certain disapproval and skepticism toward the progress of society, Wounds seems also suggesting a possible cure. The improvised music, the use of non-canonical instruments, the presence of pre-recorded sounds coming, seems indeed to be an open invitation to the listeners to abandon the old conventions and to search for a new system of relationships.
TEENAGE KIDS (POLAND)
CAT #: TEENAGE 001LPUNDERTONES, THE Peel Sessions 78-79 LP
"The first three sessions The Undertones recorded for the BBC present the Irish masters of punk pop at the peak of their game, energetically going through an unbeatable set of classics any band would kill for. Recorded for the show of one of their biggest fans and supporters (no wonder they were one of John Peel's favorites after listening to this songs), this collection proves again The Undertones where unstoppable when it came to mixing the frenzied out energy of punk rock with the melodic sensibility of the best '60s pop. A must!"
CAT #: FLENSER 127LPSCARCITY Aveilut LP
"There's a real sense of loss on Brooklyn experimental black metalists Scarcity's debut album Aveilut, an inescapable presence of the realities of death. Multi-instrumentalist Brendon Randall-Myers (conductor of the Glenn Branca Ensemble since Branca's passing) wrote Aveilut while processing the sudden deaths of two people close to him, tracked it while caught in Beijing's first lockdown of 2020, and finished it while surrounded by the overwhelming plague visuals of New York's early COVID peak. Back in Brooklyn, vocalist Doug Moore (of Pyrrhon, Weeping Sores, Glorious Depravity, and Seputus) soon found himself in the midst of an equally bleak lockdown experience -- living next to a funeral home when New York City was America's COVID epicenter. From conception through development, tangible death surrounded Aveilut. The result of such a profound closeness with death is this grief-stricken release, which takes its name from the Hebrew word for mourning. 72-note octaves, alternate tunings, psychoacoustic phenomena and macro-phrases embody the hugeness of loss, the inexplicable space of death's void that Randall-Myers faced both on a personal and existential scale. Together with Moore's gripping vocal delivery and stark lyrics, the album takes the form of a hyperobject, an entity with such vastness and reach that it's difficult for the human mind to comprehend. Consisting of one 45-minute composition, the music is black metal roughly in the vein of Jute Gyte, Krallice, Mare Cognitum, and Enhare -- with hefty doses of post-Branca microtonal guitar abuse, and a cinematic scope that draws on Randall-Myers' work with orchestras. Aveilut's mathematical abstraction and lyrical focus on the greatness of the void breed raw emotion, attempting to represent a catastrophe, the vastness and inevitability of things outside one's control, as well as a direct expression of grief, a kind of requiem. Though born of Randall-Myers and Moore's intense intimacy with absence, Aveilut is an attempt to present a harrowing universal representation of death's true form."
TINY GLOBAL PRODUCTIONS (HUNGARY)
CAT #: PICI 045CDNIGHTINGALES The Last Laugh CD
Revisiting a press release for the Nightingales' last album, Four Against Fate, Tiny Global Productions recalled hesitant anticipation for the forthcoming King Rocker, a film documentary of Robert Lloyd and Nightingales, made by Michael Cumming and Stewart Lee. After forty years of activity, Robert and the band had seen hyped recordings go lost, scant commercial success. Royalties? Ha. Yet response to King Rocker was immediately positive. Fab reviews galore, a long process regaining master rights which led to a series of expanded reissues with Fire. A tour postponed three times finally took place, to fully-packed houses. It was a very good year. The band felt a degree of anxiety prior to the sessions, which took place at Valencia's Elefante Studios. With bassist Andi Schmid isolated during Covid, the band had yet begun working out individual rough sketches, typically battered into songs over a period of months. They went into a new studio blind, with a new producer, Jorge Bernabe, without rehearsals . . . and produced a top-to-bottom masterpiece. Thirty seconds in, "Sunlit Uplands", is already a classic showcasing Fliss Kitson's increased songwriting power and the core dichotomy of the group's best songs: perverse as fuck, catchy as fuck. "I 3 CCTV" is highlighted by a fab Jim Smith astral-garage guitar riff . . . and that's a one-two punch few albums ever equal, let alone carry over to the affectionate "Frances Sokolov", Robert's ode to mentor Vi Subversa, the playground riff that underlines "Spread Yourself Out" and then "Bloody Breath", the best encapsulation of all the band's genius in developing a kind of "pop" that no other combo has ever cracked. Other highlights include the lopsided mysterious beauty of "Magical Left Foot", the courtly raver of "I Need The Money At The Time" with a wonderful motorik groove driven by bassist Andi Schmid, and the album closer, "My Sweet Friend", a rockabilly lullaby which sounds like a magical outtake from Robert's one and only solo album It's a corker, it's a marvel, it's the best Nightingales record to date. Try and deny it.
