Forced Exposure New Releases for the Week of 9/12/2011
New music is due from The Young Gods, Manuel Mota & David Grubbs, and Locrian, while old music is due from Eliane Radigue, Actress, and The Dead Texan.
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NEW RELEASES FOR THE WEEK OF 09/12/2022
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A RECORDINGS (UK)
CAT #: AUK 036LPBRIAN JONESTOWN MASSACRE, THE Third World Pyramid LP
2022 repress; LP version, black vinyl. Third World Pyramid is the 15th full length release from The Brian Jonestown Massacre recorded in early 2016. It is the first album that was fully recorded & produced at Anton Newcombe's new Cobra Studio in Berlin. Third World Pyramid encapsulates the old and new sounds of the band, with the nine tracks starting from the melancholic "Good Mourning" going through to "Assignment Song" - which is a cover of Nina Simone from her 1971 album Gifted & Black - and the latter tracks show the ever-changing dynamic of the band, acknowledging their past but also looking to their future. Featuring Ricky Maymi, Dan Allaire, Joel Gion, Collin Hegna and Ryan Van Kriedt. Also, Emil Nikolaisen from the Norwegian band Serena-Maneesh joins the band on this album, plus vocal performance Tess Parks and Katy Lane. Anton Newcombe has been a very busy man these past two years, kicking off with the critically acclaimed Brian Jonestown Massacre album Revelation in 2014 (AUK 030CD/LP). After a successful UK and European tour, the BJM followed this up with the +- EP (AUK 031EP, 2014). 2015 saw the release of Musique de film imaginé (AUK 032CD/LP); an imaginary film soundtrack album featuring the track "Bonbon" which has, ironically, been used in Dheepan, the Palme D'or winner at Cannes film festival 2015. In June, Anton and Tess Parks embarked on a well-received tour of the UK and Europe to support the release of I Declare Nothing (AUK 120CD/LP, 2015). Anton finished 2015 with a BJM mini-album release entitled Mini Album Thingy Wingy (AUK 033CD/LP).
AGUIRRE RECORDS (BELGIUM)
CAT #: ZORN 065LPYOSHIHIDE'S NEW JAZZ ORCHESTRA, OTOMO Out To Lunch 2LP
Reissue, originally released on CD in 2005. Eric Dolphy's final studio album is hailed as one of the finest examples of mid-60s post-bop. Dolphy, having recorded the album in February 1964, was in Europe less than six weeks later and his all-too-brief life ended less than two months after that. It marked his last flurry of original compositions and is considered his apex. It is fascinating to consider whether he would have moved past or away from the album in 1965, had he lived. Though Dolphy should not be considered an avant-garde musician by the term's most common definitions, most interpretations of Out To Lunch have been done by players working squarely in that area. So it is with this album, the most ambitious in its recreation of the five-tune disc (with one original added to the final "Straight Up And Down", extending the piece to almost thirty minutes). All five compositions from the original quintet LP are revisited in the same order, the record sleeve even duplicates the old album jacket, although a photo taken by Daid? Moriyama inside Tokyo's Shinjuku railway station replaces the enigmatic "Will Be Back" sign. Otomo Yoshihide first came to international prominence in the 1990s as the leader of the experimental rock group Ground Zero, and has since worked in a variety of contexts, ranging from free improvisation to noise, jazz, avant-garde, and contemporary classical. Recognizable themes ("Hat and Beard," "Out to Lunch," "Straight Up and Down") appear, and individual players -- including Alfred Harth on bass clarinet -- don't carry forward echoes from the past in the spirit of a sincere and heartfelt homage. However, a good deal of the time all bets are off; in addition to the usual brass, reeds, bass, and drums (and of course a bit of vibraphone, here played by Takara Kumiko) are such sonic paraphernalia as sine waves, contact mike, no-input mixing board, and, of course, "computer." Otomo himself plays electric guitar. From composition to composition and even during episodes within compositions, the band takes radically different approaches. There are blasts of free jazz energy not too far removed from the Peter Brötzmann Tentet, an impression reinforced by the presence of spluttering wild man Mats Gustafsson on baritone sax. Not surprisingly and often in contrast with the Dolphy original, the music is dense and filled to overflowing with sounds -- sometimes due to fundamental reworkings in structure rather than just the larger size of the ensemble. Dolphy is transported into the 21st century and allowed to romp through modern developments in music.
CAT #: ZORN 082LPAFTER DINNER Paradise of Replica LP
Reissue, originally released in 1989. After Dinner's Paradise of Replica is a concise nugget of tomfoolery that occupies a whimsical no man's land between art pop, Japanese folk music, and full-assed Art Zoydian avant proggery. Gentle, arcane and covertly sweeping, it typifies that friendly strain of experimentalism that Eastern music seems so predisposed towards and which curious minds find such great delight in. Assembled by the enigmatic chanteuse and composer known simply as Haco, After Dinner was less a band and more of a loose art collective that utilized a plurality of different musical disciplines stapled together through free improvisation sessions. And some of this does come through on Paradise of Replica -- the record is a scrapbook of bells, strings, and koto humming under Haco's ethereal vocals, and the effect, while perfectly tuneful, does come off more as a musical project than a conventional album. But Paradise of Replica is far from an impenetrable scholastic endeavor -- in fact, there's something of an Elephant 6-like quality in its ability to warp conventions while still coming off more or less like pop music. Counter to the ramshackle hostility of much improvised music, After Dinner's choices are melodious and feel deliberately sequenced. Even crescendos don't tend to rise above a murmur, and there are even apparent hooks on tracks like "A Walnut" and "Ironclad Mermaid." Ultimately, there's not much to be said about Paradise of Replica that can elucidate more than actually hearing it will be able to. Proggy, playful, and lush, it's a brief glimpse into something in the vicinity of genius, and just outside the realm of commercial music. It's a quietly bold project that shows a softer side of the avant-garde, and makes a perfect companion to Stereolab and Magma at once.
ARMADA MUSIC (NETHERLANDS)
CAT #: ARMA 475CDVAN BUUREN, ARMIN A State Of Trance 2022 2CD
An outlet. An escape. A way to leave all worries behind and seize the moment. That's the role trance music plays in the lives of so many people. Even when times are at their grimmest and dark thoughts are taking over, it's the uplifting atmosphere and hands-in-the-air euphoria that offer relief and comfort to all who need it. And that sought-after spark of light is shining ever so bright throughout the nineteenth installment of Armin van Buuren's A State Of Trance mix album series: A State Of Trance 2022 (mixed by Armin van Buuren). Comprising forty stellar tracks across its two sides ("On The Beach" and "In The Club"), A State Of Trance 2022 offers one of the most treasured track selections to date. Including three brand-new Armin van Buuren tracks, high-impact productions from the likes of Ben Gold, Ørjan Nilsen, Richard Durand, and Simon Patterson, and lots of album exclusives such as Rank 1's remix of Aly & Fila's "Sunrise", the mix album sends an empowering message of hope, telling all listeners that better days could be just around the corner. And this brand-new A State Of Trance mix album will keep fans in a fighting spirit until those days arrive.Also features Florentin, Jordan Grace, Scorz, Dokho & Moon Kyoo, Yvvan Back & BigNoise, Audien, XIRA, Sound Quelle, Ruben de Ronde & Cubicore, Hel:sløwed, That Girl, Kyau & Albert x Steve Brian, Volaris x Nightlapse x Nathan Nicholson, Bigtopo, Belle Humble, D'Angello & Francis, AVIRA vs Chicane, John Grand & Adam Sobiech, Ahmed Helmy, This Culture, Kryder, LÜRUM, Ferry Corsten & Morgan Page, Cara Melín, Kristian Nairn, Nazzereene, JES, Rub!k, C-Systems, Plumb, Sarah de Warren, Ivan Mateluna, Claudiu Adam & Ava Silver, UDM, Allen Watts, Davey Asprey, Artento Divini x Davey Asprey pres. A.D.D.A., D72, Sneijder & Thomas Bronzwaer, Christopher Corrigan, Gareth Emery, Bogdan Vix, Maarten de Jong, Frank Spector, Alan Morris & Daniel Garrick, and David Forbes.
CAT #: ARMA 477CDVAN BUUREN, ARMIN A State Of Trance Ibiza 2022 2CD
Upon the release of A State Of Trance Ibiza 2020 at the height of the global pandemic, Armada Music vowed that everyone would party beneath the Ibiza sun again. And that moment has now arrived with the eighth Ibiza-themed installment of Armin van Buuren's globally renowned mix album series: A State Of Trance Ibiza 2022. A seamlessly mixed collection of forty-one records that take listeners from the beach to the club, A State Of Trance, Ibiza 2022 delivers instant euphoria. Featuring Armin van Buuren's festival-banging "Clap", Vintage Culture and Three Drives' magnificent rework of Ibiza classic "Greece 2000" and dozens of other mind-blowing creations from respected artists such as Giorgia Angiuli, Ahmed Helmy, Allen Watts, ReOrder, Rub!k, and more, the two-part album is replete with tantalizing harmonies and melodies, powerful drops and all of the hands-in-the-air action you could possibly want. A State Of Trance Ibiza 2022 will help you seize the moment.Also features Maia Wright, Worakls, This Culture, Shapov, Vintage Culture & Three Drives, Lange pres. Firewall, Tomac, Protoculture & Nicholas Gunn, Alina Renae, Luminn, BetweenUs, Jaren, Cubicore, The Dualz, Jeef B, Eugenio Tokarev & Bruno Oloviani, Frank Spector, STANDERWICK, Heatbeat, ReOrder & Jordan Tobias pres. Crowd+Ctrl, Tempo Giusto, David Forbes, Billen Ted, JC Stewart, Mark Sixma & ANG, Norni, Maarten de Jong, Ben Gold, Corti Organ, Bogdan Vix & Renee Stahl, Bogdan Vix & Claudiu Adam, Ghost Etiquette, Aza Nabuko, Wrabel, Doppenberg, Avao, Chris Schweizer, South Of The Stars, The Space Brothers, Inoblivion, Blasterjaxx, 24h.
CAT #: BE 1005LPBROTZMANN/KEIJI HAINO DUO, PETER The intellect given birth to here (eternity) is too young 4LP BOX
"It's common for these musicians to be labelled muscular (and other testosterone-laden terms), but it is perhaps more fitting to register them with the female archetype Kali, who enacts destruction in order to make way for new life. As we embark on a new century amidst socio-political upheaval, the Brötzmann/Haino duo feels like an artistic expression of the moment we are living in and experiencing every day." --Philip Greenlief, "Ode to Destruction", ART FORUM, August 2018 on Peter Brötzmann/Keiji Haino Duo at the Chapel, San FranciscoTwo complete performances recorded in Los Angeles and San Francisco in the summer of 2018. The intellect given birth to here (existence) is too young presents the artists traversing a sprawling range of sound and modalities to achieve a stunning alchemy that can't be replicated. Both Brötzmann and Haino have spent their lives creating music that defies easy categorizations -- phrases such as "free jazz/improvisation," "rock," or "avant garde" seem to only scratch at the surface. What can be said is their works have a nearly unmatched intensity and restless spirit -- always uncompromising and only fully understood in their own unique terms. When performing together, the two push each other to entirely new and beautifully alien territories. Keiji Haino's Purple Trap imprint and Black Editions are proud to present the defining work of their decades-long collaboration. Presented in a deluxe four-LP boxed set edition of 800 including full-size, full-color art prints by both artists.
CAT #: 9781953691101
FILE UNDER: MiscVA The Cricket: Black Music in Evolution, 1968-69 Book
"A rare document of the 1960s Black Arts Movement featuring Albert Ayler, Amiri Baraka, Milford Graves, Sun Ra, Cecil Taylor and many more, The Cricket fostered critical and political dialogue for Black musicians and writers. Edited by poets and writers Amiri Baraka, A.B. Spellman and Larry Neal between 1968 and 1969, and published by Baraka's New Jersey-based JIHAD productions around the time of the Newark Riots, this experimental music magazine ran poetry, position papers and gossip alongside concert and record reviews and essays on music and politics. Over four mimeographed issues, The Cricket laid out an anticommercial ideology and took aim at the conservative jazz press, providing a space for critics, poets and journalists (including Stanley Crouch, Haki Madhubuti, Ishmael Reed, Sonia Sanchez and Keorapetse Kgositsile) and musicians (including Cecil Taylor, Milford Graves, Sun Ra, Mtume, Albert Ayler and Black Unity Trio) to devise new styles of music writing. The publication emerged from the heart of a political movement -- 'a proto-ideology, akin to but younger than the Garveyite movement and the separatism of Elijah Mohammed,' as Spellman writes in the book's preface -- and aimed to reunite advanced art with its community, 'to provide Black Music with a powerful historical and critical tool' and to enable avant-garde Black musicians and writers 'to finally make a way for themselves.' This publication gathers all issues of the magazine with an introduction by poet and scholar David Grundy. Contributors include: A.B. Spellman, Imamu Baraka (LeRoi Jones), Larry Neal, Cecil Taylor, Milford Graves, Sun Ra, Ben Caldwell, Clyde Halisi, Don L. Lee (Haki R. Madhubuti), Duncan Barber, Gaston Neal, Hilary Broadus, James Stewart, Norman Jordan, Roger Riggins, Ronnie Gross, Stanley Crouch, Albert Ayler, Askia Muhammed Toure, Donald Stone, E. Hill, Haasan Oqwiendha Fum al Hut, Ibn Pori 'det, Ishmael Reed, Joe Goncalves, Larry A. Miller (Katibu), Sonia Sanchez, Willie Kgositsile, Billy (Fundi) Abernathy, Dan Dawson and Black Unity Trio." 184 pages; 1.35 pounds; 8 x 0.7 x 10.5 inches.
BONFIRE RECORDS (ITALY)
CAT #: BONF 014LPSAVARIN, JULIAN JAY Waiters on the Dance LP
Reissue, originally released in 1973. Another unsung hero of the long-lost British prog history, Julian Jay Savarin is a keyboard player and composer, poet, and science fiction author, hence the association with the most epic and romantic tendencies of the genre. He was born in Dominica (an island between Martinique and Guadeloupe in the Caribbean) and moved to the UK in 1962. He debuted in 1970 with Julian's Treatment, a short-lived progressive rock band which his sole album -- A Time Before This -- soon became a sought0after collector's item. Julian went solo in 1973, before leaving the musical scene all of a sudden. Waiters on the Dance was definitely his own creation, a narrative masterwork with sumptuous arrangements. Produced by Miki Dallon (founder of independent label Young Blood) and brought to life with members of Julian's Treatment and singer Lady JoMeek, the album is a mysterious and transcendental opera. Waiters on the Dance sounds like a science fiction concept album of sort. Some of the songs rely on long form suite (the two-part "Child of the Night" and "Dance of the Golden Flamingoes" both lasting nearly nine minutes), suggesting an ideal trance state. Relying on heavy Hammond organ and hard-blues reminiscence, the album stands on his own offering occasional parallelism with Brian Auger & The Trinity and the more eclectic folk-revival. A true rare gem. Fully licensed. 180 gram vinyl; edition of 500.
