New music is due from AVR, Locrian, and Bill Orcutt, while old music is due from Freddie Hubbard, Sleep, and Leo Kupper.
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17 NORTH PARADE
CAT #: VP 4108CDGIBBS & THE PROFESSIONALS, JOE African Dub (Chapter Two) CD
2007 release. "The second volume in this vintage four-disc series of instrumental dub from Joe Gibbs' studio finds him still working with members of the Soul Syndicate and We the People bands, and utilizing the formidable mixing talents of Errol Thompson. What sets this volume somewhat apart from the other three is the number of rhythms it carries over from the rocksteady era: 'Chapter Two' is a remix of the Techniques' late-'60s classic 'Queen Majesty'; 'Peeping Tom' reworks the Melodians' 'You Have Caught Me'; and 'My Best Dub' is an instrumental and nicely dubbed-up recut of the early Wailers track 'Hypocrites.' But it also includes some heavyweight rockers and one-drop material, including 'Angola Crisis' (based on a familiar rhythm later used for such roots reggae hits as 'Uptown Top Ranking' and 'Three Piece Suit') and an absolutely brilliant dub mix of Bob Andy's 'Chained,' here rendered in dark, minimalist tones with drastic dubwise effects and retitled 'Third World.' Along with the third volume, this is one of the most impressive of the four discs in the African Dub series." --AllMusic
CAT #: VP 4110CDGIBBS & THE PROFESSIONALS, JOE African Dub Chapter 4 CD
2007 release. "The fourth and final volume in the African Dub All-Mighty series was originally released in 1979, and like the previous three discs it features rhythm tracks laid down by such famous session men as Sly Dunbar, Robbie Shakespeare, Lloyd Parks, and Franklin 'Bubblers' Waul, most of whom were already known as members of the Revolutionaries and the We the People band, but who recorded at Joe Gibbs' studio as the Professionals. Errol Thompson ran the board for all four collections of dub mixes, and while this fourth installment isn't quite as inspired as the third, it's also a bit more interesting and adventurous than the first. Some of these mixes are two or three times removed from the vocal tracks that were originally released -- 'Iron Gate,' for example, is a dub mix of a recut (by Althea & Donna) of the Heptones' proto-slack rocksteady classic 'Fattie Fattie'; 'Fashion One' is a remix of Dennis Brown's remake of Alton Ellis' 1960s classic 'Girl I've Got a Date.' Everything here is worth a listen, though 'Power Pack' (based on the instrumental 'Drum Song' by Sound Dimension) is a bit tedious and would have benefited from a more aggressive dub treatment. Recommended overall." --AllMusic
CAT #: VP 4151CDGIBBS, JOE Reggae Anthology: King Scorchers From The Early Years 1967-73 2CD
2009 release. Features Roy Shirley, The Pioneers With Lynn Taitt & The Jets, Errol Dunkley, Stranger & Gladdy With Lynn Taitt & The Jets, Stranger & Gladdy With Lee Perry, Lee Perry & Dennis Alcapone, Keith Blake, Tyrone Taylor, The Pioneers, The Conquerors, The Reggae Boys, The Soulmates, Ernest Wilson, The Soul Sisters, The Young Souls, Ken Parker, Ken Parker & The Destroyers, Johnny Moore, Niney & Slim Smith With The Destroyers, Count Machuki & The Destroyers, Sir Lord Comic & The Destroyers, Nicky Thomas & Sir Lord Comic, Lizzy & Cornell Campbell, Nicky Thomas, Cynthia Richards & Irving Brown, Julie Anne, The Heptones, Jackie Brown, Peter Tosh & Winston Scotland, Peter Tosh With Winston Wright & Larry McDonald, Nicky Thomas & Cat Campbell, Nicky Thomas & Dennis Alcapone, The Ethiopians, Delroy Wilson, Alton Ellis, Dennis Brown & Big Youth, and Big Youth.
CAT #: VP 4160CDGIBBS, JOE 12" Reggae Discomix Showcase Vol. 2 CD
2009 release. Features George Nooks & Prince Weedy, Joe Tex, U-Black & Welton Irie, Madoo & Welton Irie, Cornell Campbell & Lui Lepkie, Cornell Campbell & Trinity, Ruddy Thomas, J.C. Lodge & Shorty The President, Naggo Morris, Horace Andy & Jah Mike, Culture & U-Brown, and Chalice & Puddy Roots.