TRES SELOS (BRAZIL)
CAT #: TSPL 033LPZE, TOM Tom Ze (1972) LP
Reissued for the first time outside of Brazil, originally released in 1972. After a few "strategic mistakes" in his career, Tom Ze? found a new home at Continental label. It was there that he made four albums for the remaining of the 1970s, beginning with this self-titled one. When this LP was released in 1972, Tom Ze? had a relentless interest in the unexplored, in experiments, and in the unusual. These songs revealed a more mature Tom Ze?, addressing social issues, outdated concepts, false traditions, and the hypocrisy from Brazil's military government. The original press release warned: "1972 marks the beginning of a new phase in Tom Ze?'s career. He decided to move into simpler forms of writing and released an album that is a result of that." Tom Zé is considered the most "paulista" of all tropicalistas. He came from Bahia, but his wry urban poetry, infused with the uncomfortable sounds of the largest metropolis of South America, is pure São Paulo. This reissue includes unseen photos, new testimonials from Tom Ze? himself and a lengthy article signed by Bento Araujo, author of the book series Lindo Sonho Delirante. Gatefold sleeve.
CAT #: TSPL 034LPZE, TOM Todos os Olhos LP
Reissued for the first time outside of Brazil, originally released in 1973. Todos os Olhos is one of the most emblematic and essential records of the confrontational music of Brazil. By denouncing, criticizing, and mocking the trend of "heroes" who made "protest music" at the time, Tom Ze? signed his eremitic letter of exclusion but not without "contest the contestation". Excommunicated from the MPB and even from tropica?lia, in Todos os Olhos Tom Ze? presented, with a lot of courage, an unusual way of fight Brazil's military dictatorship. All that would be later triggered in Tom Ze?'s career is here, always ready for a new rediscovery. Tom Zé is considered the most "paulista" of all Tropicalistas. He came from Bahia, but his wry urban poetry, infused with the uncomfortable sounds of the largest metropolis of South America, is pure São Paulo. The tracks "Complexo de E?pico", "Cademar", "Um 'OH' e um 'AH'", "Augusta, Ange?lica e Consolac?a?o" and "O Riso e a Faca" were included in Brazil Classics 4: The Best Of Tom Zé, compiled by David Byrne and released by Luaka Bop in 1990. This reissue includes unseen photos, new testimonials from Tom Ze? himself and a lengthy article signed by Bento Araujo, author of the book series Lindo Sonho Delirante. Gatefold sleeve.
CAT #: TSPL 035LPZE, TOM Correio da Estacao do Bras LP
Reissued for the first time outside of Brazil, originally released in 1978. Away from radio, TV, and with live performances increasingly scarce at the end of the seventies, Tom Ze? was a risky investment for record labels, agents, and gig promoters. Always eager to please his sense for innovation and his creativity Tom Ze? wanted to release an album again after the cult Estudando o Samba (1976). So came this, a record where the tension was at the script, in the distressing real life chronicles that the artist interpreted and reported also in an autobiographic manner. At Correio da Estac?a?o do Bra?s (1978-2022) Tom Ze? had done what seemed impossible: contemporary working-class music not for the elite but for the people itself. Tom Zé is considered the most "paulista" of all Tropicalistas. He came from Bahia, but his wry urban poetry, infused with the uncomfortable sounds of the largest metropolis of South America is pure São Paulo. The variety of musical genres in the LP -- samba, sertanejo, bolero, xote, repente and forro? -- reflects the cultural diversity of the Bra?s neighborhood, a meeting point of Italians, Nordestinos, Africans, and Latinos. This reissue includes unseen photos, new testimonials from Tom Ze? himself and a lengthy article signed by Bento Araujo, author of the book series Lindo Sonho Delirante. Gatefold sleeve.