BPITCH CONTROL (GERMANY)
CAT #: BPX 016EPMATASISM Can You Feel My Soul 12"
A warm welcome to Italian-American producer Matasism, who debuts on BPitch with his four-track EP Can You Feel My Soul. Matasism launched his own label Ma¨ta¨sism in 2017, releasing exclusively via the platform until very recently. He lands on BPitch with an EP that channels the essence of freedom and liberty found in the rave. It's a compelling EP that blends trance, techno and acid influences into a memory evoking collection of music. The remake of "Can You Feel My Soul" kicks things off, firing on all cylinders with a hypnotic riff and heavyweight kicks. More layers are added to increase the depth and energy, leading into a mesmerizing breakdown. Meanwhile, the following original mix has a grizzly bassline spliced with hard-hitting beats. On the flip "Age Of Fantasy" opens up with a dramatic intro leading into a powerful, enchanting main riff. Vintage sounds with a contemporary flavor. Next up is "Space Invaders", a high-octane cut that utilizes a trance-esque oscillating low end to captivate the listener. Get ready for an explosion of energy after the breakdown, transcendent.
CAT #: BPX 017EPCARNAL, KEITH Ape Shit Crazy EP 12"
Keith Carnal returns to BPitch Control with a rousing three-track excursion into the visceral side of techno. Stocked with deadly drum arrangements, thumping kicks and imposing basslines, Keith's armory is well equipped to cause maximum impact on the dancefloor. The title cut takes us straight into the depths of Carnal's wild mind, with a bombastic cut that utilizes a pitched down spoken word vocal. The storyteller takes us into a world of after party excess and "ape shit craziness" as the beats pump relentlessly. It's debauched, heavy and utterly alluring... Next up is "FreizeitAktivität", firing on all cylinders with a snub-nosed kick and slinky snares, that lead you into the main body of the track where a hypnotic melody plays out. The melody is emotive and evokes a feeling of solemnity, all the while those powerful drums fuel a rapid pace. Lastly, "WiederGutMachung", a brooding cut where Carnal employs a stripped back arrangement to great effect. The main riff has an unsettling feel, cultivating an anxious atmosphere complemented by the pounding beats.
CAT #: BPX 018EPUNCRAT Xilo EP 12"
Uncrat has a healthy preoccupation with machines that make music, which fed into the development of the Xilo EP. The title cut blends stirring pad work with a taut kick drum and a menagerie of bleeps and chirps, concluding with a beautifully enchanting melody. "Efien" utilizes the familiar squelch of an acid line, along with unusual percussive elements and haunting progression. "Gemini Leaks" places rugged beats with emotionally-charged strings and an earworm melody that appears after a short breakdown. Finally, "SIT" loosely pays homage to DJ Rolando's "Knights of the Jaguar", with spinetingling strings sparking an overall feeling of euphoria. Bellissimo!
CAT #: BPX 020LPANSCHUTZ, ROSA Goldener Strom LP
"I follow the golden stream..." sings Rosa Anschütz in the title track of her new album, in a cold, clear, determined voice. Underneath, golden interference buzzes and splashes at first, while cold light lies over the "thick water". Followed by powerful beats setting in as the trumpet fanfares of the chorus herald victory over the elements. Golden Stream is second album of the 24-year-old artist, who lives in Vienna and Berlin -- an amazing work. It can be danced to, but one can also listen to it as a conceptual album; it is as full of beats as it is full of thoughts. Rosa Anschütz plays piano, flute, and trumpet, she worked a lot with modular synthesizers in the beginning of her career. Her musical awakening experience was the Atonal Festival in Berlin, later she also danced a lot at Berghain, and Berghain DJ Max Kobosil remixed her song "Rigid". Rosa Anschütz reinforces her enormously versatile vocals -- ranging from a pleading breath to a cold new wave speaking voice -- with a relentlessly marching four-to-the-floor techno; but underneath it all, lay polyrhythmic deviations again and again. Clattering and trembling, deep basses digging into the ground, while shimmering veils of sound blow from above. Rosa Anschütz follows the traditions of dark wave and post punk, but carves deep notches of sound sculpture and romantic smoothness. Goldener Strom is a great pop album, full of melodies, aphorisms, and beats that immediately catch your ear. At the same time, it is a manifesto of artistic sovereignty -- precious and wise in our times of streamlined art. Includes lyrics sheet.
CAT #: CF 146LPBENT ARCANA Live Zebulon 2LP
"Recorded at Zebulon in Los Angeles as a warm-up show for a show I had booked in Holland. What was meant to be a jumping point for the 'first show' ended up being a real burning set. A slightly more stripped-down version on the ten-piece band [Bent Arcana] (for sake of ease) keeps it nice and concise. Nerves sometimes bring out these little lost jewels of which this recording is full of... gotta love improvisation for fleeting moments. Recorded super-hot by none other than our sound person Liza Boldyreva. Selections of songs from Bent Arcana and Moon-Drenched -- cockpit stoned space jazz here you come. Mixed by John Dwyer and mastered by JJ Golden. This hunky double disk sports a zoetropic screen-printed animation of the Death's Head moth circling on its D side that works with a strobe light off yer phone... fucking cool. Fucking hot. Dig in and be well." --John Dwyer
CAT #: CT 085LPPABLO, AUGUSTUS King Tubbys Meets Rockers Uptown LP
2022 repress; reissue of the 1976 historic collaboration between producer instrumentalist Augustus Pablo and dub engineer King Tubby."If you had to pick one album that best represents the pinnacle of the art of dub, you'd cull the candidates down pretty quickly to ten or 12, and it would get very difficult after that. Few would fault you for ending up with this one, though, which stands as perhaps the finest collaboration between two of instrumental reggae's leading lights: producer and melodica player Augustus Pablo and legendary dub pioneer King Tubby. Among other gems, this album offers its title track -- a dub version of Jacob Miller's 'Baby I Love You So'-- which is widely regarded as the finest example of dub ever recorded. But the rest of the album is hardly less impressive. 'Each One Dub', another cut on a Jacob Miller rhythm, possesses the same dark and mystical ambience, if not quite the same emotional energy, as 'King Tubby Meets Rockers Uptown,' and the version of the epochal 'Satta Massaganna' that closes the album is another solid winner. Pablo's trademark 'Far East' sound (characterized by minor keys and prominent melodica lines) is predominant throughout, and is treated with care and grace by King Tubby, who has rarely sounded more inspired in his studio manipulations than he does here. Absolutely essential." --Rick Anderson, All Music
CAT #: CPT 582LPVA Future Sounds Of Jazz Vol. 15 4LP
Four LP version. Cool, calm, collected: chapter 15 of this superlative series, compiled by Compost's head honcho Michael Reinboth. 21 tracks, eight exclusive, previously unreleased tracks. The exclusives by Aera (who has released the brilliant Innervisions), Arnau Obiols & KAYYAK (recently featured by Gilles Peterson in his "watch out for 2021" top five list), Ron Deacon (officially belongs to the Workshop-Crew together with other artists like Move D, Even Tuell and Kassem Mosse), Class Compliance (which are Manuel Tur with his Clavis partner Adrian Hoffmann, also known as Paskal & Urban Absolutes or Amberoom), Mille & Hirsch (operators of the fine Polish Records), All Is Well (Fred Everything), Ben Sturm (watch out talent of Leipzig's viral underground scene), and Oliver Kieser (best known as Kieser & Velten with their releases on G-Stone). This wonderful Esa Williams remix of Bantu Clan Vs Sarabi is also previously unreleased. Several magazines voted the Future Sounds Of Jazz as one of the best compilation series of all time. With this series, starting in 1995, the term Future Jazz became a genre landmark. Also features Typesun, DJ Nature, Brandi Ifgray, Maurice Fulton, Lucas Croon, Johanna Jaeremo, Marni, Kevin Yost, Toshio Matsuura Group, Esa & Nonku Phiri Kaap, Don Carlos, Shina Williams & His African Percussionists, Cotonete, DJ Deep & Romain Poncet, Rudoulpho, Martin Buttrich, and James Holden & The Animal Spirits.
COMPOST DISCO (GERMANY)
CAT #: CODIS 021EPVELMONDO & PRIORAT (FEAT. JONNY SPENCER) Random Acts Of Mindless EP 12"
Barcelona producers Velmondo (Hivern Discs) and Priorat have teamed up with Chicken Lips singer Jonny Spencer for an EP of deviant, darkly surreal and thoroughly epic house music, including the long-awaited release of Andrew Weatherall favorite "Dragging In The Mud". The EP, which will be released on Munich's Compost Records (Compost Disco), comprises two original tracks from Velmondo -- known for his work on John Talabot's Hivern Discs -- and young producer Priorat, who debuted on the compilation Hivernation from the same label. The release includes "Dragging In The Mud", which Weatherall played on his last NTS radio show before the much-loved DJ and producer's tragic death. Both original tracks feature debauched disco not disco beats, astral effects and production as deep as a Pacific trench, to which Spencer adds quirky spoken word vocals, pushing the music out to newly twisted and spaced-out plains. Absolutely essential for fans of Liquid Liquid, Liaisons Dangereuses or Suicide. The EP is completed with remixes by Barcelona's Marc Piñol and Swiss duo In Flagranti.
COSMIC ROCK (ITALY)
CAT #: COSMR 006LPH.P. LOVECRAFT H.P. Lovecraft II LP
Reissue, originally released in 1968. The second chapter, yet a revelation. Released on Philips in 1968, right after their '67 self-titled album (COSMR 005LP) this iconic psych-folk masterpiece still contains a refreshing and revelatory approach. The Chicago band, named after American supernatural fiction writer, is on the verge of some weird songwriting experience, as suggested by some explicit titles as "Mobius Trip" or "At The Mountains Of Madness". Celestial electro-acoustic harmonies and spacey keyboards gave way to mystical show, still entertaining nowadays.
CAT #: COSMR 007LPKAWACHI & FLOWER TRAVELLING BAND, KUNI Kirikyogen LP
Reissue, originally released in 1970. The Japanese keyboard player, vocalist, songwriter, and arranger joined forces with members of the Flower Travelling Band on this amazing release. Published for the sole Japanese market on major company London Records, the album is still considered one of the top releases in its own right, publicly praised by Julian Cope as a cornerstone of the (heavy) psych counterculture. Sharing some efforts with British contemporaries, the album is a brilliant example of how a -- basically -- hard rock combo could have gone so far with the help mushrooms and pills!
CAT #: DFPRROM 013LPPAN AMSTERDAM EAT LP
"EAT is the brand-new album from your favorite rapper trumpeter, Pan Amsterdam. Made with fans of both food and hip-hop in mind, the LP opens up a new pocket in the Pan Am dimension: the rapper-producer album. The whole thing's a collaboration with underground legend and Def Pressé family Damu The Fudgemunk. EAT lands in the wake of the success of Pan Am's second album, HA Chu. Food, of course, was a vital component in the culture of that work, with GUTS-produced single Carrot Cake receiving plaudits from the likes of BBC 6 Music, and interludes taking place over Chinese food. HA Chu was named his 'hostile industry diss record' by Bandcamp and 'a jazz musician's vision of what hip-hop can be' by The Times. Whereas HA Chu was conceptualized while Pan Am's real life alter ego Leron Thomas was on tour as Iggy Pop's bandleader (Iggy had loved Pan Am's debut LP, The Pocket Watch, leading to him asking him to write and produce his 2019 album Free), and saw guests such as Sleaford Mods' Jason Williamson and Doves' Jimmy Goodwin in his El Diablo guise, EAT's genesis was slightly different. About to fly on tour in Europe last year, Pan Am was in need of a DJ. Up steps Damu The Fudgemunk, fresh from creating his KPM library-sampling opus Conversation Peace (on Def Pressé Editions). Tour life led to a mutual musical respect, Damu creating soundscapes in his head as he got to know Pan Am's intricacies whilst performing together. 'We had some good hangs and talks,' recalls Pan Am. 'In those hangs and talks, it seems Damu was taking musical notes because the music he would give me was fitting like a glove. It reminded me that artists be observant and it pays off in the end. Damn fun making this project.' Perceiving the world in terms of taste, EAT is musically wistfully joyous and lyrically playful, a full menu with Pan Am your maître d' and Damu the chef du cuisine. Damu's beats are deep, warm, melodic and progressive, a perfect playground for the duality of Pan Am's beat poetry and Leron's caressing trumpet, which as always is a persona in itself."
CAT #: PT 3002LPVA Voices of Mississippi: Artists and Musicians Documented by William Ferris (LP Edition) LP
2022 restock. 2019 Grammy award winner: Best Historical Album and Best Liner Notes! Voices of Mississippi encapsulates the life's work of William Ferris, an audio recordist, filmmaker, folklorist, and teacher with an unwavering commitment to establish and to expand the study of the American South. Throughout the 1960s and 1970s, Ferris toured his home state of Mississippi, documenting the voices of African Americans as they spoke about and performed the diverse musical traditions that form the roots of the blues. This LP features blues and gospel field recordings made by Ferris between 1966 and 1974; all tracks are available on vinyl for the very first time. In addition to being a groundbreaking documentarian of the American South, Ferris is Joel R. Williamson Eminent Professor of History and senior associate director of the Center for the Study of the American South at the University of North Carolina at Chapel Hill. A former chairman of the National Endowment for the Humanities, Ferris co-edited the Encyclopedia of Southern Culture (1989) and is the author of multiple books. Printed inner sleeve.
FEEDING TUBE RECORDS
CAT #: FTR 240LPHURLEY, MICHAEL Redbirds At Folk City LP
2022 restock. "Here's an expanded vinylization of a boss live show from Snock and his Vermont roustabouts, recorded at Folk City on July 17, 1976. Most of it was first issued back in '88, as side two of the Land of Lo Fi/Redbirds cassette on Bellemeade Phonics. But some new masters showed up subsequently, so there's an extra song and a half available for your listening pleasure. And pure pleasure is what it is. I always believed I had seen Hurley play somewhere in NYC before this. I thought maybe it was during the Unholy Modal Rounders' stint at Broadway Charly's, but Woodbill has continuously disabused me of this notion over the years. By his count, there were zero Manhattan Hurley shows until after the release of the acclaimed Have Moicy! album in 1976. And he oughta know. Consequently, this was probably the first time Hurley brought his band out of the hills. Guitar, bass, drums, piano and trumpet, all of them beautifully in sync and swinging like the rural hippie boogie band they were -- tested by long nights in halls filled with rowdy snowmobilers and the women who love them. Hurley & the Redbirds were more than ready to bowl over the city slickers who filled Folk City this hot mid-summer evening. Snock's voice is limber and strong, flipping easily into falsetto and yodels, and the music is faultless. Something like the Platonic ideal of what 'bar rock' can be. They only do one tune from Have Moicy!, but nobody could have minded. The music rolls out like the sweetest-ever guzzle of maple syrup laced with Mello Corn Whiskey. So loaded, so powerful, you're likely to shit the bed if you listen lying down. So hop right up, and let the music shuffle your feet around for you. You'll be glad you did. Besides the boss sounds, this issue includes liner notes by Snock recalling the scene around Fairfield Vermont back in the summer of '75. It's a very nice read. Count yourself lucky. Don't delay." --Byron Coley, 2017. Edition of 2000.