CAT #: VP 4161CDGIBBS, JOE 12" Reggae Discomix Showcase Vol. 3 CD
2009 release. Features Marcia Aitken & Trinity, Ruddy Thomas & Trinity, Daovan Chambers & Trinity, Sammy Dread & Lee Van Cliff, Cornell Campbell & Lee Van Cliff, Barry Brown & U-Mike, Eek-A-Mouse & Lui Lepkie, Danny Mangaroo & Lui Lepkie, George Nooks & Papa Tullo, and Freddie McGregor & Shorty The President.
CAT #: VP 4169CDGIBBS, JOE 12" Reggae Discomix Showcase Vol. 5 CD
2010 release. Features Earth & Stone W/ Snuffy & Wally, Naggo Morris & Trinity, Sylford Walker & Trinity, Carl Brown & Prince Mohammed, Junior Murvin & Trinity, Carol Gonzales & Paddy Roots, Ruddy Thomas W/ Joe Tex & U Black, Home T. Four & Delroy Jones, Sammy Dread & Tappa Zukie, Icho Candy & Errol Scorcher, and Junior Vibes & U-Mike.
CAT #: KKV 123CDDAMON & NAOMI A Sky Record CD
"With its meditative tempos and enveloping guitar work by Michio Kurihara -- 'it's like this golden net,' Naomi said of his gorgeous, versatile playing -- A Sky Record offers shelter from the squall. If it has the glow of a long-delayed reunion between friends, that's not accidental: Kurihara hasn't traveled outside of Japan in some time, so Damon and Naomi hadn't recorded with him in nearly ten years. When they finally made it back to Japan in November 2019 for a brief tour, they were elated to book some time with Kurihara at the aptly named studio Peace Music. In those long stretches of quarantime, the tracks they returned from Japan with had distinct moods but not yet any lyrics. (Kurihara works best when trying to conjure a specific feeling or natural image -- after all, he did once make a solo record, Sunset Notes, on which every song was based on a different sunset he'd witnessed...) How to write about the pandemic? How to not write about the pandemic? Naomi first struck upon the appropriate tone when re-reading the journals of one of her favorite abstract painters, Charles Burchfield. She arranged this found language into the lyrics of the iridescent 'Season Without Time,' which also became a tribute to a friend that she and Damon had lost in the last year. From there, the floodgates opened. The wistful and watery 'Midnight' (electrified, towards the end, by the slow screams of a Kurihara solo) conjures Naomi's nostalgia for youthful summers spent at Jones Beach, while the gentle current of 'Sailing By' pays homage to those ritualistic BBC Shipping Forecasts and the waltzing, quintessentially British theme song from which it takes its name." --Lindsay Zoladz "Back to make all your folk-pop dreams melt into the sunset." --Rolling Stone Japanese CD version released by KiliKiliVilla.
CAT #: 2MR 057EPEARTH BOYS Ditties LP
Known for driving lo-fi house tracks, funky breakbeats and their annual epic 4-20 mix, the duo of Julian C. Duron and Michael Sherburn (also of Dust) have taken a more playful turn on their twelfth vinyl release as Earth Boys. As its title suggests, Ditties is a lighthearted yet earnest dance-pop EP, featuring catchy melodies, conversational lyrics, and whimsical storytelling. Lyrically, it draws on both nostalgic memories of raves past and dreamlike fictional scenarios to craft a timeless paean to dance music through the years. For this project, the duo mined their decades of experience as NYC rave stalwarts for inspiration. Intro track "We Didn't See the End" is a personal and poetic tune that sees Duron recounting his first memories producing music, promoting events, and relocating to NYC in the early '00s. Later, on "KIM 3.6", he recalls his time operating an illegal weed delivery service in New York. Lead single "Freight" has a similar, if more universal, air of nostalgia. An homage to Duron's hometown of Dallas and its connection to early American rave culture, the track is a wistful celebration of underground warehouse raves, where people gather "like some freight". The accompanying music video (also sourced/directed by Duron) is comprised of footage shot between 1996-2000, and features sweeping shots of old Dallas, large-scale raves, legendary cameos, and most importantly, as Duron puts it, "no cops, no security team, not too many cameras or phones around, just 1,000+ kids vibing in a warehouse." While the song itself is not arranged like a typical house track -- it's a pop song written on a lofi deep house loop -- the lyrics and music encapsulate a message as old as dance music itself: get together and dance. This is the through-line of all the songs on Ditties, even those that feel less diaristic. EP closer "Autobahn", for instance, is a chugging ode to the foundations of dance music; namely Juan Atkins/Cybotron and Kraftwerk. It plays like a techno action film: screeching tires and gunshot sounds are woven into the dancefloor-ready beat for maximum cinematic effect. Though it differs sonically from tracks like "Freight" and "Touchdown", it reflects the same deep and studied love for dance music in all its forms. The songs on Ditties may have a playful air, but they also have a palpable depth; the kind that could only come from decades in the scene.