CAT #: UNROCK 024LPA TRIO The Binding Third LP
The legendary Lebanese trio of trumpeter Mazen Kerbaj (Karkhana, Johnny Kafta), guitarist Sharif Sehnaoui (Calamita, Karkhana, Johnny Kafta), and bassist Raed Yassin (Praed, Praed Orchestra) celebrates their 20th anniversary with The Binding Third on Unrock. They still create acoustic improvised drones that range from insistent, chiming resonances with emergency alarm bells to low, thrumming hums but with growing intensity. Avoiding conventional technique, "A" Trio manages to create sounds like motorized devices to generate rattling, metallic vibrations, building a mechanistic backdrop out of which the instruments' true voices occasionally arise. This recording, taken at Sound Disobidience in Llubljana in 2019 reaches an exceptional electro-acoustic depth with strange sounds boiling down to a dark, heavy spiritual essence. Call it acoustic-industrial-free-jazz or call it unrock. The Binding Third is "A" Trio's first full-length album since their 2014 release Live In Nickelsdorf. In between they released a collaboration with Sun City Girl Alan Bishop and another with UK-electro-acoustic pioneers AMM. Recently A-Trio joined forces with Egyptian composer Maurice Louca on his solo-album The Luck Hour, released on Sub Rosa (SR 519LP).
CAT #: UNROCK 030-1EPALVARIUS B. Karaoke 7"
If you ever witnessed an Alvarius B. show you are probably aware that there are a few things only in underground music matching this level. If you haven't, don't miss him when he's coming close next. Karaoke shows one of the many characters you could explore during his shows. As his brother Richard, the other keyholder of Sun City Girls legacy, Alan Bishop played a lot of shows not only under the Alvarius B. moniker on various Unrock stages through the years. "Solo Nostalgia" (E. Morricone) and "Tiba Tiba Tu Menangis" (T. Koeswoyo) are songs which Alan rarely performed and they show off his alter-ego as a cosmopolite solo-entertainer. Unrock's 30th anniversary as an entity seems to be a good reason to release those tracks at that point. Sound wizardry by Peter Koerfer, photography by Hans van der Linden, and realization by Philip Lethen. Limited, one-time run on black vinyl.
CAT #: UNROCK 030-2EPBISHOP, SIR RICHARD Magrebh Blues 7"
When internally the plan came up to release a bunch of vinyl singles for Unrock's 30th anniversary as an entity, Richard just like his brother Alan, the other keyholder of Sun City Girls legacy was among the first to take a deep look into his archives. Out came two shining pearls from different periods of his long career. "Taqasim For Omar (acoustic)" was recorded in Seattle in 2008. It was recorded before the Sir changed his mind and recorded the track with an all-electric band again for his The Freak of Araby LP (2009). "Magrebh Blues" was recorded in Tangier, 2018 when Bishop recorded Tangier Sessions in Morocco. The track came out too bluesy for what Richard wanted to show with the album, but it is the only track he played on the mysterious guitar which beautifully sounds like a Magrebhinian blues. Photography by Hans van der Linden, realization by Philip Lethen. Limited, one-time limited run on black vinyl.
CAT #: UNROCK 030-3EPDWARFS OF EAST AGOUZA, THE Speaking In Tongues 7"
Dwarfs Of East Agouza are a leading force of improvised musical excitement and stand apart from wider parts of an lame ass underground of the '20s. Founded in Cairo circa 2015 by Alan Bishop (ex-Sun City Girls) with Sam Shalabi (Land Of Kush, Karkhana) and Maurice Louca (Karkhana) the trio developed an unique always recognizable sound, but with many faces to show. Two very different ones are shown on their contribution to Unrock's "Il Burro Sabe Mas Que Tu" singles series. "Speaking In Tongues" sounds like a nightmare coming straight out of hell, conducted by Bishop's unique voice, while "Organism 46-B" shows them in a classical softer mode, touching nearly classical free jazz issues. Mixed by Adham Zidhan. Mastered by Peter Koerfer at Ivory Tower. Photography by Hans van der Linden, realization by Philip Lethen. Limited, one-time run on black vinyl.
CAT #: VUAS 1967LPVELVET UNDERGROUND, THE I'm Not A Young Man Anymore (Live At The Gymnasium NYC) 2LP
Limited restock, last copies. "April 30, 1967 recording of a performance at The Gymnasium (424 E. 71st St) in New York City. So its Velvet's White Light/White Heat period in full gloom. In fact, it contains the first public performance of 'Sister Ray' (it clocks 19:10"! ) and the previously unreleased songs 'I'm Not a Young Man Anymore' and the R&B number Booker T. Mastered form recently sourced tapes not comparable with any previous versions. Black vinyl edition. Gatefold sleeve audiophile vinyl bags."