CAT #: FTR 652LPELKHORN Distances LP
"Brilliant new instrumental fork-bending from the always amazing Elkhorn, presented here in a quartet setting I had not heard before. The basic band remains Drew Gardner on electric guitar and Jesse Sheppard on acoustic, but as often seems to happen with these guys, there are a couple more faces in the studio. This time it's two drummers. One is Ian McColm, a Virginia tub monster who has played in many excellent situations, including a 2012 Feeding Tube duo cassette with Daniel Bachman. The other drummer is DC-based Nate Scheible who does his own records and has also worked with everyone from Mark McGuire to Matt Wascovich. The wide foundational base these two provide allows Drew and Jesse to climb higher than they have ever dared before. By shifting the basic conceptual thrust closer to rock-qua-rock, this formation is capable of psyching-out with pure guitar force. The Ouroboran elements of open-form improvisation-based music really gel when the snakes are encouraged to eat their own tails. The drumming adds shimmer to the acoustic passages, and power distensions to the electric ones. Holding the strings accountable to forces of rhythm forces both the note and chord lines to twist in ways they otherwise mightn't. It's like the percussion challenges the guitars to not get too comfortable with a groove. Be prepared, fellas. Anything could happen. That said, Distances is a beautiful-sounding record. The core of Elkhorn has always known how to get to a real special musical spot, where acid flash meets acoustic burn. I'm just saying, the drums take this sound even deeper. You will get a lot of spins out of this one. Or I'll eat my hat." --Byron Coley, 2022
GET ON DOWN
CAT #: GET 51473LPDAVIS, MILES You're Under Arrest LP
"Pressed on crystal clear vinyl housed in a gatefold jacket with japanese stylized insert and deluxe obi strip. Remastered from the original analog tapes. A partner album to the previous Miles release Decoy this album is also produced by Miles and loaded with the synths of Robert Irving. You're Under Arrest has some surprising new looks at pop tunes by Michael Jackson and Cyndi Lauper and also features the return of John McLaughlin on guitar, and a guest performance from Sting. This is the final installment of the prolific and brilliant collaboration between Miles and Columbia Records. Also featured on this album are Al Foster, Kenny Garret, and Daryl Jones."
CAT #: GET 910EPCYPRESS HILL Ultraviolet Dreams/Light Another/The Phuncky Feel One 7"
"To commemorate the 30 year anniversary of Cypress Hill, Get On Down presents a series of 7 inch singles of every cut from one of the most legendary debuts of all time. When Cypress Hill came with their debut self-titled album 30 years ago, they made an immediate spark that captivated the hip-hop audience, critics, and then the world. Led by B-Real with his nasal, singsong delivery, and Sen Dog to play the perfect hype man, Cypress' debut fueled tales of revenge, revolution, recreational drug use, gangbanging, and cultural pride. Like Public Enemy before them, the production was also a key factor in what made this debut so groundbreaking. DJ Muggs was able to craft a blueprint that would change hip hop production with his innovative stoned-out beats. Cuts like 'How I Could Just Kill a Man', 'Pigs', 'Stoned is the Way of the Walk' and 'Hand on the Pump' made Cypress Hill an instant classic. Since its release, the album has won acclaim as one of Rolling Stone's Essential Recordings of the 90s and Top 100 Best Rap Albums by The Source Magazine."
CAT #: GET 911EPCYPRESS HILL Break It Up/Real Estate/Stoned Is The Way Of The Walk 7"
"To commemorate the 30 year anniversary of Cypress Hill, Get On Down presents a series of 7 inch singles of every cut from one of the most legendary debuts of all time. When Cypress Hill came with their debut self-titled album 30 years ago, they made an immediate spark that captivated the hip-hop audience, critics, and then the world. Led by B-Real with his nasal, singsong delivery, and Sen Dog to play the perfect hype man, Cypress' debut fueled tales of revenge, revolution, recreational drug use, gangbanging, and cultural pride. Like Public Enemy before them, the production was also a key factor in what made this debut so groundbreaking. DJ Muggs was able to craft a blueprint that would change hip hop production with his innovative stoned-out beats. Cuts like 'How I Could Just Kill a Man', 'Pigs', 'Stoned is the Way of the Walk' and 'Hand on the Pump' made Cypress Hill an instant classic. Since its release, the album has won acclaim as one of Rolling Stone's Essential Recordings of the 90s and Top 100 Best Rap Albums by The Source Magazine."
CAT #: GB 130CDAL-QASAR Who Are We? CD
Middle Eastern psych-rock collective Al-Qasar's debut album is an explosive mix of heavy Arabian grooves, global psychedelia, and North African trance music. The band calls it "Arabian fuzz." Brazenly electric and deeply connected. When continents collide, they make a thunderous sound. Al-Qasar create the soundtrack to that fission on their full-length debut, Who Are We? The musicians came together, from France, Morocco, Algeria, Egypt, and the United States. Shows followed, first in France, then in Europe and the Middle East. They put out an EP, the widely-lauded Miraj, recorded in Cairo. Work on Who Are We? began in December 2020, with Attar Bellier composing eight tracks that writhe and roar in skillfully controlled chaos. Bass, drums and traditional percussion create a deep, irresistible groove for the foundation, while electric saz and guitars build a wailing wall above, with Moroccan vocalist Jaouad El Garouge's ecstatic voice, steeped in his Gnawa upbringing, pulling inspiration from history as it strides into the future. Drawing on years of experience working in Los Angeles studios, Attar Bellier produced the album. Who Are We? translates the sound that inhabited his head into something physical that stirs spirit, heart and feet. The Dead Kennedys' Jello Biafra was a natural addition to "Ya Malak," his inimitable voice reciting a translation of Egyptian revolutionary poet Ahmed Fouad Negm, elevating the record's social critique while showcasing the first-ever English recording of Negm's work. Lee Ranaldo of Sonic Youth layers textured, brooding guitar over the first two cuts, "Awtar Al Sharq" and "Awal." The sweeping drones embrace the Moroccan bendir groove to magical results. Hend Elrawy, the acclaimed Egyptian singer whom the band met in Cairo, brings her powerful voice to "Mal Wa Jamal", whose Arabic lyrics promote a female-centric and humbling outlook on prostitution and its consequences. Like the other songs on the album, its social consciousness is carefully veiled in images. "Hobek Tawrat," for instance, can be taken as a love song, with its seductive, ringing opening on the electric saz that leads up to the aching voice of New York-based Sudanese innovator Alsarah (Alsarah & The Nubatones). One of the band's great coups is the track "Barbès Barbès," an ode and homage to the neighborhood in Paris where Al-Qasar first came together. The iconic Mehdi Haddab (Speed Caravan) added his oud virtuosity to the track. Who Are We? is a deep, exhilarating album. Its intensity never wavers, music that pulls from the hypnotic roots of North African trance and threads it into a fabric with the elaborate beauty of Arabic scales and the shock and thrill of rock'n'roll. Mixed by Alain Johannes (Queens of the Stone Age, PJ Harvey). Mastered by Grammy-winner Dave Collins.
CAT #: GRED 852EPHUDSON, KEITH Bloody Eyes 12"
2022 repress. 2012 reissue. Originally released in 1978. Includes dub. 45rpm.
CAT #: GRED 854EPMICHAEL PROPHET You Are No Good/Love And Unity 12"
2022 repress. Originally released in 2014. 45rpm.
CAT #: GREL 016LPRANKING JOE Saturday Night Jamdown Style LP
2022 repress. 2013 reissue. Originally released in 1980. "Ranking Joe a.k.a. Little Joe (born Joseph Jackson, 1 July 1959, Kingston, Jamaica) is a reggae deejay who rose to prominence in the 1970s and had continuing success in the 1980s. His big break in international terms came in 1980, when the Ray Symbolic Hi Fi sound system, with which he was then the resident deejay, toured the United Kingdom, raising his profile and helping his Weakheart Fadeaway become a major seller for Greensleeves Records."
CAT #: GREL 021LPWAILING SOULS, THE Firehouse Rock LP
2022 repress. Originally released in 1981. "Talk about a triple threat: first you have the (by this point well-established and effortlessly professional) Wailing Souls, one of the greatest of the cultural harmony groups; then you have the Roots Radics, the studio band that almost single-handedly defined the new dancehall reggae sound in the early '80s; and to make everything perfect, you have the unassailable team of producer Henry 'Junjo' Lawes (who can claim equal status with the Roots Radics as a dancehall pioneer) and engineer Hopeton 'Scientist' Brown. The result is 1991's Firehouse Rock, one of the finest reggae albums of all time; one which combines the Wailing Souls top-notch songwriting and harmony singing with the absolute best in studio accompaniment -- there may never be another reggae band with a sound as rock-ribbed as that of the Roots Radics. Each track is a highlight in its own way, but pay particular attention to the title track, the gently rolling 'Who Lives It,' and the smoky, apocalyptic 'Kingdom Rise Kingdom Fall.'" --AllMusic
CAT #: GREL 045LPCARLOS, DON Day To Day Living LP
2022 repress. 2012 reissue. Originally released in 1982. "Featuring the excellent backing of the Roots Radics band, Don Carlos' Day to Day Living includes ten self-penned, sophisticated roots-reggae cuts. With his slightly hoarse yet sweet vocals, Carlos takes on his usual topical mix of spiritual/Rastafarian themes, ghetto life, and dancehall culture, showing the kind of lovers rock and roots lyric blend also favored by contemporaries like Gregory Isaacs and Dennis Brown. Musically, Carlos alternates between the dimly lit, minimalist drum'n'bass backdrops on 'Street Life' and 'Hog and Goat,' and sunnier, bubbly organ and horn-driven cuts like 'Hey Mr. Babylon' and 'English Woman,' with the updated rock-steady cut 'I'm Not Crazy' standing out in particular. While producer Henry 'Junjo' Lawes (Barrington Levy, Eek-A-Mouse) supplies the album's rugged but slick backdrop, Scientist delivers a spacious, dub-tinged mix. Special mention should also be made of Winston Wright's tasty organ work throughout the set, and 'Flabba' Holt and 'Style' Scott's rock-solid rhythmic support. As is the case with his Harvest Time record, Day to Day Living includes some of the best music Carlos released in the '80s." --AllMusic
CAT #: GREL 2026LPGIBBS, JOE Dub Serial LP
2022 repress. Minimalistic/classic early dub LP by Joe Gibbs, first released on Joe Gibbs Record Globe label in Jamaica, 1973. Originally recorded at Randy's (Kingston, JA). Gets compared to "Black Board Jungle" and "Aquarius Dub", etc.
HEIMLICH MUSIK (AUSTRALIA)
CAT #: HMLLPV 003LPOBERST & BUCHNER Marble Arch 2LP
Clear water hits the surface of a grainy ball. The stream slowly dissolves and flows down the spherical structure until it finally drops on a candle. The flame extinguishes; fragile streaks of smoke ascend until they hit the rough surface of the colossal globe again. The cover art to Marble Arch, the second long-player of Vienna- and Berlin-based artists Oberst & Buchner, depicts masterly the dramatic juxtapositions the musicians have always been reflecting in their musical outcome. The massive density of a giant sound wall is contrasted by spacious openness. Fragile sonic details are sparkling out of colossal pitch-black clouds. The songs are filled with gentle warmth and cold roughness, bright digital clarity and deep analog crackle, ranging in style from pulsating dark-disco over classic pop to experimental ambient. The duo's two-week artist residency in a 250-year-old house, located in the mystic landscape of the Bavarian woods set this specific mood for the ten-track album which became a mixture of electronic synthesis, organic instrumentals and field recordings. Heavy-weight basslines in combination with bitter-sweet orchestral instrumentation and the minutiae of precise percussion recordings and drum programming are the characteristics that formed the sound of Marble Arch. Oberst & Buchner's way to deal with tension is in how they compose their song structures as extreme arcs of suspense in a near classical manner. Their intense dynamic arrangements always alternate between rise and explosion or implosion and fall. This way the compositions pick up the motive of creation and destruction throughout the long-player in the same way as the cover art. Taken together, all these fragments form the duo's signature cinematic articulation of dramatic slowed down club music and moments of surprise. Features Acud, Aydo Abay, Kalipo, Mimu, and Faber. 180 gram, marbled vinyl; gatefold sleeve; includes three exclusive art prints and digital download.
HONEST JON'S RECORDS (UK)
CAT #: HJR 020LPALLEN, TONY Lagos No Shaking 2LP
2022 repress. Honest Jon's Records reissues this 2006 classic from Afrobeat co-creator and master drummer Tony Allen. The much-lauded Lagos No Shaking pays tribute to the powerful sounds and rhythms of Allen's homeland of Lagos, Nigeria, marking a return to the classic percussive stylings which harken back to his seminal contribution to Fela Kuti's Africa 70 and Egypt 80. This is the real thing -- raw and uncut, recorded in Lagos over ten nights with a 20-piece band, including the finest musicians in the city, not least deep horn-blasting from Lekan Animashaun (Baba Ani) and Show Boy from the killer Fela line-ups, and the palm-wine veteran Fatai Rolling Dollar, who adds his throaty, commanding tones and throbbing agidigbo thumb piano to four tracks. There are the R&B sensibilities of Yinka Davies and Omololu Ogunleye; and Muritala Adisa adds touches of ewe, a form of spoken praise-singing rooted in ancient Yoruba tradition. But the key element is, of course, Allen's powerful, yet magnificently relaxed drumming, which keeps everything in perpetual rocking motion, tempering the hard funk edges of classic Afrobeat with earthier Lagosian flavors. Indeed, while the album's observations on Lagos life are aptly tough and sardonic, this is a warmer, more down-home, perhaps more humane album than anything Fela ever produced. Afro-funk, stone-classic dance music in six-minute chunks.