A RECORDINGS (UK)
CAT #: AUK 004LPBRIAN JONESTOWN MASSACRE, THE Their Satanic Majesties Second Request 2LP
2022 repress; black vinyl. Gatefold 180 gram double vinyl version. Truth in advertising: the Brian Jonestown Massacre's sophomore album does, as promised, spring forth from the Rolling Stones' long-underrated 1967 masterpiece Their Satanic Majesties Request, copping not only Mick and Keith's leering bad-boy attitude but also their rock-and-roll-circus spirit. Opening with the brilliant "All Around You (Intro)," a tongue-in-cheek guide to the mind-altering journey ahead, the record is a kaleidoscopic, drug-fueled freakout -- like the Stones' namesake album, Second Request is painted by Eastern drones and psychedelic tangents, each track bubbling with dozens of sound effects including sitars, mellotrons, farfisas, didgeridoos, tablas, congas, and glockenspiels. Travelling through the past, darkly, the Massacre arrives on the other side unscathed; their music is too rich to be merely retro, and too knowing to be merely slavish -- the Stones themselves haven't made a record this strong or entertaining in years.
AGOGO RECORDS (GERMANY)
CAT #: AR 157LPKRAJENSKI. B-3 Vol. 1 LP
LP version. An organist, a saxophonist, and a drummer -- the classic organ trio has been arousing special expectations to jazz listeners since the glory days of Jimmy Smith, Groove Holmes, and the McDuffs and McGriffs. The organist can spread out, the saxophonist can follow him and the drummer swings and provides the groove "in the pocket". With their album B-3 Vol. 1 the Hanoverian Lutz "Hammond" Krajenski aka krajenski. on the B-3 organ, Ben Kraef from Berlin on the saxophone, and Peter Gall from southern Germany on the drums break new ground even if the old path of the Hammond-infected Blue Note refinement always remains in view. Kraef-Krajenski-Gall do their thing and that very consistently. They play with the different readings of the format with reflections from Jimmy Smith to Larry Young. They play with expectations and play around clichés with sophisticated twists and tongue-clicking rhythmic and harmonic treasures. It's an album to dig out the phrase "No fillers, all killers" for.
BA DA BING!
CAT #: BING 168LPQUIVERS Golden Doubt LP
"Melbourne-via-Tasmanian four-piece Quivers first released their 2018 debut We'll Go Riding On The Hearses as hand-made cassettes. The album dealt with singer Sam Nicholson's loss of his brother in a freediving accident, and 'trying to not think about that, and often coming back to ghosts, benders, water, and pissing in the snow.' When demand for the album grew, it received a vinyl release and led Quivers to tour the US, film a KEXP session, and be selected by NPR Music for both the Austin 100 SXSW preview and as a 'Slingshot' artist to watch. Their life-damaged but hopeful jangle pop has only sharpened since then, and while 2021 follow-up Golden Doubt conjures up REM or The Clean, there is a lyrical directness that sets this record apart as always its own. Golden Doubt is carried by shimmering guitars and the harmonizing vocals of members Holly Thomas and Bella Quinlan. Elevated by the production of Matthew Redlich (Holy Holy, Husky, Ainslie Wills), the record explores what comes after grief, and how one throws oneself back into love. As Nicholson explains, the album tries to bottle 'the rush of feelings and fears when you give in to falling for someone. It's also an album in love with other albums, and the other bands around us.' Before each take at Woodstock and The Aviary studios in Melbourne, Australia, the band would imagine a scene together (a waterhole for 'Laughing Waters', an overgrown carpark for 'Videostores') and then dive in to capture live group takes. Quivers need to get words on the page and sounds out to keep moving on. Both Nicholson and Thomas lost their brothers in the same year, and through that shared vulnerability they all have together that runs deep. Golden Doubt is also a love letter to playing music as a band and processing it all together rather than just carrying it as a weight. The cancellation of a 21-date US tour they had slated for 2020 has left them undeterred; Quivers plans to continue being a band and get back out into the world as soon as it's possible."