CAT #: VAMPI 250LPBEN, JORGE Bem-Vinda Amizade LP
Repressed. Vampisoul present a reissue of Jorge Ben's Bem-Vinda Amizade, originally released in 1981. Jorge Ben is someone who needs no introduction. Since his first hits in the '60s, this artist has become one of the greatest icons of Brazilian pop music. His anthems "Mais Que Nada" or "Pais Tropical" are probably two of the most ever-listened Brazilian songs of all time. After being involved in the Tropicalia movement and incorporating the influences of Afro-American funk into his repertoire, with the support of his backing band -- Trio Mocotó --, his very personal samba sound also opened up to the new musical trends coming from the States at the edge of the '70s. Boogie and disco music were making headway and soon became popular in the Brazilian market. Jorge Ben's albums recorded at the beginning of the '80s reflect this trend and deliver a good number of outstanding tunes. Bem-Vinda Amizade is one of those albums. Recorded in 1981, it is a solid album, start to finish. It comprises the usual samba funk numbers, so characteristic of Jorge Ben, with killer boogie and disco tracks ("Oé Oé (Faz O Carro De Boi Na Estrada)", "Ela Mora Em..."). And it also contains downtempo soulful slow burners like "Lorraine" or "Katarina, Katarina", funky as hell! An essential addition to any Brazilian music collection.
CAT #: MRSSS 541LPBOND + BROWN Two Heads Are Better Than One LP
Reduced price, last copies. Vinilisssimo present the first vinyl reissue of Graham Bond and Pete Brown's Two Heads Are Better Than One, originally released in 1972. Graham Bond and Pete Brown need little introduction. Bond was a key figure of the early British jazz and R&B scenes. His Graham Bond Organisation recorded several albums and the band's members (Jack Bruce, Ginger Baker, John McLaughlin and Dick Heckstall-Smith) achieved massive fame in their later careers. Pete Brown was a Cream/Jack Bruce collaborator. After being thrown out of his own band, Pete Brown & His Battered Ornaments, he formed another group: Piblokto! Dangerous habits, mental health issues and little commercial success seriously affected their careers on the verge of the '70s and a series of unfortunate events saw Graham Bond and Pete Brown finding themselves in limbo. They decided to team up for a new band project, resulting in the recording of Two Heads Are Better Than One in 1972. The album includes songs like "Lost Tribe" and "Looking For Time", both an attempt to express the fact that Pete and Graham were now on the outside of the rock scene in the early '70s, and "Ig The Pig", a dedication to a dubious record label head after the band found out their fee was not going to end in their bank account. Two Heads Are Better Than One is a brilliant multi-genre crossover celebration: bluesy rock with a funky twist and jazzy prog passages. It was Graham Bond's last album and probably his best work. Presented in facsimile artwork and pressed on 180 gram vinyl.
CAT #: MRSSS 544LPMUTANTES Ao Vivo LP
Reduced price, last copies. Vinilisssimo present a reissue of Mutantes' Ao Vivo, originally released in 1976. Those who fell in love with Os Mutantes after listening to their Tropicália work in the late '60s, embracing both psychedelia and Brazilian music influences, should be aware that only one of the original band members, Sérgio Dias, is responsible for this late album, and when it came out the band's sound had changed enormously after almost ten years since their debut LP was released in 1968. The good news is that Ao Vivo is actually a great progressive rock record and also the first time we can see the name of Os Mutantes printed on the sleeve of a live album. The quality trademark of the band was still there despite the personnel changes over the years and the fade out of the Tropicália movement, which in many cases evolved towards the progressive genre. Ao Vivo was recorded in 1976 during a show at the Museum of Modern Art in Rio de Janeiro. Rita Lee and Arnaldo Baptista were not there, but the very talented Paulo de Castro, Rui Motta, and Luciano Alves had joined Dias and delivered a brilliant shot of live rock music with lots of quality keyboard solos and guitar licks. Paulo was at the time a very skillful multi-instrumentalist, so it is not surprising that he was hired as arranger and studio musician for artists such as Gerson Conrad and Zezé Motta on their 1975 LP on Som Livre. This album features 13 new songs and appears to be the last recording of Os Mutantes until the 2006 reunion show in London. An essential addition to any '70s Brazilian music collection. Presented in facsimile artwork and pressed on 180 gram vinyl.