CAT #: HJR 041LPVA Africa Boogaloo: The Latinization Of West Africa 2LP
2022 restock. Honest Jon's presents a collection of music from '60s and '70s West Africa that is heavily influenced by Latin sounds from the era, representing a mutual cultural exchange that would have a permanent impact on the evolution of each region's trademark sound. Much of what makes modern Latin music so irresistible came from Africa in the first place. When the first waves of African rhythms, reconstituted in the Caribbean, returned home on radios and records, Africans -- especially in West and Central Africa -- received them with great enthusiasm. Staid dance bands that replicated European music soon began to swing as Caribbean accents settled in their rhythm sections. By the 1950s, Africa had produced its own Calypsonians, and more than one African musician changed his name to give it a Latin flavor. Some even composed songs in Spanish, while others wrote nonsense lyrics that only sounded like the real thing. No band mixed local and Latin styles more successfully than Orchestre Baobab and its leader Balla Sidibe. The mesmerizing "On Verra Ca" finds Baobab leaning in the direction of the stuttering mbalax sound that Youssou N'Dour carried to great popularity. Other Senegalese bands followed the trend, like the Rio Band, Orchestre N'Guewel, and Laba Sosseh from Gambia (like his compatriot Amara Toure) who styled himself as a salsa singer after his hero Johnny Pacheco. From Benin, Gnonnas Pedro sang in every pop style imaginable, but he seems especially at home in an Afro-Cuban embrace, as you will hear on the 1977 recording "Adigbedoto." The closing track also comes from Benin, a 1976 recording by the celebrated Orchestre Poly Rythmo -- though the singer, Pierre Tchana, hails from Cameroun. "Quiero Wapacha" features another Camerounian singer, Charles Lembe, and also from Cameroun is legendary African Jazz saxophonist, Manu Dibango, who is featured here alongside Le Grand Calle and Cuban flutist Don Gonzalo. Orchestre OK Jazz recorded any number of Afro-Cuban inspired sides: "Micorrason" is one of the band's earliest songs, recorded soon after their formation in 1956. There is no better evidence of the push-me-pull-you, back-and-forthing between two cultures than the Afro-Latin compilation we have here. All the flow from an unparalleled period of exuberance and creativity after World War II had ended and before homegrown tyranny had yet to descend on the land. It was Africa's moment, optimistic and free. You can hear it in the music. --Adapted from text by Gary Stewart, author of Rumba On The River: A History of the Popular Music of the Two Congos.
CAT #: HJR 049LPACTRESS Splazsh 2LP
2022 repress; 2LP version with embossed printing on cover. This is the eagerly?awaited second album by Werk Discs founder and controller Darren Cunningham. Splazsh is an adventurous, ultra-modern, thoroughly British affair, rummaging about in the inner lives of house and techno, and brilliantly elaborating the accomplishments of his debut, Hazyville (WERK 005CD). Determinedly off?the?map and resistant to pigeonholing, Cunningham is an enigmatic and playful figure, citing Francis Bacon and Monet as inspirations alongside Theo Parrish, Anthony "Shake" Shakir, Daft Punk, "binary codes and numeral systems," and The Avengers. He's a hard man to pin down -- somehow a key player in the post?dubstep diaspora and yet not there at all -- but everything comes across in his shape?shifting, richly-textured music. The South Londoner's acclaimed debut lived up to its name: a series of dream-like sketches and ideas. For Splazsh, the fog has lifted, the sounds are less submerged than before, but still sticky and close -- a signature combination of exuberance and introversion, luminescence and puzzlement. Unconstrained by the formal clichés of the dance music he loves, Actress' melodies and arrangements are enthralled by their own genies. Worlds of disturbance and melancholy revolve giddyingly inside the insidious funk of tracks like "Get Ohn" and "Lost." A range of musical influences is redrawn, from speed-garage to grime, with none crowned king. There is a reflectiveness -- the ambient drift of "Futureproofing," the radiophonic judder of "Supreme Cunnilingus" -- in amongst the industrial, synth?wave flavors of "Casanova," and the stirring, stately "Maze." Actress has quickly and justly become one of the most respected names in the UK's new dance music underground. His own label, Werk Discs, has proven itself one of the most formidable and taste?making UK independents of recent times, bringing the world extraordinary albums from Zomby, Lukid, Lone and Actress himself. In love with the mysteries of groove and repetition, Splazsh is both a culmination and a new beginning for Actress -- a substantial and eccentric work from a brave and coolly individual artist.
IN THE RED
CAT #: ITR 366LPLAMERE, LIZ Keep It Alive LP
"Liz Lamere has announced her debut album Keep It Alive via In The Red. After collaborating with late partner Alan Vega (Suicide) for over three decades on his solo work, and starting out playing drums in punk bands, she is releasing her own music. All of the music and lyrics were written and performed by Liz Lamere. It was recorded in her lower Manhattan apartment during lockdown, engineered by her and Alan's son Dante Vega Lamere in the same space where the Suicide singer constructed his light sculptures. They emerged with a riveting set of songs that are charged with an irrepressible lust for life and the feel for the contagious hook. The album was then co-produced and mixed by Jared Artaud and Liz Lamere, with Ted Young engineering the mixing sessions and Josh Bonati mastering. 'There's something very magical about creating music in the same environment where Alan created his visual art,' notes Lamere. 'His energy is pervasive and is inevitably infused in the recordings.' She continues: 'We were living through unprecedented times and Keep It Alive took adversity and uncertainty and turned it into a message of resilience and empowerment.' The album courses with the defiant energy that motivated Lamere through her early double life as both Wall Street lawyer and downtown New York musician before meeting and falling in love with Vega led to her becoming his manager, creative foil and keyboard manipulator on solo albums beginning in 1990 (Deuce Avenue, Power On To Zero Hour, New Raceion, Dujang Prang, 2007, Station, IT) and recently released lost album Mutator that launched the Vega Vault she curates with Jared Artaud. After Vega passed away in July 2016, Lamere found it cathartic writing down thoughts and observations in notebooks. Simultaneously, she and Artaud started collaborating, overseeing the mastering of IT and then co-producing and mixing Mutator; and during this time they naturally discussed an alliance on the solo album she knew would be forthcoming. Keep It Alive is an homage to a song on Vega's New Raceion album that has significant meaning for Lamere. It was one of the key lines she would chant on stage, becoming a staple of live performances with Vega. The vision behind the album is about preserving your own inner fire. Lamere commented 'Alan always encouraged me to make my own music, and I've waited until the time was right as I've been dedicated to preserving Alan's vision and building his legacy.'"
IPTAMENOS DISCOS (GERMANY)
CAT #: IDI 006LPLOCAL SUICIDE Eros Anikate LP
LP version. White vinyl. Local Suicide present their long-awaited debut album Eros Anikate via their own label, Iptamenos Discos. The title translates to "love invincible" and draws influence from a play written by Sophocles titled Antigone. The album holds true to the duo's "technodisco" sound that the couple has become so well known for and showcases their signature style of blending a retro feeling with a modern twist. In usual Local Suicide fashion, the duo's debut album showcases tongue in cheek modern-day circumstances, mystical adventures, and moody baselines; all tied up with the promises of happy endings. You can instantly hear that this album comes from the duo's hearts. Inspired by the travels and experiences they encountered throughout the pandemic, it's also a love letter to the friends they met during their career -- some of which are also featured on the album: Lee Stevens, Curses, The Hidden Cameras, Sissi Rada, Skelesys, Theus Mago, Hard Ton, Kalipo, and Greek new wave legend Lena Platonos. The producer couple has had a stunning amount of press coverage from leading electronic mags for their 13 EPs, numerous tracks on compilations, and remixes since 2014 on acclaimed labels, while Beatport declared them as one of the key figures in the uprising dark disco scene. They also recently played themselves in Fett & Fett, a series broadcasted on German national TV station ZDF, in which their musical productions were featured extensively as well. Their DJ career has carried them to all four corners of the world, from Europe, Asia and North Africa to South America and the United States, whipping crowds into a frenzy at Lollapalooza, Melt!, ADE, Off Sonar, Festival Forte, Berlin Festival and many more. Their live cuts have been honed to perfection with years of shows alongside the very best in the scene, even being invited by New Order to warm up for their live show in Berlin.
CAT #: ITA 120LPAIRCHINA LP 3 LP
Airchina, aka Nikolai Szymanski (born 1986, Düsseldorf), is a musician and visual artist. He uses a wide variety of media in relation to his work, with a focus on film/video, performance and music. Together with Lucas Croon and Martin Sonnensberger, he is a founding member as well as singer and lyricist of the band Stabil Elite. Listening to the new LP by Nikolai Szymanski, aka Airchina, you can hear threads back to his LP 1 (2018), in which sounds wove themselves silky-thin and -beautiful into a fine fabric of ambient and sound art, and whose powdery narrative continued in LP 2 (ITA 115LP, 2020) as a more plastic structure of electronic with nuances of pop. LP 3 is at once more constructive and more subtle in its compositional substance: a musical and diversely condensing emotional space in which all the (experiential) knowledge from what he had previously composed comes together in a body of work. Here, the momentary flows into a performative choreography in which each musical setting begins to shine prismatically and each individual track becomes an independently acting corpus in the structure of the whole. Includes printed inner sleeve.
CAT #: JPR 031LPOZKENT, MUSTAFA Genclik Ile Elele LP
2022 repress, black vinyl. "Originally released in Turkey 1973, Özkent's masterpiece (creation) of an all instrumental Turkish Psychedelic Funk album, filled with classic beats and breaks still inspires long time fans and first time listeners. The funky rhythms, hypnotic percussions, and heavy break beats makes this a holy grail amongst DJ's and music fans alike. Only a handful of copies from the original pressing are known to still exist making this reissue a welcome addition to any record collection. The concept is very complicated, futuristic and free from categorization. Traditional folk songs mixed with rock, jazz, blues, funk and psych. Özkent took traditional turkish folk songs and reconstructed them for the new 'hip' generation. It was recorded live in just one day with some of the best studio musicians in Turkey. The band was made up of 2 drummers, 2 guitarists, 2 percussionists, a bassist and a Hammond B3 organist. Özkent created his own unique guitar sound by adding extra frets and a clutch of effect pedals in order to create quarter notes and emulate turkish traditional scales. Mustafa Özkent has since made arrangements for hundreds of other artists in Turkey. But this unique album documents his most revered work. In the more than 40 years since the Mustafa Özkent Ve Orkestras? recorded Gençlik ?le Elele, it seems that the world is still just discovering this gem."
JIRAFA RECORDS (GERMANY)
CAT #: JIR 029EPKID SIMIUS & BONAPARTE Good Things 12"
Kid Simius & Bonaparte team up to create new music that is dedicated to the Balearic Sound of Ibiza of the late '80s and early '90s, which marks the dawn of club music and culture as it is known today and is considered the golden age of the white island. The full Good Things EP is released via Jirafa Records. Packed with mesmerizing original tracks such as the leading single "Good Things", the EP mixes the Balearic electronic world with indie pop and classic song structures. The songs will be accompanied with additional remixes by Maruwa and an edit by Lauer.
CAT #: KR 096LPALDINUCCI, GIULIO Real LP
Italian sound artist Giulio Aldinucci returns with his fourth album on Karlrecords: Real is again a truly masterfully composed and sound-designed ambient masterpiece and a more than worthy follow-up to the critically acclaimed Borders And Ruins (2017), Disappearing In A Mirror (KR 055CD, 2018), and Shards Of Distant Times (KR 076CD/LP), which all made it onto several year's best lists. With now his fourth album for Karlrecords, the sound artist from Siena, Italy has proved a steady and prolific artist on the label roster. And each time, Giulio Aldinucci delivers a new ambient masterpiece that clearly carries his signature as composer/producer and yet reveals a slightly different approach to his modus operandi. Aldinucci's massive layers of sound, built from field recordings and an array of electronic gear, blend drone-y ambient with heavenly voices/sacred music that create an atmosphere of a consolatory melancholy -- alien, but with a graspable presence of human souls. And each album deals with a topic that Aldinucci came across in his observations of and reflections about today's society. In the words of Giulio himself: "The digital media we live with shape and define reality by filtering it, letting us run the risk of living without our personal and unique one. My new album expresses a need of something unmediated and authentic. Real is a reflection on the endless possibility of sonic transformation, the ability we have to create new realities transmuting the soundscape around us and the inner soundscape inside us, even only by imagining it. A (deep)real experience permeated by dreamy lyricism." 180 gram vinyl; gatefold sleeve; includes download card.
CAT #: KR 098LPZEITKRATZER Alvin Lucier LP
By zkr director Reinhold Friedl's personal request now available on vinyl for the first time: zeitkratzer's critically acclaimed interpretations of compositions by Alvin Lucier. Alvin Lucier (1931-2021) was one of the most influential American minimalists. Some call him "sound physician" as his compositions are often based on acoustic research settings. His pieces tend to turn inside-out the properties of space and instruments: poems based on acoustic settings. zeitkratzer worked with the composer in Dijon, France in 2008, and presented his music in various places. These recordings have been realized at Philharmonie Luxembourg that turned out to be the ideal space for this music. On this album you can hear how Lucier enables zeitkratzer to create sounds a lot of people have never heard before. Ringing overtones, a singing piano, a thrilling concert triangle, pencils on little objects, and how irritating a violoncello, a viola and a piano can sound together creating shifting sonic interferences. Sound phenomenology, evoking a sensual listening experience. 180 gram vinyl; includes download.
CAT #: KRANK 072LPDEAD TEXAN, THE The Dead Texan LP
2022 repress on vinyl. "This is the first vinyl issue of the sole The Dead Texan album originally released in May of 2004." "Stars Of The Lid's Adam Wiltzie presents a collection of drone compositions that he considered too aggressive for his parent band -- which means they range somewhere between a whisper and a shout. The sense of cathedral-like reverence is balanced with extreme intimacy." --Pitchfork "This is quite possibly the best music available for slowly drifting into dreamland. Equal parts intrigue and sedative, The Dead Texan is an elegantly hypnotic album that manages to freeze time in addition to passing it." --Tinymixtapes "The Dead Texan remains a remarkably subtle and tranquil work. Disarmingly lovely..." --Textura
LA SCIE DOREE (BELGIUM)
CAT #: SCIE 912LPAF URSIN Trois Memoires Discretes LP
2022 reissue, originally released in 2012. Three introspective, instrumental compositions for English horn, flute, percussion, double bass, Hammond organ. Performed, recorded, and mixed by Timo van Luijk during 2010-2012. Remastered at Kulta Saha, 2021. Three introspective instrumental compositions for English horn, flute, percussion, double bass, Hammond organ.
LE POP MUSIK (GERMANY)
CAT #: LPM 054CDVA Le Pop 10 CD
Generation '22: Chanson with soul. When others celebrate anniversaries, they reminisce. Le Pop is different: Vol. 10 looks ahead into the future. The new compilation is younger, more feminine female and soulful than its predecessors. All the names are represented on Le Pop for the very first time. A new start, a new generation. New stars like Emma Peters, Iliona, UssaR, P.R2B, Ariane Roy, and Clou are all at the beginning of their careers but they will shape the chanson of the next years. Voyou, KCIDY, Malik Djoudi, and Laura Cahen are past their debut phase and have just released their most beautiful albums so far. They are joined by Edwige, Elisa Erka, and Camélia Jordana -- all singers who are also actresses, their cinematic flair bringing extra elegance to the genre. In addition to the clear majority of female voices, what is striking about Le Pop 10 is to hear how the new generation is influenced by the hip-hop and R'n'B of recent years. With emphasis on influence because despite soul-heavy melodies and experiments with spoken word, the Generation '22 nonetheless remains true to Chanson and French pop at its core. The French tradition is changed, however, by a new confident groove and flow. Le Pop 10 is more than an update of the genre, it is once again an exciting new beginning for Le Pop. Also features Palatine, Carla De Coignac, and Suzanne Lindon.