CAT #: BING 173LPMOTTE Cold + Liquid LP
"Anita Clark's new Motte album, Cold + Liquid, builds glacial atmospheres, frozen moods and isolated impressions. Portraying New Zealand through socio-geological sound, breathing in Christchurch cultures and locales, the album embodies an artistic simulation of the Kiwi environment. With this release, Clark aimed to make something colossal, and set about finding the right textures to add. A friend who works at Oamaru Freezing Works gave her field recordings of the temperature control room, a vast cold space of isolated machinery, where ice grows and dissolves in ever-evolving sculptures. Getting her hands on shortwave/longwave radios, she incorporated frequency sweeps. Another friend provided her with the mechanical drones underneath the deck of a cement cargo ship, as it lay docked in Lyttelton Harbor. Still more sources came from Sign of the Bellbird, an historic environmental site in South Christchurch, where Clark and Thomas Lambert recorded bellbirds, rolling boulders, snapping sticks, thrown dirt and the papery sound of the native harakeke plant. While violin dominates the first Motte album Strange Dreams (2017), Clark sought to expand instrumentation. She was gifted a handmade P?rerehua puoro, a traditional M?ori instrument that sounds similar to the whirling and hovering of a moth (which is 'motte' in German). A reacquaintance to the guitar occurred after developing an alter-ego project entitled Sex Den, with sleazy noir-esque guitar riffs in response to a failed rumor from a local drug-addled dive bar. Guitar and synth allowed for a broader songwriting palette along with a sometimes Dadaist approach to lyric writing. These new tools accent the extreme ambiences of Cold + Liquid, while additional work was provided by Ben Woods on synth and bowed guitar. Listening to Cold + Liquid is a fulsome experience of articulated sound and specific place. Anita Clark dances around the shining candescence of her culture like a night insect, always seeking a better vantage point to the light."
BEAT RECORDS (ITALY)
CAT #: BCM 9597CD
FILE UNDER: SOUNDTRACKPICCIONI, PIERO Anastasia Mio Fratello Ovvero Il Presunto Capo Dell'Anonima Assassini 2CD
Anastasia Mio Fratello Ovvero Il Presunto Capo Dell'anonima Assassini (aka "My Brother Anastasia") is a crime drama directed by Steno in 1973 and starring Alberto Sordi and Richard Conte. In 1973, RCA issued an album containing 13 tracks in stereo selected by the composer himself. In 2010, thirty-seven years after the release of the film in theaters, the specialty label GDM released this prestigious original soundtrack for the first time on CD, with 14 unreleased tracks in addition to the vintage album program. For this new edition, Beat Records were able to use the stereo masters of the original recording session, which allowed the label to create a special double-disc set: on CD one, the original album program, and on CD two, the bonus tracks of the previous GDM CD plus ten unreleased tracks that appear here for the first time ever. For this dramatic film that straddles the line between gangster movie and comedy, Piero Piccioni composed an OST for a large orchestra with American sounds incorporating funk, jazz, and blues, beginning with "Surprise pastorale" and alternating with romantic music for orchestra and choir in "America dreaming." Piccioni uses swing in "New York! New York!" (with splendid intervention by Cantori Moderni) and in "Swingin 'at Savoy," classic rock n' roll in "Rockin' Chair Stomp" and warm South American rhythms in "Sweet Marimbas" and "Mariposa Rosada." The most dramatic scenes are underlined with exciting, police-like sounds such as the recurring "Gunz Concert, pt.1," where the organ emerges in the orchestra (such a piece would not have been out of place in Live and Let Die, the first time by Roger Moore filled the role of James Bond), among other things from the same year. The romantic side of Piccioni returns in "Love in Brooklyn, pt.1," for piano and large orchestra. The sensual voice of Shawn Robinson, frequent collaborator of the maestro, performs "Feeling Low Blues." The listener will remain in the company of the elegant music of Piero Piccioni for about an hour and forty minutes, each time with evergreen admiration, as we continue to be amazed by the greatness of this beloved artist. Mastering and liner notes by Claudio Fuiano, graphic layout by Daniele De Gemini.