CAT #: WWSLP 013LPWILKINS, JACK Windows LP
2022 repress. Wewantsounds present the first ever reissue Jack Wilkins's highly sought-after Mainstream Records album Windows, originally released in 1973. Produced by Bob Shad, the album, which is on many want-lists, is especially cult for his rendition of Freddie Hubbard's classic "Red Clay", notably sampled by A Tribe Called Quest (on "Sucka Nigga") and Chance The Rapper. Recorded in 1973 at New York's Record Plant, this superb session sees guitarist Jack Wilkins in a trio setting accompanied by Mike Moore on bass and young seasoned west coast drummer Bill Goodwin (Gabor Szabo, Gary Burton, Paul Horn, Tom Waits). Together, the trio plays mix of classics including John Coltrane's "Naima", Wayne Shorter's "Pinocchio", and Chick Corea's "Windows", showcasing their instant rapport. Jack Wilkins is an underrated guitarist; he's accompanied such stars as Stanley Turrentine, Ray Charles, Sarah Vaughan, and Sammy Davis Jr. but he has remained more of a musician's musician. Windows has reached cult status for the fact that its slow funk version of Freddie Hubbard's "Red Clay" has been sampled by A Tribe Called Quest for "Sucka Nigga" from their masterpiece Midnight Marauders (1993). ATCQ's jazz samples have always garnered a huge amount of attention from DJs and hip-hop fans and this one has had an instant effect on Windows's popularity, making it one of the most sought-after albums released on Mainstream. Chance the Rapper has also sampled "Red Clay", in the song "Nana" which featured on his second mixtape, Acid Rap (2013). This reissue is thus a great opportunity to (re)discover a great guitarist. Comes in gatefold sleeve featuring never-seen session photos and new liner notes by leading UK journalist, Kevin Le Gendre (Jazzwise, Echoes, BBC's Jazz Line Up).
CAT #: WWSLP 031LPMYSTERY KINDAICHI BAND, THE The Adventures of Kindaichi Kosuke LP
2022 repress; LP version. Obi; includes four-page insert. Wewantsounds present the first official release outside of Japan for The Mystery Kindaichi Band's The Adventures of Kindaichi Kosuke, originally released in 1977. The "imaginary" soundtrack to the cult detective book series by writer Seishi Yokomizo is on many DJ want-lists. Arranged by soundtrack master Kentaro Haneda and featuring a mysterious group of the best '70s Japanese Funk musicians, the album is pure undiluted disco funk. Writer Seishi Yokomizo is an institution in Japan. He could be compared to Agatha Christie with his series of novels based on the adventures of detective Kosuke Kindaichi. The fictional character was born in 1946 with Yokomizo's first novel in the series and solved mysteries until the late '70s under Yokomizo's pen before the death of the writer in 1981. Yokomizo's novels have been a prime source for film and TV scenarios, so when, in 1977, Japanese label King Records decided to record a concept album based on the Kindaichi novels, it made complete sense. The writer was slightly surprised though. The concept album was arranged by pianist Kentaro Haneda, a key TV and film composer who has worked on many anime films and is also famous outside of Japan for composing the music for the video game Wizardry. For the album, he assembled a supergroup of some of the best Tokyo funk and city pop musicians. The long list includes jazz pianist Hideo Ichikawa who played on the 1971 Joe Henderson In Japan album, drummer Jun Moriya, who is on Joe Hisaichi's cult Wonder City Orchestra album (1982), percussionist Tadaomi Anai who played with disco singer Eri Ohno, trumpeter Koji Hadori who's featured on Haruomi Hosono's Pacific album (1978). Also present on the album are saxophonist Takeru Muraoka who plays on many Tatsuro Yamashita cult albums including For You (1982) and Spacy (1977), Kimiko Yamauchi (koto) who's on Akiko Yano's landmark 1976 album Japanese Girl (WWSCD 017CD/WWSLP 017LP), and last but not least, French hornist Koji Yamaguchi who plays on Yazuaki Shimizu's Kakashi (1982). Together they lay the funk on ten instrumentals filled with pure disco and funk breakbeats, making the album one of the highly-coveted Japanese LPs on international cratedigger scene. Remastered from the original tapes. Faithfully reproduced original artwork; Artwork by renowned illustrator Ichibun Sugimoto. New introduction by Anton Spice.