CAT #: LPM 054LPVA Le Pop 10 2LP
Double LP version. Generation '22: Chanson with soul. When others celebrate anniversaries, they reminisce. Le Pop is different: Vol. 10 looks ahead into the future. The new compilation is younger, more feminine female and soulful than its predecessors. All the names are represented on Le Pop for the very first time. A new start, a new generation. New stars like Emma Peters, Iliona, UssaR, P.R2B, Ariane Roy, and Clou are all at the beginning of their careers but they will shape the chanson of the next years. Voyou, KCIDY, Malik Djoudi, and Laura Cahen are past their debut phase and have just released their most beautiful albums so far. They are joined by Edwige, Elisa Erka, and Camélia Jordana -- all singers who are also actresses, their cinematic flair bringing extra elegance to the genre. In addition to the clear majority of female voices, what is striking about Le Pop 10 is to hear how the new generation is influenced by the hip-hop and R'n'B of recent years. With emphasis on influence because despite soul-heavy melodies and experiments with spoken word, the Generation '22 nonetheless remains true to Chanson and French pop at its core. The French tradition is changed, however, by a new confident groove and flow. Le Pop 10 is more than an update of the genre, it is once again an exciting new beginning for Le Pop. Also features Palatine, Carla De Coignac, and Suzanne Lindon.
LIFE GOES ON RECORDS (ITALY)
CAT #: LIFE 024LPMARCUS/MIROSLAV VITOUS/SONNY SHARROCK/DANIEL HUMAIR, STEVE Green Line LP
Reissue, originally released in 1970. Terrific session originally licensed on Japanese indie label Nivico in 1970. Recorded at Victor Studio, Aoyama, Tokyo on September 11, the album is the essential work of four wicked minds. Saxophone player Steve Marcus has been cutting his teeth in late sixties with the Jazz Composer's Orchestra, while Miroslav Vitous was the former bass player in jazz-rock pioneers Weather Report. Sonny Sharrock is still considered one of the most original players in creative music, his guitar playing almost as cutting edge as the tenor of his mentor Pharaoh Sanders. The man has been for several years in Herbie Mann band, while collaborating with the likes of Miles Davis and Wayne Shorter. Drummer Daniel Humair is another extraordinary profile, the Swiss musician has been covering the post-bop and avant-garde area collaborating with the likes of John Surman, Henri Texier, and George Gruntz. Hereby a single appointment that made history, navigating the realms of free-funk, hard-bop, and fire music.
CAT #: MMS 024LPMADLIB Pinata Beats 2LP
2022 repress. Double LP version. "There are few musicians - let alone beat-makers - in the world whose output in its raw form provides his listener with a full on musical experience before anything is added. Madlib is such a talent. Hip hop is his canvas, but he creates the most wondrous things with it. Before a microphone is switched on, before a rhyme is even uttered, a Madlib beat stands alone as a complete thing. Since the issue of the collaborative album with rapper Freddie Gibbs - Piñata, already being hailed as contender for rap album of the year - we've been asked countless times to issue the beats Madlib created for the project as instrumentals. And we've conceded. Piñata put Gibbs in the spotlight, one that a growing audience is finally acknowledging that he deserves. On Piñata Beats, though, it's Madlib, quietly spinning on the center stage. Through seventeen cuts of arcane film snippets, dusted funk and soul, psych and prog rock musical diversions, Madlib proves to live up to what Gibbs once said of him: 'Madlib quite simply, is music.'"
CAT #: METAPHON 010LPBRUYNDONCKX, JAN Rails and Other Tracks LP
First ever release of concrete and electronic collage works by Belgian underground sound explorer, Jan Bruyndonckx. Rails and Other Tracks contains autonomous compositions, music for film and documentary, all independently recorded in his private studio between 1958 and 1965. A small collection of adventurous and mysterious sound evocations with text/poetry (Paul De Vree) recited by Julien Schoenaerts.
CAT #: METAPHON 011LPFRITSCH, JOHANNES Kyo Mu / Hochtoner LP
First LP release of Johannes Fritsch, long-time member of the Stockhausen Ensemble. Composed 1974, recorded 1975 at Feedback Studio Cologne "Kyo Mu" and "Hochtöner" both reveal a mesmerizing symbiosis of innovative sound exploration and visionary interior music, a sublime compound of fine-drawn intricate arrangements skillfully projected in space and time, or perhaps beyond space and time. "Kyo Mu" features: Johannes Fritsch - tape (viola, electronic and concrete sounds); Hitomi Endo- Shakuhachi; Weltmusik-Kongress, Vlotho 11.10.82 - première recording. "Hochtöner" features: Johannes Fritsch - viola, tape; Rolf Gehlhaar - percussion; David Johnson - flute, synthesizer. Gatefold sleeve; edition of 500.
MOB CLASH RECORDS (ITALY)
CAT #: MCR 009CDNEGATIVE GAIN Back From The Dead CD
CD reissue, originally released in 1986. Negative Gain was founded in Oakville, Ontario Canada by Peter Warner who wrote all of the lyrics and provided rehearsal space in his basement. Filling out the lineup was Grant C. Slavin on guitar, Steve Currie on bass, and Andrew Mosely on drums. All members were in their mid-teens at the time. Their influences included Minor Threat, Millions of Dead Cops, the Misfits, and the Dead Kennedys, as well as fellow Canadian bands Direct Action and Sudden Impact. Killer thrash hardcore, fast and aggressive but with a dark edge at times originally out on Pushead's label Pusmort. Includes their full early demo as bonus.
CAT #: MONKEY 015LTDLPMODESELEKTOR Monkeytown 2LP
2022 repress, originally released in 2011. Berlin duo Modeselektor returns full-force with a new album whose immense energy and club-boiling beats will inject the global dance community with inspiration that reverberates across the entire musical spectrum. Flowing freely between styles and tempos, Monkeytown experiments with the edges and extremes, exploring fresh sonic territory from a solid base of beats located deep within the groove. With massive drums, minced vocals and a mastery of mounting tension, Modeselektor creates a new animal out of dance music, a mutating chimera with body parts of left-field hip-hop, soulful R&B, punk, rap and playful surprises. Contributing to the album is an exciting palette of guest vocalists and musicians, including Thom Yorke (Radiohead), Busdriver, PVT, Anti-Pop Consortium, Miss Platnum, Sascha Ring (aka Apparat), Pillow Talk, Gordon Boerger, Siriusmo and Otto von Schirach. Monkeytown immediately sets the stage on a higher level with intro track "Blue Clouds," which loosens limbs from the start with a deep and sparkling hook. "Pretentious Friends" is a full-throttle experience whose beats bump like elephants between Busdriver's scratched-up, screwed-down vocals. Thom Yorke collaborates on two tracks, contributing his production finesse and haunting falsetto to the dark tension of "Shipwreck" and to the psychedelic caverns of "This," where pixelated vocals echo from the shadows with ominous overtones. Trashy dancefloor rocker "Evil Twin" is drenched in metal and concrete, and Modeselektor pulls out hidden drawers of bass in the funky "German Clap," a steaming monster that grabs with gasping urgency. Miss Platnum rides low and slow into "Berlin," smoothly spreading vocals over the chunk-ridden rhythm, a luscious R&B offering to lap up like cream. The album breaks open entirely and monkeys run wild on "Grillwalker," a slamming club behemoth fashioned from mutilated 8-bits and a delirious bassline. PVT shines on "Green Light Go," a poignant, off-kilter track that shuffles forward between loose drums before lifting off into the ether. Beneath Monkeytown's exquisite orchestration and eclectic sound, pure energy is at the core of the release, vibrating with an emotional vivacity that dares to escape its sonic cage and fling itself upon the world. Joining the heavy ranks of Hello Mom! (BPC 115CD/LP) and Happy Birthday! (BPC 159CD/LP), Monkeytown will light up the club and the cerebrum with Modeselektor's incredible abilities to move the body, melt the mind and gather disparate genres and their listeners together in one monkey-filled, musical metropolis.
CAT #: MONKEY 076LPSIRIUSMO Comic LP
2022 repress, originally released in 2017. Pow, Boom, Splash! You will instantly recognize the rich brush strokes of this musical painter. Monkeytown linchpin Moritz Friedrich, aka Siriusmo, is back with a bang and a pencil. Following up 2013's Enthusiast (MONKEY 033CD/LP), his third full-length recording Comic sounds like its title suggests: colorful, rampant, funny, and hilariously foolish. Siriusmo maintains his very own sound and spot within electronic music, drawing from numerous styles and mashing it all through his personal beat-grinder, constantly understating and exaggerating. He's the innovator that has no such intentions at all. Here's what the master himself has to say about his new work: "Comic feels like dilettante kids drawings roughly sketched with a big marker, like abstract layouts as well as finely carved romantic paintings. 14 songs ripped from the pages of a coloring book to be vividly colored by you!" But don't worry, those pages will fill themselves with life as soon as the mellow and trippy patterns of the opening track set in. There are big and broken beats in "Wrong Password", extremely easygoing rave tunes like "Dagoberta", lots of genuine oddities like "Wixn", and the piano work on "Geilomant" even makes you think of some classic hip-hop track. Comparisons are futile, except for one: From the melodic vintage electro of "Dagoberta" to the sonic assault and whirlwind drum programming of "Bleat", there's a strong link to older Squarepusher records. Just replace the former's jazz and jungle roots with Berlin's musical history, and you get an idea of what Siriusmo is made of. Siriusmo may be the laziest genius around, though he's been all but unproductive since Enthusiast: In 2015 he joined forces with Modeselektor and toured Europe under the banner of Siriusmodeselektor, playing festivals from Glastonbury to Sonar. The same year he produced the debut album of Romano, Köpenick's one-of-a-kind rap phenomenon and close friend of Moritz. He remixed Moderat, collaborated with synth pioneer Jean-Michel Jarre, and contributed to Mr. Oizo's latest album (BEC 5156714, 2016), who's also appearing on Comic. So does Romano on standout track "La Bouche", delivering some tasty German phrases. Having been occupied recently with Roman's second album, his fans are very lucky that Moritz found the time to pin down a new Siriusmo album as well. He may not be a man of many words, but possesses a bold and singular musical vision. Also features Dana And Romano and Jan Driver.
CAT #: MONKEY 120CDCATNAPP Trust CD
Trust is a testament to resilience. The past two years have been tough for just about everyone, and while it would have been easy for Catnapp to let feelings of despair soak into her creative process, she refused to succumb to darkness. The Berlin-based Argentinian was determined to make something bright, energetic and uplifting, and nothing -- not even a global catastrophe -- was going to stop her from rallying people to the dancefloor. Her new album is loaded with futuristic pop hooks, yet Trust offers so much more than a simple sugar rush. This is a record that defiantly smashes through genre boundaries, hoovering up high-octane bits of hip-hop, R&B, rave, and even nu metal along the way. Catnapp -- an accomplished shapeshifter who's never been afraid to get weird -- is just as comfortable throwing down brash rhymes as she is singing dreamy ballads or unleashing a primal scream, and on Trust, all of those things (and more) frequently happen within the confines of a single song. Call it hyper pop if you must, but pop concentrate might be a more accurate term. Modeselektor -- whose similarly mischievous, genre-hopping exploits are well documented at this point -- provided creative guidance and lent a hand in the album's production, but they aren't the only guests on Trust. Catnapp's little brother Wilo does his best Linkin Park impression (and constructed the beat) on "Br34th3," and fellow Argentinian Methone cooked up the glimmering melodies of album opener "Need This." French trance/breakbeat/pop specialist Aamourocean contributes some technicolor wizardry to "Stay Unsaved," while American rapper John Debt provides a little satire, taking on the persona of a cringeworthy music industry phony for the hilarious skit "Skukinunu." O.L.I.V.I.A. (another Argentinian) helps to close out the album, seductively crooning on the Spanish-language "Despierta," a song where Catnapp sets aside one of her personal fears and sings in her native tongue for the first time in years. Trust does border on overload, but again, that's by design. The album arrives at a time when attention spans are short, interruptions are constant, multitasking has become routine and practically the entire history of music is now accessible at the push of the button. Modern life is hectic, and Trust plays out accordingly, transporting into the fractured headspace of someone who's listening on headphones as they go about their day.
CAT #: MONKEY 120LPCATNAPP Trust LP
LP version. Trust is a testament to resilience. The past two years have been tough for just about everyone, and while it would have been easy for Catnapp to let feelings of despair soak into her creative process, she refused to succumb to darkness. The Berlin-based Argentinian was determined to make something bright, energetic and uplifting, and nothing -- not even a global catastrophe -- was going to stop her from rallying people to the dancefloor. Her new album is loaded with futuristic pop hooks, yet Trust offers so much more than a simple sugar rush. This is a record that defiantly smashes through genre boundaries, hoovering up high-octane bits of hip-hop, R&B, rave, and even nu metal along the way. Catnapp -- an accomplished shapeshifter who's never been afraid to get weird -- is just as comfortable throwing down brash rhymes as she is singing dreamy ballads or unleashing a primal scream, and on Trust, all of those things (and more) frequently happen within the confines of a single song. Call it hyper pop if you must, but pop concentrate might be a more accurate term. Modeselektor -- whose similarly mischievous, genre-hopping exploits are well documented at this point -- provided creative guidance and lent a hand in the album's production, but they aren't the only guests on Trust. Catnapp's little brother Wilo does his best Linkin Park impression (and constructed the beat) on "Br34th3," and fellow Argentinian Methone cooked up the glimmering melodies of album opener "Need This." French trance/breakbeat/pop specialist Aamourocean contributes some technicolor wizardry to "Stay Unsaved," while American rapper John Debt provides a little satire, taking on the persona of a cringeworthy music industry phony for the hilarious skit "Skukinunu." O.L.I.V.I.A. (another Argentinian) helps to close out the album, seductively crooning on the Spanish-language "Despierta," a song where Catnapp sets aside one of her personal fears and sings in her native tongue for the first time in years. Trust does border on overload, but again, that's by design. The album arrives at a time when attention spans are short, interruptions are constant, multitasking has become routine and practically the entire history of music is now accessible at the push of the button. Modern life is hectic, and Trust plays out accordingly, transporting into the fractured headspace of someone who's listening on headphones as they go about their day.
CAT #: MONKEY 127LPAASTHMA Arrival LP
Arrival, the debut album from Swedish duo Aasthma, is big, bold, bright, and utterly fearless. It's described by its creators as a larger-than-life "secular rapture" that sounds like "Justin Bieber meeting up with Rotterdam Terror Corps to do an Abba cover at the Grand Ole Opry." The byproduct of a friendship, Aasthma is a collaboration between Pär Grindvik and Peder Mannerfelt, best known individually for their exploits in the techno realm. Calling Arrival a pop album might serve as an effective shorthand, but sonically, it's a high-fidelity whirlwind, occupying a dazzling sound world where Top 40 ballads and breakbeat rollers gleefully canoodle with trap bangers, neon-streaked EDM, and guttural dancehall. Arrival is absolutely Aasthma's vision, but it's not exactly a solo effort. Few acts would dream of enlisting both the sultry melancholy of HTRK vocalist Jonnine Standish ("It's Just Your Style") and the swaggering rhymes of Swedish rapper Silvana Imam ("Soulhack"), but Aasthma did just that and more, lining up what they describe as a "dream mixtape" that includes the talents of Shout Out Louds' front man Adam Olenius ("Lights Out"), Equiknoxx co-founder Gavsbourg ("Nod"), and glittery pop crooner Casey MQ ("3am"). Mixed by Aasthma together with Johannes Berglund (who's previously worked with FKA Twigs, The Knife, and Fever Ray), Arrival combines technicolor maximalism with the trademark sheen of Scandinavian pop.