BO WEAVIL RECORDINGS (UK)
CAT #: WEAVIL 024CDHOWARD, NOAH The Black Ark CD
2022 restock, last copies. Re-issued by the request of Noah Howard's family and estate. Noah sadly passed away suddenly on the 3rd of September, 2010. Born in New Orleans in 1943, Noah was a key player in the U.S. free jazz scene from the late '60s. He recorded albums for ESP and numerous other labels, including his own Altsax label. Many see 1969's The Black Ark as Noah's defining statement, so it is only fitting that it should be available once again. "It's no understatement that The Black Ark is one of the most sought-after underground free jazz releases of all time. The original Freedom vinyl LP and the brief Japanese CD reissue were criminally out-of-print and impossible to find. Both versions popped up on internet auction sites once in a blue moon but when they did, they always fetched insanely astronomical prices. This record simply is THE BOMB -- a perfect combination of Noah's soulful compositions and playing, infused with plenty of sweet/sour/in/out forms and shapes from the incredible line-up assembled for this release. Plus we get to experience Arthur Doyle's outrageous debut on a recording session, increasing the playing and feeling to an intense level throughout. And dig the spaced-out Afro-delay on Juma's percussion (yes, that Juma from Hendrix's killer Woodstock show of the same year). All of the players on this record combine to make it a CLASSIC and its esteemed reputation is well earned." --Oren Ambarchi Musicians on this record include: Noah Howard (alto), Arthur Doyle (tenor), Earl Cross (trumpet), Leslie Waldron (piano), Norris Jones (bass), Mohammed Ali (drums), and Juma (congas).
CAT #: WEAVIL 029CDBASHO, ROBBIE Bonn Ist Supreme CD
2022 restock. Subtitled: Live at the Kulturforum, Bonn, Germany, November 24, 1980. Another in the Wooden Weavil series, this time an unreleased live Robbie Basho recording from Germany in 1980. Robbie Basho was one of the great pioneers of the acoustic steel string guitar in the U.S., along with Leo Kottke and John Fahey in the 1960s. This program appears to have been recorded in one go. Robbie scatters his Americana numbers throughout, beginning with "Redwood Ramble," and ending with "California Raga." This date finds Robbie in fine fettle, his playing sharpened by the intensity of touring, his mood seems ebullient, at times (as on "Fandango") he comes off like John Lee Hooker's sun-kissed cousin, stomping furiously along to his playing. There is sweetness to his material, yes, but this is not, as Jack Rose put it, "music for wineries." There is the galloping muscularity of Basho's playing, coupled with the sheer hugeness of his sound; the fearless employment of dissonance as part of his musical make-up; a love for the unexpected chord change. Robbie was a voracious and uncompromising player. Basho's singing was as integral to who he was as his guitar playing, and when he opened his mouth, he filled the room with sound. Say what you like about his lyrics, no one can accuse Basho of dilettantism, of dabbling, or of trying something on merely for effect. Whatever bag he was in, he was in all the way. Liner notes from Glenn Jones and Stephen Basho-Junghans, and beautifully remastered by Glenn Jones.