CAT #: WWSLP 037LPVA Mainstream Funk: Funk, Soul, Spiritual Jazz 1971-1975 2LP
2022 repress; double LP version. Gatefold sleeve featuring never-seen photos from the Mainstream vaults and new liner notes by UK journalist Paul Bowler. Wewantsounds continues its collaboration with Bob Shad's venerable jazz label Mainstream Records, and present a selection of 12 turntable-friendly tracks recorded between 1971 and 1975 and showcasing the label's superb blend of spiritual jazz, funk, and soul.Mainstream Records is one of the key independent jazz labels of the early 70s, together with Flying Dutchman, Strata East, CTI, and Black Jazz. Founded by legendary label man Bob Shad (who had been head of A&R at Mercury Records and set EmArcy in the '50s), the label concentrated on psychedelia in the '60s before switching back to Shad's jazz roots in the early '70s, signing a new crop of jazzmen fed on John Coltrane and Miles' electric experiments. Thus, was born the cult Mainstream "300 Series" with its distinctive artwork and outstanding music from which this selection is largely drawn. Giving their chance to many young jazz players and a few old friends, Shad recorded some of the most exciting jazz of the early '70s, mixing spiritual influences with funk and soul. It is interesting to note the Mainstream sessions included many of the hottest session players of that time such as Ron Carter, Eddie Henderson, Airto, Mtume, Earl Palmer, Mickey Roker, Merl Saunders, Cedar Walton, to name but a few. Shad also had a long-standing association with jazz divas showcased here with the opening track by Sarah Vaughan, a funkified version of Marvin Gaye's "Inner City Blues" recorded the same year as the original in 1971. Mainstream Funk also includes a selection of superb tracks by young Turks who'd cut their teeth as sidemen for Blue Note and Prestige in the late '60s and were given a chance to record their own music on Mainstream. Buddy Terry's "Quiet Afternoon', Dave Hubbard's "Family Affair", and LaMont Johnson's "M'Bassa" are prime examples showcasing the label's desire to give these talented newcomers a chance to shine. Seasoned musicians from the Bebop scene were also welcome, such as trumpetists Blue Mitchell -- who'd released a string of great albums for Riverside and Blue Note in the late '50s and '60s -- and Johnny Coles who'd played with Gil Evans, Charles Mingus, and Herbie Hancock. Shad also released pure soul music on the label such as Sugar Billy's "Super Duper Love" which was released on his Fast Track sub-label in 1974, arranged by Jimmy Roach and featuring Marcus Belgrave in the line-up. Also features Prophecy, John White, Mike Longo, Barry Miles, and Pete Yellin.
WRWTFWW RECORDS (SWITZERLAND)
CAT #: WRWTFWW 015LPSPOERRI & RETO WEBER, BRUNO The Sound Of The UFOs LP
2022 restock. We Release Whatever The Fuck We Want Records present a reissue of the extraterrestrial cult classic The Sound Of The UFOs, a collaborative effort between Swiss jazz and electronic music icon Bruno Spoerri and innovative drummer extraordinaire Reto Weber, available on vinyl for the first time since its original release in 1978. Recorded live in Zurich in March 1978, The Sound Of The UFOs finds Bruno and Reto improvising with a vast array of classic and customized synths and percussions from all corners of the globe (and the galaxy). It's cosmic free jazz in audio gear heaven with a heavy dose of ambient, krautrock, primitive proto-techno vibes, and experimental space disco with a musique concrète mentality -- anything's possible when a jazzman and a percussionist obsessed with finding new sounds collide and explore uncharted sonic territories. This groundbreaking gem is the ideal companion piece to Bruno Spoerri's highly coveted Voice Of Taurus LP (WRWTFWW 015LP). Still very active recording, touring, and collaborating (with Julian Sartorius, Franz Treichler of Young Gods, Marco Repetto of Grauzone, Roger Girod, to name a few), Bruno Spoerri is a multiple award-winning Swiss music icon, whose career started in the 1950s. His works spans jazz, electronic music, film, and TV work, and everything in between. Improvisational maestro and synthesizer mega-connoisseur, Mr. Spoerri has influenced an entire generation of producers and musicians -- even Jay-Z sampled him. Housed in a 350 gram jacket; Includes new liner notes.
ZEL ZELE (TURKEY)
CAT #: ZEL 006LPTAS, BAHTIYAR Acaip LP
Zel Zele is back with a stomper of a DIY '80s solo album by Turkish bassist Bahtiyar Ta?. First time released on vinyl. Arabesque melodies meet odd fusion beats with humorous lyricism, cheeky use of synthesizers and a free approach to arrangement; Acaip offers a cross genre trip into Ta?'s ironic world. The story in music is always real when it represents its moment of social and political ongoings, and right on that line of truth, Bahtiyar Tas is able to bring in a touch of dark humor. When he thinks, only then you are able to loosen up and laugh about life events, because why have heavy feelings over absurd fun?new releases are also viewable at https://www.forcedexposure.
Forced Exposure, 60 Lowell St, Arlington, MA, 02476, United States, www.forcedexposure.com