NOTES ON A JOURNEY (GERMANY)
CAT #: NOAJ 005LPPHRYDDERICHS PHAELDA Bruchstuecke LP
Limited repress. Notes On A Journey present a reissue of Phrydderichs Phaelda's Bruchstuecke, originally released in 1981. Even those of you who are already familiar with the label's concept of rediscovering music which has unjustifiably been lost, overlooked, or forgotten will be surprised by the reissue of the six-track-record Bruchstuecke LP by free-jazz artists Phrydderichs Phaelda. This band was a short living school band project of the Gymnasium Voerde Mitte (West-Germany) led by pianist and music teacher Friedrich Schepers joined by other teachers and students: Hans Klimek on bass, Lutz Leonhardt on drums, Wolfgang Kulawik on guitar. In 1975 they went to the studio to record six instrumental tracks in a style that could be best described as jazz/fusion with hints of R'n'B and rock, which are brimming with crisp snare drums played in polyrhythmic and ever-changing patterns and tempos. Alongside that, the astounded listener gets to enjoy thrilling electric guitar lines and breathtaking electric piano excursions together with ultrawarm and elaborate bass guitar parts. All this is held together by the four musicians great overview and ability to improvise and react spontaneously to their fellows. This creates a kind of magic which is rare to hear in music these days. Stefan Leisering and Juergen von Knoblauch, the two record digging members of Jazzanova have immediately understood the unique quality of Bruchstuecke and decided to re-release this overlooked masterpiece. In the course of the original release of this album in the early 1980s only a small amount has been pressed. Now this reissue on Notes On A Journey provides this gem to a larger audience -- to people who share a great interest in the remarkable development of underground jazz in Germany during those years. 180 gram vinyl; Old school tip on cover; Includes download card.
CAT #: NA 5147LPVA Welcome To Zamrock! Vol. 1: How Zambia's Liberation Led To A Rock Revolution 2LP
Limited 2022 repress; Double LP version. Includes download card. Featuring Nogzi Family, Witch, Musi-O-Tunya, Chrissy Zebby Tembo, Amanaz, Blackfoot, "and every important Zamrock band." "Explore Zambia's liberation and its impact on the country's rock revolution. By the mid-1970s, the Southern African nation known as the Republic of Zambia had fallen on hard times. Though the country's first president Kenneth Kaunda had thrown off the yoke of British colonialism, the new federation found itself under his self-imposed, autocratic rule. Conflict loomed on all sides of this landlocked nation. Kaunda protected Zambia from war, but his country descended into isolation and poverty. This is the environment in which the '70s rock revolution that has come to be known as Zamrock flourished. Fuzz guitars were commonplace, as were driving rhythms as influenced by James Brown's funk as Jimi Hendrix's rock predominated. Musical themes, mainly sung in the country's constitutional language, English, were often bleak. In present day Zambia, Zamrock markers were few. Only a small number of the original Zamrock godfathers that remained in the country survived through the late '90s. AIDS decimated this country, and uncontrollable inflation forced the Zambian rockers that could afford to flee into something resembling exile. This was not a likely scene to survive -- but it did. Welcome To Zamrock!, presented in two volumes, is an overview of its most beloved ensembles, and a trace of its arc from its ascension, to its fall, to its resurgence."
CAT #: NA 5148LPVA Welcome To Zamrock! Vol. 2: How Zambia's Liberation Led To A Rock Revolution 2LP
Limited 2022 repress; Double LP version. "By the mid-1970s, the Southern African nation known as the Republic of Zambia had fallen on hard times. Though the country's first president Kenneth Kaunda had thrown off the yoke of British colonialism, the new federation found itself under his self-imposed, autocratic rule. Conflict loomed on all sides of this landlocked nation. Kaunda protected Zambia from war, but his country descended into isolation and poverty. This is the environment in which the '70s rock revolution that has come to be known as Zamrock flourished. Fuzz guitars were commonplace, as were driving rhythms as influenced by James Brown's funk as Jimi Hendrix's rock predominated. Musical themes, mainly sung in the country's constitutional language, English, were often bleak. In present day Zambia, Zamrock markers were few. Only a small number of the original Zamrock godfathers that remained in the country survived through the late '90s. AIDS decimated this country, and uncontrollable inflation forced the Zambian rockers that could afford to flee into something resembling exile. This was not a likely scene to survive -- but it did. Welcome To Zamrock!, presented in two volumes, is an overview of its most beloved ensembles, and a trace of its arc from its ascension, to its fall, to its resurgence. Explore Zambia's liberation and its impact on the country's rock revolution. The book, written by Eothen Alapatt and Leonard Koloko is the first investigation into the Zamrock scene, and is filled with original record artwork and rarely-seen photos of Zamrock's best ensembles."
ON THE CORNER RECORDS (UK)
CAT #: OTCR 12020LPEDRIX PUZZLE & THE DIABOLICAL LIBERTIES Double Drop Vol. 2 LP
On The Corner Records reveal the second instalment of their Double Drop series, pairing together two EPs from two different members of the OtC family, delivering a cosmically twinned, action packed slab of wax. Label boss Pete OtC developed this series to introduce record players around the world to new artists coming through On The Corner's region of the solar system. With vinyl manufacture in pandemic pandemonium and questionable environmental impacts of the efficacy of disco 12"s, it seemed like a prime time to get laying the OtC family's sonic landscapes onto highly collectible long playing EP pairings, with no represses and no compromise on the artwork, each side sporting a 20+ minute audio journey. On the A-side, and hot on the heels of the Dub Protection & The Sportswear Mystics cassette, The Diabolical Liberties present their Birds Of Paradise EP. This EP all but sold-out and follows the dynamite success of the duo's debut long player High Protection & The Sportswear Mystics (OTCR 011LP, 2020) and its follow-up hype cassette of dubbed-out versions (as well as a series of self-released and long sold-out white labels that included collaborations with Nyasha -- a moniker of Nubya Garcia -- and a super limited On The Corner 10" dubplate.) On the flip, having debuted on 2020's sold out triple-LP release Door To The Cosmos LP (OTCR 010LP), Edrix Puzzle are back with a stonking new EP Rise To Eris. With this new offering, Edrix Puzzle's core drums, sax, double bass, and percussion are augmented with spoken word, guitar and synths. Project founder and lead, Nathan "Tugg" Curran (drums, synths) is joined by long time collaborators Oli Savill (percussion) and Martin Slattery (bass clarinet, sax), as well as Tom Mason (double bass) and Josh Barry (spoken word) for this more acoustic, analog expression and surveying of extra-terrestrial forms with sparse synth manipulation and a sweet seasoning of electronic affectations. Exploring themes and energies in the territory of noir instrumental jazz the cinematic energy is unpinned with driving breaks and psych-fusion meanderings into the extra-terrestrial landscapes akin to Mwandishi (1971) era Herbie Hancock. For fans of: Gonjasufi, PiL, Luke Vibert, Andrew Weatherall, Gorillaz, The Heliocentrics, The Herbaliser, Karl Hector, Herbie Hancock.
OUTERNATIONAL SOUNDS (UK)
CAT #: OTR 009LPTAPSCOTT CONDUCTING THE PAN-AFRIKAN PEOPLES ARKESTRA, HORACE The Call LP
2022 restock. Available on vinyl for the first time in 40 years, Outernational Sounds presents Horace Tapscott's burning, spiritualized 1978 set, The Call. One of the unsung giants of jazz music, the composer, bandleader, arranger, pianist and community activist Tapscott was the undisputed keystone of the grassroots Los Angeles jazz scene. Throughout the 1960s and 1970s, his radical community arts and music formations the UGMA (Underground Musicians Association) and his protean big band, the Pan Afrikan Peoples Arkestra, were at the epicenter of music, culture, and politics in the Los Angeles area. Hundreds of musicians passed through these groups and played their part. Major figures such as Arthur Blythe, Azar Lawrence, Jimmy Woods, John Carter, Bobby Bradford, Sonny Criss, Ndugu Chancler, and dozens of others all paid dues or just got down with Tapscott, not to mention the core Arkestra regulars who have since become celebrated names; Nate Morgan, Jesse Sharps, Adele Sebastian, Dadisi Komolafe, and Gary Bias, to mention only a few. Tapscott and the Arkestra were down on the ground -- playing fundraisers in parks and streets, organizing teach-ins and workshops for young and old, mixing it with radical theater groups, firebrand poets, political radicals, Black separatists, community groups, and churches. As a result of this grassroots community focus and Tapscott's antipathy to the music industry, the Arkestra didn't record for nearly two decades. That only changed when long-time jazz fan Tom Albach started Nimbus Records. The label was initiated specifically in order to document Tapscott and his circle, and the first three records showcased Horace and the Arkestra. The Call was put together from two studio sessions in April 1978, one at Hollywood Sage and Sound, and one at United Western -- the latter session had the addition of a string section, who can be heard on the moody Cal Massey composition "Nakatini Suite" and Jesse Sharp's swinging modal trip, "Peyote Song No. III," with its swirling soprano solo. In keeping with the communal nature of the Arkestra, the other two compositions, "The Call" and "Quagmire Manor at Five A.M." are also by Arkestra members. But at the center of the music is the builder of the Ark, the visionary whose original call to action started a movement whose legacy continues to this day -- Horace Tapscott. Vinyl-only release, 180 gram pressing by Pallas, fully licensed from Nimbus West founder Tom Albach.
CAT #: OTR 010LPTAPSCOTT WITH THE PAN-AFRIKAN PEOPLES ARKESTRA, HORACE Flight 17 2LP
2022 restock. Outernational Sounds presents a cornerstone document from the Los Angeles jazz underground, Flight 17 -- the first appearance on record of the legendary Pan-Afrikan Peoples Arkestra, led by their founder and mastermind, Horace Tapscott. Available on vinyl for the first time in 40 years. The Arkestra would allow the creativity in the community to come together, would allow people to recognize each other as one people. Horace Tapscott's Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz in the 1960s and 1970s. If P.A.P.A. doesn't have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesn't ring bells like Monk or Tyner, there's a reason why: in an industry dominated by record labels, a band that doesn't record doesn't count. And the Pan-Afrikan Peoples Arkestra didn't record for nearly twenty years. But recording success was never their concern -- they weren't about that. First formed as the Underground Musicians Association in the early 1960s, Tapscott always wanted his group to be a community project. From their base in Watts, UGMA got down at the grassroots. The group was renamed the Pan-Afrikan Peoples Arkestra in 1971, and soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But they never released a note of music. It was the intervention of fan Tom Albach that finally got them on wax. Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early 1978 yielded enough material for two albums, and the first release was Flight 17. From the surging avant-gardism of Herbie Baker's title track to the laidback summertime groove of Kamonta Lawrence Polk's "Maui", or Roberto Miranda's up-tempo Latin jam "Horacio", Flight 17 showcased the radical voices of the Arkestra's members. Led out by Tapscott's hard-swinging piano, this is the first flight on wax of the West Coasts' foundational community big band -- energized, hip, and together. Contains two tracks previously only available on the 1997 CD edition: "Coltrane Medley" and "Village Dance", recorded live at the Immanuel United Church of Christ. 180 gram vinyl pressing by Pallas. Fully licensed from Nimbus West founder Tom Albach.
CAT #: PAMPA 038EPDJ KOZE Knock Knock Remixes 12"
&Me, the chunky critter, did it again! This hypnotic one-off, "Drone me up, Flashy" featuring Sophia Kennedy, was stoically crafted to be lifted into the next dimension with thousands of people. Where the hospitality of all-encompassing love and euphoria awaits with arms raised and eyes closed. Mano Le Tough found the original "Muddy Funster" so boring that he ran out of cigarettes. Even as a non-smoker! With his congenial version of this evergreens, this deranged pig forces his cranky perception on us and takes you into a mystical world in which no two stones are alike, but whose unique construction represents an earthquake-proof pyramid of love whose dimensions have perfect relationships to the size of the earth and to mathematical laws. "Illumination" featuring Roísín Murphy as Mano Le Toughs needs "A Birra Light Remix" persistently pulls you music-loving dance muffins under the disco ball with all the TikiTaka tricks in the book, only to let us go and spin gloriously free at the crucial moment. So beautiful, we dance, wow.
CAT #: PILOTTON 009LPBOOZOO BAJOU Dust My Broom 2LP
Reissue, originally released in 2005. Dust My Broom, Boozoo Bajou's second album after the worldwide success of their debut album, 2001's Satta (PILOTTON 005LP). First time available after the original pressing on !K7 back in 2005. Dust My Broom comes from the blues. In a figurative sense, this means, among other things, making a clean table and the beginning of something new, a new beginning; above all they open a new chapter in the Boozoo Bajou sound. You can hear a lot more vocals on "Dust My Broom", there is Joe Dukie the front man of Fat Freddy's Drop or the US country legend Tony Joe White. Also featured is Blaxploitation/Motown icon Willie Hutch and American singer Ben Weaver. With U-Brown, who was once MC for King Tubby and the English Jungle MC Top Cat, there is also a special reggae touch among the singers. The famous Boozoo'sche slowness has given way to an interest in variable rhythms and tempos, while maintaining the same leaning back. What has remained are the classic Boozoo constants. The atmosphere, for example, remains deep. The musical range: wide. Dust My Broom a classic that is in no way inferior to its predecessor Satta, will be available again on double vinyl. Also features Wayne Martin. 180 gram vinyl; gatefold sleeve.
CAT #: POTOMAK 825171EINSTURZENDE NEUBAUTEN Kollaps LP
2022 repress. Includes a large format 12-page booklet. Originally released in 1981, Kollaps is the seminal, form-destroying debut album by German industrial pioneers Einstürzende Neubauten (trans. "Collapsing New Buildings"). The band's use of junk metal, power drills, jackhammers and other surprising instrumentation would come to define their challenging and continually inventive career, making them not only one of the originators of industrial music, but one of the world's most influential and far-reaching forces at the intersection between avant-garde and rock music. Formed in 1980 in the wave of the Dadaist movement Die Geniale Dilletanten, after a series of devastating live performances and personnel changes (one of which briefly involving electronic musician Gudrun Gut), the band's line-up cemented itself with core members Blixa Bargeld, F.M. Einheit (previously of Hamburg-based post-punk band Abwärts) and N.U. Unruh. On Kollaps, a violent collision of urban primitivism and punk sensibilities, the trio declared war on every conventional way of listening, combining an intense mess of atonal guitar drones with brutal scrap metal percussion. At a time in Germany in which the wall encircling West Berlin transformed the city into a state-subsidized, near-paradisiacal freak-enclave for artists, Einstürzende Neubauten offered cathartic cascades of noise, employing steel parts, tin drums, drills, hammers, saws and untuned electric guitars, all crowned by Bargeld's bloodcurdling screams and feverish, apocalyptic texts. Kollaps, with its atonal essence, embodied exactly what the title suggested: decay and destruction, illness, doom and death. Years later, with the fall of the Berlin wall behind it, Kollaps still sounds as radical and extreme an artistic statement as ever.