BOBO INTEGRAL (SPAIN)
CAT #: BBI 029LPBOYS WITH THE PERPETUAL NERVOUSNESS, THE The Third Wave Of... LP
The third record by The Boys With The Perpetual Nervousness contains ten songs (how not?) and it doesn't last half an hour (why more?). The guitars jangle from minute 0 (delicious "As the Day Begins"). This jangle is complemented by distorted guitars and power pop airs in songs like "Look Back" (a hit with one foot in the romantic power pop of The Keys, The Toms, The Records, the Flamin' Groovies of the Shake Some Action era (1976) and another chasing the vibes of The Cars, Weezer and even The New Pornographers), "In the Right" (the best Graham Parker or Joe Jackson must be named here, and pay close attention to the dub arrangement that splits the song in two) or the most badass "Out of Time", which is as if Weezer, Dinosaur Jr., and Nada Surf were 20 years old and played together. There is a milestone on this album and that is that Mary Lou Lord sings a duet with Andrew throughout the song "Isolation", a beautiful mid-tempo jangle a la The Bevis Frond that takes the Boys to a new dimension. Mary Lou Lord was a colleague of Elliott Smith and Kurt Cobain, a myth of the not-so-underground American music and a unique voice that should have never stopped being the protagonist. "The Stars Go Round", "Open Up the Box", and "Old Ways" are three wonderful compositions linked to the precious indie pop of Teenage Fanclub, Velvet Crush, or The Primary 5. A novelty is the use of the piano on this album, à la E Street Band, à la Attractions, in energetic and splendid songs like "Old Pictures of Ourselves" and "Turning Red". The Boys With The Perpetual Nervousness is a duo formed by Andrew Taylor (Edinburgh), a member of the cult band Dropkick and Gonzalo Marcos (Madrid), from a Spanish indie pop group El Palacio de Linares.
CAT #: BYG 303LPMURRAY, SUNNY Hommage To Africa LP
2022 restock. Third volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. "After three years as a member of Albert Ayler's band (1964-1967), avant-garde jazz drummer Sunny Murray traveled to France where he recorded for Affinity and BYG. The amazing Homage to Africa was recorded on August 15, 1969 for BYG and features Archie Shepp, Alan Silva, Grachan Moncur III, Lester Bowie, Clifford Thornton, Roscoe Mitchell, Kenneth Terroade and Jeanne Lee."
DIE KOSMISCHEN KURIERE (GERMANY)
CAT #: KM 580086LPCOSMIC JOKERS, THE Galactic Supermarket LP
2022 restock; LP version. 180 gram vinyl. In 1974, the Cosmic Jokers were basically Klaus Schulze, Manuel Göttsching, various Ash Ra Tempel and Wallenstein members doing late night jamming. Galactic Supermarket is one of them, and is more rock-oriented than many others. It's no surprise the music bears more than a passing resemblance to Ash Ra Tempel, because of Manuel Göttsching and his guitar playing. Also, Jürgen Dollase gives some nice keyboard work, particularly the piano, Farfisa electric piano, synths, and even a little Mellotron. Klaus Schulze were more responsible for the more droning organ and synth end of things, it's pretty obvious when he plays it. The legendary producer Dieter Dierks plays bass on these nearly never-ending improvisations. The recording was transferred from the original analog tapes at the Dierks Studios in Germany. Carefully remastered for an incredible result. Released on the label Die Kosmischen Kuriere (The Cosmic Couriers)
DOGHOUSE & BONE RECORDS (FRANCE)
CAT #: DGRMB 001LPBORE, MATTHIEU Till The Morning Light LP
French pianist, jazz vocalist, and songwriter Matthieu Boré grew up surrounded by music and the arts. While his great-grandfather loved to give impromptu renditions of famous opera arias, his father's tastes were more modern and Matthieu's childhood was punctuated by the sounds of Eric Clapton, Bob Marley, and the Stray Cats. At age seven, Matthieu began taking piano lessons, focusing predominantly on classical repertoire. In the 1990s he took his first steps into the music profession, singing in various punk and trip hop outfits, before pursuing his love of 1930s and '40s jazz. In early 2000, the young singer-pianist began playing the Parisian jazz club circuit and a year later, released an entire album of Fats Domino covers. In keeping with his fascination of 1950s R&B music, he issued Doo Wop in 2003. Sometimes On My Own (2007) is inspired by his idols Irvin Berlin, Hoagy Carmichael, and Gershwin. 2009 saw the release of FriZZante!!, an album featuring a blend of covers and his own originals, with full orchestra. Matthieu Boré has performed at festivals and concert venues in both France and around the world, including the Montreal Festival, the Jarasum Festival (Korea), the New Morning, and the Olympia. In 2011, he released a live album recorded at Paris's iconic Duc des Lombards. Roots (2012) was a surprising cocktail -- a strong dose of New Orleans funk, from with Matthieu draws his own nonchalant style, combined with a predilection for acoustic sounds and syncopated grooves. In 2015, Grammy-nominated Leo Sidran produced Naked Songs which explores the idea of paring back songs to their defining elements. In Gumbo Kings (2019), Matthieu pays tribute to Allen Toussaint and The Meters through twelve original songs whilst his most recent release Till The Morning Light (2022) combines Jamaican ska and '60s garage rock influences.