PROFOUND LORE (CANADA)
CAT #: PFL 277CDLOCRIAN New Catastrophism 2CD
"The new Locrian album New Catastrophism is the first release from the band in seven years! They are also releasing Ghost Frontiers, an EP that comes as a bonus disc with the CD edition and a bonus digital download with the vinyl. New Catastrophism sees the iconic experimental music trio return back to their roots through four immersive tracks that signal towards the band's signature expressions of dark ambient, experimental music, drone and post rock. Massive dystopian sonic soundscapes presented through many layers of sound is the dominant audial canvas here. Locrian is a prophetic voice of decline. From the band's inception, they have comfortably straddled both the experimental and metal underground, weaving themes of apocalypse, urban decay, environmental destruction and birth/death/rebirth throughout their multifaceted and genre-defying releases. The trio formed in 2005 in Chicago and features Terence Hannum (synthesizers, vocals, tape loops), André Foisy (guitars, electronics), and Steven Hess (drums, electronics)."
CAT #: EZRDR 140LPHOLDEN, RANDY Population III LP
LP version. "How does one follow up one of the most legendary, yet rarest albums said to signal the birth of doom metal? If you're Randy Holden, you give everyone about fifty years to catch up, then casually drop a tastefully modernized reinterpretation of that sound. Population III picks up where Holden's 1969 solo debut left off, updated with several decades worth of technological advances and personal hindsight. Following his tenure in proto-metal pioneers Blue Cheer in 1969, the guitarist aimed for more control over his next project. Thus, Randy Holden -- Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. Along with drummer/keyboardist Chris Lockheed, Holden created what many say is one of the earliest forms of doom metal. Their six-song debut album Population II delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. However, troubles with the album's original 1970 release bankrupted Holden, who subsequently left music for over two decades. For good reason, it's widely hailed as a masterpiece, and until finally getting a proper formal release in 2020 on Riding Easy Records, was a longtime Holy Grail for record collectors. Flash forward forty years to 2010, one finds the guitarist/vocalist quietly coaxed into recording a follow-up album by Holden superfan and Cactus member Randy Pratt. Joined by drummer Bobby Rondinelli (who has played with Black Sabbath, Blue Öyster Cult, Rainbow), the trio cut the six-song collection of leaden future blues, Population III. 'Randy Pratt had written the basic song structures, he understood my music and where I come from quite well,' Holden says. 'He nailed it.' But the recording was ultimately shelved for over a decade. Throughout Population III, Holden effortlessly dishes out squealing, soaring leads and skull-thwacking riffs with his signature low end grit and penchant for Middle Eastern scales. Coupled with Pratt's pocket-locked bass, the slight flanging effect on Rondinelli's drums and his pugilistic beats, the album occasionally brings to mind Presence-era Led Zeppelin. At times, Holden sounds reminiscent of Neil Young leading Crazy Horse's ruptured grunge as his lilting falsetto vocals push and pull his guitar's siren's call. Population III is the real deal -- a powerful continuation of a sound forged fifty years ago, that almost didn't happen. Somehow, Randy Holden's music always finds a way to stand the tests of time."
CAT #: ROAR 026LPMCPHEE & CHRIS CORSANO, JOE Scraps And Shadows LP
2022 restock. Scraps And Shadows is the second album by the dream pairing of Joe McPhee and Chris Corsano. A follow-up to Under A Double Moon (ROAR 022LP), which featured McPhee's alto saxophone, Scraps And Shadows finds him largely on tenor. Recorded live in Milwaukee in 2011, the album consists of seven dedicatory pieces, from the delicate balladry of "For Adrienne P" to the appropriately combustible "For Han Bennink". Corsano's stupendously detailed drumming and McPhee's free-soul love cries weave a master latticework together. Cover art by Judith Lindbloom. Download coupon included.
CAT #: ROAR 036LP
FILE UNDER: CLASSICALCORNER, PHILIP Through Two More-Than-Mysterious Barricades (Improvizations After Francois Couperin) LP
2014 release. "Les Barricades Mistérieuses," the harpsichord gem by French Baroque composer François Couperin, has been a long-running source of exploration for Fluxus musician Philip Corner, who for years has used it as a jumping-off point for piano improvisations. Through Two More-Than-Mysterious Barricades comprises two very different takes on the same piece. The first dates from 1992, in collaboration with dancer Paulette Sears, who provides the "singings and screamings" of the album's subtitle. It moves from a frenzy of abstraction to a more meditative take on Couperin's composition, with diversions and tributaries along the way. The second, from 2004, is a rougher beast, recorded with wildly over-saturated levels, the tape machine itself becomes a participant in the performance, with its heavy distortion bringing out storm clouds of overtones from Corner's piano. Edition of 318 copies, with Corner's calligraphy silkscreened on Kozo rice paper and mounted onto the jacket.
CAT #: EDRM 431CDMOTA & DAVID GRUBBS, MANUAL Na Margem Sul CD
From David Grubbs: "This recording documents Manuel Mota's and my first public performance as a duo. We had played together previously for a recording session -- a relaxed afternoon at Lisbon's ZDB, where I recall zoning out, guitar in my hands, watching the endless throng of people Sunday-strolling past the plate glass window next to the stage. That deeply pleasurable afternoon session felt like a live accompaniment to a film. This recording also documents, for the both of us, a first indoor collaborative performance since the beginning of the pandemic. It felt familiar -- I do remember how to do these things -- and yet upped in its intensity of focus, and afterward that much more imprinted in memory, even prior to sitting down with this recording. It seemed I could have narrated it after the fact, its various twists and turns, which is not often the case for me with improvised concerts, details of which often vanish -- to return who knows when -- or transform into a series of disconnected impressions. One of the things that I love about Manuel's playing is that as a listener I quickly abandon my search for the logics of continuity that apply to most performers. With Manuel I rarely feel that I anticipate the shape of a given phrase in the time of its unfolding -- as a duo we're definitely not finishing one another's sentences -- nor do I sense that I'm tracking larger structures in the making to serve as signposts for the performance as a whole. The two of us first met more than a decade ago, but throughout many conversations we haven't spent much time speaking analytically about playing, never really compared notes from inside. It's not that we've chosen not to talk about music, or that there's a barrier or unspoken ideology to doing so. There's always something else to talk about. This concert took place in the Biblioteca Municipal of Barreiro, a smaller city to the southeast of Lisbon across the Tejo River estuary. 'Na margem sul' means 'on the south bank,' and is commonly used to refer to the area south of the Tejo. For a first time returning in many months to playing in an indoor setting, the library seemed an especially welcoming location." Personnel: Manuel Mota - electric guitar; David Grubbs - electric guitar. Recorded July 16, 2021 by Leonardo Bindilatti at the Auditório da Biblioteca Municipal, Barreiro, Portugal.
RUNE GRAMMOFON (NORWAY)
CAT #: RLP 3210LPHENRIKSEN, ARVE The Timeless Nowhere 4LP BOX/2CD
Limited restock. In a world where being loud seems to be the only ticket for attention, Arve Henriksen has somewhat quietly and without much ado established himself as an important, major player on the European jazz scene. In his 20 years with Rune Grammofon counting 11 solo albums (including one for ECM) and 12 albums with Supersilent (including two for Smalltown Supersound), in addition to four albums with Food as well as numerous collaborations, far too many to mention here. During these years he has also performed quite extensively in Europe, in later years being more choose-y, often preferring more unique venues and locations. Consisting of unreleased material from around ten years back and up until 2019, The Timeless Nowhere is not a compilation in the traditional sense, but can still be seen as a career overview including many facets of his work, at the same time portraying an artist on an unstoppable quest for discovery through exploration. Indeed, these are also four individual albums that could easily have justified separate releases, but at this stage in Arve's artistic journey it also made perfect sense to assemble them as a box set. The common denominator is about inspiration drawn from composers, collaborators, new discoveries and more specifically; spontaneous interaction with other musicians without other purposes than the music itself. No talk, no demands, no intentions, no explaining; just music in a timeless nowhere. "Captured Under Mountainsides" points to the wild landscape scenery of the area where Arve grew up in the western part of Norway; overwhelming and often strikingly beautiful, but also isolated and with a sense of melancholy. "Acousmograph" is Arve on his own, inspired by compositions and musicians, more experimental in nature and partly based on sketch recordings in odd locations. "Cryosphere" is a co-production with long-time collaborator Jan Bang re-modelling material from a series of evolving concert performances. "Towards Language - Live At Punkt" could be seen as a departure from Arve´s usual approach, but at the same time it´s not. This is not a static run through -- Arve would never allow that -- but rather the kind of re-imagining process that is such a vital part of his music making.
SECOND STATE AUDIO (GERMANY)
CAT #: SNDST 100EPPAN-POT Skin On Skin 12"
Second State founders Pan-Pot mark the Berlin label's 100th release with the three-track EP Skin On Skin. Berlin based duo Pan-Pot begin 2022 with a momentous milestone for their Second State imprint, including a fresh look for the long-standing label. The winning design by Philipp Ludwig was chosen out of hundreds of entries after the label launched a contest for this very special release in November of last year. Skin On Skin marks Second State's 100th release and showcases the variety of different sounds homed by the label since 2014 with three fiery contrasting cuts from its founders, giving a nod to the range and expression that Pan-Pot's imprint has come to be known for in today's techno scene. Raw cut "Skin On Skin" takes position as opener. Resonating bongos and rattling shakers incite a tribal element while ominous synths begin to unfold. Sandra Bjurman's taunting, faintly distorted voice comes in, claps and growling organs are layered over while metallic ringing gives way to the vocal once more. Twisted elements and the resonating drums are revived for the finale, closed out by a soaring Balafon. "Particle Fever" is next, kicking off with a resounding, impactful kick and gritty elements: jumping bass line and metallic stabs that ring out and halt swiftly. Yelping keys call out during the breakdown halfway through, exploding back into original pace with the addition of a weighty bass line and stripped back grittier elements. The closer "Bow" is characterized by warped and pulsating elements that march forward menacingly. A rumbling bass snarls beneath metallic strikes, an oscillating spring synth and a sliced up and brooding sample, injecting a haunting element. Grumbling synths hover buoyantly throughout, as the kick and mechanical elements continue with authority.
CAT #: SNDST 102EPBECK, GARY Supervan 12"
Glasgow's Gary Beck is back on Second State Audio with weighty four-tracker Supervan EP. A pillar of Scotland's techno scene, Gary has appeared regularly at some of the globe's most respected venues and festivals including Womb Tokyo, fabric, Output NYC, and Awakenings, to name a few. Title track "Supervan" opens with bouncing bass and rattling percussion. A chopped-up vocal is introduced and commands the track forward as it ascends, with the kick battling to harden the track over the grooving melody and anthemic keys. Next up is the spirited cut "Psycho Babble". A resounding sample attempts to cry out over the jacking bass and kick combo, calling out in ecstasy at intervals of the track. A minimal hi-hat jumps throughout but retracts as the track increases tempo and gallops towards the end, where Beck incorporates breakbeat elements for the final leg. "Sparks" follows with rhythmic shakers and hi-hats juxtaposing each other under the monologue of two young punters. The conversation adds a narrative to the track as it intensifies along with a gritty buzzing element. The voices become distorted as the track builds to crescendo, with the sample and music working together in unison to unravel the story of the character's night. The finale "Pink Castles" is a pacy and hypnotic trip, conjuring up the energy of both a peak-time workout and high-tempo closer. Haunting vocals and icy synths swirl around the driving elements and atmospherics, engulfing the listener into the darkness of this finishing track.
SHELTER PRESS (FRANCE)
CAT #: SHELTER 139CDTRICOLI, VALERIO Say Goodbye to the Wind CD
The Palermo born, Munich based composer, Valerio Tricoli, has forged a singular path within experimental sound practice, continuously rethinking the relationship between electroacoustic composition and narrative possibility. Say Goodbye to the Wind is his first album with Shelter Press. Across three intricate, deeply personal works of concrète music, the composer blurs the boundaries between the tangible and abstract, weaving complex allegories for the self. Most commonly created on a RevoxB77 reel-to-reel -- manipulating, live sampling, and real-time editing/mixing of field and studio recordings -- in Tricoli's hands, estranged moments of sonorous ephemera transmogrify and intertwine as metaphorical and allegorical sums, far greater than their parts. The title of Tricoli's sixth full-length is taken from a story by J.G. Ballard, set in the desolation of a holiday resort that rests among a landscape of endless rolling dunes that are populated by "sound sculptures" and monsters. Historically, one of the primary pursuits of musique concrete is the transformation of everyday sonority into abstractions of profound meaning and weight. While this process unquestionable played a heavy hand in the composition of Say Goodbye to the Wind, Tricoli's approach to the idiom sets the stage for something entirely unique. Not only are the practices of tape music applied to field recordings, but to the sounds of piano, synthesizers, objects, and the composer's voice, in addition to interventions by Ecka Mordecai (cello), Lucio Capece (soprano saxophone), and Ida Toninato (vocals). "Lo Spopolatore", draws its title from Samuel Beckett's short story Le Dépeupleur (The Lost Ones). Tricoli's work weaves together a multitude of sonorous fragments: field recordings, voice, and diverse instrumentation. "Mimosa Hostilis" -- the name of a Brazilian plant which contains DMT -- begins with same recording as its predecessor, made of his son's breathing, a few months after his birth, in the Sicilian sea wind. Here, Tricoli treats his sources with pointillistic precision, intermingling vocal and minimal instrumental gestures into a polyrhythmic patter that transforms commonplace sonority into aural echoes of wind, rain, the shadowy species within. The title of "De Vacuum Magdeburgicus" is taken from the name of the first paper published by Otto von Guericke, a 17th century, German scientist, inventor, and politician. While no less oriented around the abstract possibilities activated by field recordings, "De Vacuum Magdeburgicus" is the album's most explicitly musical work. Warbling instrumental sounds and vocal interventions, bent by the hand tape manipulation, push toward heightened states of drama and tension, pushing and pulling against a vast pallet of textures drawn from the natural word and beyond. Artwork by Mårten Lange. Mastered by Rashad Becker.
SOMMOR RECORDS (SPAIN)
CAT #: SOMM 075LPDROIN, DOMINIQUE Wave On LP
LP version. Includes insert and download card with two bonus tracks. Edition of 300 (hand-numbered), First ever reissue of this impossible to find private acid-folk album from France, released in 1972, related to Long Orme and originally released as a tiny pressing on cult Kiosque d'Orphée label (the French Deroy). Recorded by French musician Dominique Droin (later a Gipsy Kings backing musician) and some friends/musicians at a basement studio, the album has a charming homemade vibe and melancholic atmosphere with a strong UK folk influence (think Donovan, John Renbourn, Bert Jansch, or Nick Drake). Beautiful songs in English with acoustic guitars, flute, cello and even full electric backing on the monster eight-minute psychedelic title track.
CAT #: SOMM 076LPHUGO Y OSVALDO La Bossa Nova de Hugo Y Osvaldo LP
First ever vinyl reissue. After the demise of Los Shakers, brothers Hugo and Osvaldo Fattoruso released in 1969 La Bossa Nova de Hugo Y Osvaldo. Here, they paid homage to the music they grew-up with: jazz, bossa nova, and candombe but adding Beatlesque pop-psych and Brazilian/Latin sounds to the mix, following what they had already done with Los Shakers in songs like "Never Never" or "Adorable Lola". Cool covers of Burt Bacharach, George Harrison, and candombe pioneer Manolo Guardia blend together with lovely self-penned songs and even new, bossa-styled versions from Los Shakers catalog. Recorded in 1968 mostly by Hugo and Osvaldo playing all the instruments by themselves, it was originally released in 1969 in a tiny edition of 400 copies, making it one of the most desirable collectable albums related to Los Shakers. The missing link between Toto's Bar and Opa's Goldenwings (1976). Hard cardboard sleeve with OBI; includes insert with detailed liner notes and photos; also includes download card.
CAT #: SOMM 079LPRUNNING MAN, THE The Running Man LP
Bootlegged many times on vinyl, here's an official reissue of The Running Man's self-titled album. Top-notch hard progressive album with blues/jazz influences, originally released in 1972 on the collectable RCA-Neon label. Featuring the legendary Ray Russell (John Barry Seven, Graham Bond, Georgie Fame...) on devastating fuzz guitar plus Alan Greed (Harsh Reality) on bass, Alan Rushton (Mouse) on drums, and Gary Windo (Centipede) on sax. Fantastic remastered sound by Ray Russell. Original artwork in gatefold sleeve plus color insert with liner notes and rare photos/memorabilia. RIYL: Procol Harum, Thirsty Moon, Raw Material, Tonton Macoute, ELP, Patto. "... a genuinely experimental rock LP" --Galactic Ramble
SONIC CATHEDRAL (UK)
CAT #: SCR 170LPBELL, ANDY The View From Halfway Down LP
2022 restock; LP version. Blue vinyl. Ride guitarist/singer Andy Bell releases his debut solo album. The product of a gradual, four-year process and finished during lockdown, the album was entirely written and recorded by Andy, engineered by Gem Archer and mastered by Heba Kadry. Back in 2016, Andy was inspired by David Bowie's death to be more proactive about finishing his songs, more confident about sharing them and to channel all of this into finally making a solo album. He laid down some tracks in former Beady Eye and Oasis bandmate Gem's studio, but got diverted when Ride's live reunion blossomed into a full return. A run of two albums, an EP and two world tours later, it would take a pandemic to give Andy the space to complete The View From Halfway Down. From the ecstatic psych pop of "Love Comes In Waves", to the heady loops of "Indica" and deeply groove-led "Skywalker", the eight tracks mix summery melodies with soundscapes and studio experimentation. The end result sits neatly between Ride's widescreen shoegaze and GLOK's textured electronics, variously inspired by The Stone Roses, Spacemen 3, The Beatles, The Byrds, The Beta Band, Stereolab, Neu!, Can, John Fahey, The Kinks, The La's, The Who, and the United States Of America. As for the album title, it comes from a particularly dark episode of BoJack Horseman and a poem that scriptwriter Alison Tafel wrote for the penultimate show. The spoiler-free version of the story goes like this: "The poem describes someone committing suicide by jumping to their death and the regret the protagonist experiences when he sees 'the view from halfway down'. Although, of course, it's too late to change what's going to happen. I read this poem as having a message of suicide prevention: if you could see the view from halfway down, you would never go through with anything that would end your life. I've never been suicidal, but I felt really moved by this brilliant poem when I watched the show during Ride's US tour in Autumn 2019 . . . The early stages of lockdown, you could feel the tension in the air, causing what felt like a global panic attack. But, in common with what I've heard from others who can experience anxiety for no reason in their everyday lives, I felt strangely calm in the midst of all of this, seeing things in my life very clearly. Such clarity allowed me to finally compile this record..."
SOWING RECORDS (ITALY)
CAT #: SOW 025LPKIRK WITH JACK MCDUFF, ROLAND Kirk's Work LP
Reissue, originally released in 1961. Roland Kirk was one of the most creative, extravagant figures in jazz history. A master multi-instrumentalist with no boundaries in terms of language, style, and technique. Here, you find him co-leading a strong studio session with organ specialist, Jack McDuff. Backed up by Joe Benjamin on bass and Art Taylor on drums, Kirk and McDuff give voice to a soulful post-bop set full of groovy riffs and highly inventive instrumental ping pong. Recorded by Rudy Van Gelder and released in 1961 by Prestige Records, this is a fine early step in Kirk's varied and intense career. Clear vinyl.
CAT #: SOW 029LPQUEBEC, IKE It Might As Well Be Spring LP
Reissue, recorded in 1961 and released on Blue Note in 1964. It May As Well Be Spring is often considered as an ideal companion to Ike Quebec's famous Heavy Soul (SOW 009LP). Here, the saxophone player displays a relaxed set of standards, including classic songs from the American repertoire such as "Willow Weep For Me", "Lover Man", and "Ol Man River". Perfect material to express his warm, lyrical tenor sax voice while Freddie Roach on organ, Milt Hinton on bass, and Al Harewood on drums perform with their usual high sense of interaction. Clear vinyl.
SUBALTERN RECORDS (UK)
CAT #: SUBALT 029EPOME, BUSTED FINGERZ & YOOFEE Raw EP 12"
The first Subaltern release of 2022 sees three outstanding producers coming together to deliver a bass-blessing for all connoisseurs of the finer frequencies. "Raw": The name says it all here, a rough and raw slice of sub science. "No Runnin'": This time Ome teams up with Berlin-based Busted Fingerz to conjure a heavy roller that'll have you running for cover. "Talkin' Mathematics": For the second collaboration of this EP Ome invites Yoofee for the ride, and it's a bumpy one! Get ready for some serious sub equations.
TUFF KONG RECORDS (ITALY)
CAT #: TKR 201LPKAZI & MADLIB Blackmarket Seminar 2LP
"Blackmarket Seminar, an album by Kazi and entirely produced by Madlib. Guest features by Madlib, MED, Wildchild, Declaime (Dudley Perkins) and Oh No. The album was recorded in 1996 and now digitally remastered in 2016 and re-remastered in 2021. Kazi says: 'We recorded this album in the wee hours at CDP studios back in '96. It was pretty much me, Madlib and Declaime in the lab when this album was recorded.' I learned so much from Lib cadence, rhyme patterns, timing and how to dig for records. What some people don't know is this cat actually took the time to show me how to make beats. I must say working with Lib was an amazing experience. The Blackmarket Seminar is a very raw and dark album. We came up with Black Market because at the time we were doing hip-hop that nobody else was doing and to us you could only get it on the 'Black Market'. When you first play the album you'll hear characters on a skit in search of the black market seminar. We really tried to make it seem like the characters were outside walking around looking for it. We recorded a new video for the song 'To Be Lost' as it is about MCs selling out to remain in the game and still makes perfect sense in the present day.'"
TWO GENTLEMEN (SWITZERLAND)
CAT #: TWOGTL 101LPYOUNG GODS, THE Play Terry Riley In C 2LP+CD
The Young Gods release a record with Two Gentlemen, Play Terry Riley In C. Needless to say this is a fertile meeting between two monuments who have helped shape the cutting-edge music of the last few decades. Terry Riley, born in 1935, is the cornerstone on which a considerable number of artists have relied to liberate their relationship to the process and methods of creation. In the same way, The Young Gods revolutionized, from the second half of the 1980s, their relationship with rock music by converting guitars into samplers. Composed and premiered in 1964, In C is a major piece in the contemporary music repertoire of the second half of the 20th century, and a pivotal moment in its history. The score for In C is reduced to 53 musical phrases, which each musician must repeat in the order in which they appear, as many times as he or she wishes; the instrumentation is not specified; the impetus for the performance is not given by an orchestral direction, but by the musicians listening to one another. A perfectly open work, In C was the first work to offer a successful synthesis of repetition and variation. The Young Gods first approached In C in 2019 at the invitation of Benedikt Hayoz, director of the Landwehr wind orchestra in Freiburg -- this resulted in a performance of the work with 85 musicians. Other approaches were made with Ensemble Batida, a Geneva-based contemporary music collective, with the dance company Alias, and with the documentary filmmaker Peter Mettler, for his film Petropolis. In this album, The Young Gods offer a new interpretation of In C, as a trio and with their own sound vocabulary -- electronic instruments, drums, and guitars. They have chosen to follow the score and Terry Riley's indications, while allowing for some additional freedom, for example in terms of managing the sound intensity -- which evolves, in several long cycles, from almost silence to eruption and back again. They have also chosen to maintain a constant tempo throughout the live performance by building up a hypnotic flow and a continuous musical presence that meanders and oscillates in perpetually changing rings and atmospheres that transform in a perfectly fluid manner. By developing through a series of crescendos and decrescendos, by playing on the repeated addition and removal of musical phrases, by working sensitively on the sound quality (timbre, grain, alterations) of its elements, the piece aligns a series of ascents, ecstatic plateaus and lulls that give the work as a whole all the characteristics of a living form. Double LP version includes CD.
VINYL LOVERS (RUSSIAN FEDERATION)
CAT #: VL 900051LPVELVET UNDERGROUND, THE The Velvet Underground & Nico LP
2022 repress. Although Warhol, who was listed as producer on the album, allegedly gave the Velvets free reign over their sound, it was on his insistence that Nico performed on this album. However, this does not detract from the fact that when this album was made the Red Sea parted, and the Velvet Underground crossed into the Promised Land. Deluxe gatefold jacket with peeling banana and "Chelsea Girls" bonus track on B5
CAT #: VP 4212CDCONGOS, THE Heart of The Congos (40th Anniversary) 3CD
40th anniversary, triple-CD edition of The Congos' legendary Heart Of The Congos.
WOO ME (UK)
CAT #: WOOME 011LPFLOODLIGHTS From A View (Yellow Vinyl) LP
2022 repress. LP version. Yellow ochre vinyl. Edition of 400. Edgy Antipodean indie-rock/jangle for fans of The Clean/Flying Nun/Rolling Blackouts/The Vaselines/Goon Sax/Go-Betweens. From A View is the debut album from Melbourne's Floodlights. From A View explores themes of identity, personal cross-roads and the misuse of power. The band's first exploration into proper studio recording with a well-regarded sound engineer. It was recorded over two days onto a 24-track tape machine at Head Gap studios in Preston in November. Floodlights are made up of members Louis Parsons, Ashlee Kehoe, Joe Draffen, and Archie Shannon. They present a distinctly Australian perspective, with a shambolic, catchy sound that melds '80s indie-rock rock with '90s New Zealand jangle-pop. Following a tour of Australia's East Coast in October 2019 the band began working on From A View. The songs were arranged and performed as a band, but often began from Louis or Ash presenting ideas to the group and building on them from there. The songs themselves were written over various points in the bands short career, yet come together very fittingly to show their distinct sound. Lead single "Thanks For Understanding" is about two lives going in different directions. It describes the complicated process of growing apart from someone, even though you still care for them. Nao Anzai (Rolling Blackouts Coastal Fever) engineered the album and then mixed it over the infamous Australian summer. Mikey Young (Total Control/Eddie Current) recently added the final touch with mastering.
WRWTFWW RECORDS (SWITZERLAND)
CAT #: WRWTFWW 066LPHIROSE, YUTAKA Trace: Sound Design Works 1986-1989 2LP
Double LP version. WRWTFWW Records announce the release of Yutaka Hirose's never-heard before 11-track collection Trace: Sound Design Works 1986-1989, with liner notes from the artist. Trace is a collection of 11 unreleased tracks produced by Yutaka Hirose between 1986 and 1989, during the Sound Process Design sessions, right after the release of his classic Soundscape series album Nova. Sound Process Design was Satoshi Ashikawa's label, home of the Wave Notation trilogy (Hiroshi Yoshimura's Music For Nine Postcards, Satsuki Shibano's Erik Satie 1866-1925, and Satoshi Ashikawa's Still Way). Following Wave Notation, Sound Process Design worked with museums, cafes, and bars to create site-specific soundscapes, starting with the sound design of the Kushiro Museum. Yutaka Hirose was called to work on these projects. Rather than simply providing pre-recorded compositions, Hirose sought to create a "sound scenery". To achieve this, he participated in the conception of the space and paid particular attention to the accidental combination of sounds by placing the speakers, using a multi-sound source, and following the concept of "sculpturing time through sound". The composer explains: "sculpturing time through sound means that time, the space itself, the sound played in it, and the audience all become one sculpture. It is close to the idea of a Japanese tea ceremony where you use all of your five (or six) senses to taste the tea." Trace: Sound Design Works 1986-1989 is divided into two parts. The Reflection segment is based on an ambient soundscape. It narrates "a sleep that starts with the sound of water droplets at dawn and slowly disappears into darkness" and feels like a natural and soothing progression of Nova. It was played in entrance halls, at events, in cafes and bars. The "Voice From Past Technology" segment expresses the dream world born out of that sleep and is based on what Yukata Hirose calls hardcore ambient, environmental music with a noise approach. It was played in museums and science centers. All in all, Trace is a crucial addition to every Japanese environmental music fan's collection, alongside Midori Takada's Through The Looking Glass (WRWTFWW 019CD/LP), Hiroshi Yoshimura's Green, Satoshi Ashikawa's Still Way (WRWTFWW 030CD/LP), Motohiko Hamase's Notes of Forestry (WRWTFWW 034CD/LP), Inoyamaland's Danzindan-Pojidon (WRWTFWW 040LP), and Yutaka Hirose's very own Nova (WRWTFWW 028CD/LTD).
CAT #: XI 119CD
FILE UNDER: CLASSICALRADIGUE, ELIANE Trilogie de la Mort 3CD
2022 restock; 1998 release. Voted one of 1998's top 15 Records of the Year in Modern Composition by the writers and critics of The Wire, Trilogie de la Mort is a work in three parts for anolog Arp synthesizer. The first third of the work, Kyema, is inspired by The Tibetan Book of the Dead and invokes the six intermediate states that constitute the existential continuity of the being. Kailasha, the second chapter, is structured on an imaginary pilgrimage around Mt. Kailash, one of the most sacred mountains in the Himalayas. Koumé makes up the last part of the trilogy and emphasizes the transcendence of death.new releases are also viewable at https://www.forcedexposure.
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