FEEDING TUBE RECORDS
CAT #: FTR 692CDARN & EYAL MAOZ, ERIC Kost Nix CD
"This is our fifth release with the Vienna-based guitarist Eric Arn, and as with each of his albums, Kost Nix (No Cost) is different from all that have preceded it. Eric is a musician whose interests and techniques are constantly evolving, so it has been a pleasure to observe his evolution from a power raunch generator (with Crystalized Movements, then Primordial Undermind) into the wildly unpredictable improviser he has become. This is the third duo album we've done with him, following Paranza Corta (FTR 384LP) with Margaret Unknown, and Hydromancy (FTR 493LP) with Jasmine Pender, and it is another stone killer. Eric's sparring partner this time is Eyal Maoz, the great Israel-born, NYC-based guitarist who has long been an important part of John Zorn's circle. Eyal has had loads of projects and solo outings, and also plays in a dizzying array of styles, so this match-up was a dream date. The recording was done live in October 2021, at VEKKS Vienna, and the set is explosive. Because both players are incredibly mutable (and I have no visual clues), it's all but impossible for me to tell who exactly is doing what. The massive sound of their collaboration creates its own unique sonic field. The grace of their interaction makes it seem like they've been doing this for years, but we can just chalk that up to a combination of good ears and good reflexes. They also display more skill and taste than most musicians can manifest in a year. The three long pieces move through a vast array of moods and tones. 'Quiet Concessions' has passages of almost classical delicacy, merging into tangled webs of zoned space improvs akin to Sonic Youth's extended string break-downs, with nods to the shattered weirdness of the Dead's '68 noise eruptions. 'Luminous Motion' starts like a collaboration between Donald Miller and Hans Reichel, with a drunk baby controlling their knob settings, until it settles into a valley of low twangs and drones. 'Optimus Locus ad Finem' is a slow, damp bramble with light fingered weirdness generating a very special kind of tension. And that's it. The breadth of this collaboration will definitely make you want to see these guys live, if only so you can see who's doing what. How likely that is, I cannot say, but hey -- why not dream big? Life is short, art is long. Don't be a sissy." --Byron Coley
HARLEM SHUFFLE RECORDS
CAT #: HSRSS 013EPDAWKINS, CARL I'll Make It Up/Hot And Sticky 7"
"Carl 'Ras' Dawkins was born on 1st August 1948 in Spanish Town, Jamaica, the son of a jazz drummer. In 1967, at the tender age of 19, Carl recorded for Karl 'J.J.' Johnson some of his original compositions including 'cBaby I Love You', 'Running Shoes' and 'Hard Time' with the Carib Beats as a musical backing band. 'Baby I Love You' with 'Hard Time' on the flip were subsequently issued on two Johnson's labels (JJ Records, Sir J.J.) in 1967 in Jamaica and on the Rio label (a Doctor Bird subsidiary) in UK the same year. While 'Baby I Love You' was popular, it was the great 'Hard Time' that propelled the single to the top of the Jamaican charts. After a spell in prison for possession of marijuana, Carl recorded a collection of singles for producers such as Clancy Eccles, Lee Perry and Leslie Kong. He returned to JJ and found success again in 1970, when he recorded one of that year's best-selling singles, the superb 'Satisfaction', swiftly followed by two other major hits the same year, 'Get Together' and 'This Land' which sold heavily despite being banned by the government for its hard-hitting lyrics on the state of Jamaica at the time. During the 70s he recorded one album for Harry J -- 'Bumpity Road' -- and many great singles for a variety of record labels and producers before gradually withdrawing from the scene during the 80s. Many years later, Carl is still very much loved by its many fans around the world. He is rightly considered being one of Reggae's all-time greatest vocalists? This killer double sider is the first reissue of two super rare and outstanding tracks by the great Carl Dawkins. Both tracks have never been reissued until now. The very much in demand "I'll Make It Up" was previously released as B side to 'One Dollar Of Music' on Duke DU-3 in 1968. On the B side, the brilliant 'Hot And Sticky' was previously released on Rio R138 in 1967."
CAT #: HSRSS 014EPKINGSTONIANS/CRYSTALITES, THE Sufferer/Splash Down 7"
"These two avidly sought-after early Reggae tracks are quite rare. 'Splash Down' is the instrumental version of 'Sufferer' and both songs were produced by Derrick Harriott. This is the first time these two wicked tracks are released together on a 7 inch. Jamaican vocal trio, the Kingstonians were formed around 1966 by Cebert Bernard (aka Jackie Bernard) and his brother Lloyd 'Footy' Bernard, along with mutual friend Lloyd Kerr. They began their recording career with producer J.J. Johnson, but had their greatest success between 1968 and 1970 with producer Derrick Harriott, who helped steer the singles 'Singer Man' and 'Sufferer' to the top of the Jamaican charts. The Crystalites were the backing and studio band for legendary producer Derrick Harriott and included top 60s Jamaican musicians including Bongo Herman, Bongo Les, Boris Gardiner, Gladstone Anderson, Karl Bryan, and Winston Wright among others! They were extremely productive between 1968 and 1974 and recorded four albums and countless singles covering many styles from boss reggae to dub. More specifically, they recorded many wicked and awesome 'versions' of hit songs of that time."
HOLY BASIL RECORDS
CAT #: HBR 009LPSEKITO, SHIGEO Special Sound Series Vol. 1 LP
Reissue, originally released in 1975. "Considered by many one of the most gifted and outstanding players in the Electone community thanks to his fresh, energetic, rhythmic and sometimes humorous style of playing, from 1975 to 1977 Shigeo Sekit? released a four-LP album set titled Special Sound Series for the iconic Nippon Columbia. On the first chapter of this series, Sekit? revisits, in his own colourful style, compositions such as 'You Are The Sunshine Of My Life' by Stevie Wonder, 'Oh, My Love' by John Lennon and Yoko Ono, 'Andalucia' by Ernesto Lecuona, alongside some of his own composition such as 'My Sweet Girl' and the title track 'Catch In Alice', creating a blend of easy-listening jazz with funk and soul influences. Long out of press, we are very proud to bring this 'brilliant electone' album back on vinyl under exclusive license from Nippon Columbia. Licensed to Holy Basil Records by Nippon Columbia Co., Ltd."
CAT #: HBR 010LPCHIMENTI, SILVANO Disco Music LP
Reissue, originally released in 1980. "Composed by legendary library guitarist and founding member of I Gres, Silvano Chimenti, and accompanied by his orchestra, Disco Music is an essential release of the Usignolo catalog and probably one of the most sought-after titles of the series. This album displays a broad range of styles masterfully blended together by Chimenti, going from disco-funky bangers "Happy California" and "Autostrade Americane" that lead way to the more dramatic and suspenseful vibes of "Society Problem" and "Tragedy", finishing off with the rock vibes of "Indian Summer" and the mellow atmospheres of softer, lounge-like songs such as "Lady Primavera" and "Chiara". One of the most complete and well-rounded library albums of its era, Disco Music is finally available on vinyl once again after a very long time as a limited edition pressing of 500 copies. Licensed to Holy Basil Records."
HONEST JON'S RECORDS (UK)
CAT #: HJR 003LPVA Watch How The People Dancing 2LP
2022 repress; double LP version. Subtitled: Unity Sounds From The London Dancehall, 1986-1989. 2002 release. Brilliant, haughty Jamaican avant?gardism, inspired by Jammy's Sleng Teng explosion, rearing up at a Hackney crossroads in north East London, and facing down techno, hip-hop, breakbeat and rave. Staggering, exhilarating reggae music made by soundmen on a Casio and a drum machine, in a room over Eddie Regal's record shop. Presented as a next?generation companion to London Is The Place For Me, the mood is more defiant -- a Jamaican secession from London -- with themes of inner?city sufferation running alongside hymns to the dancehall and the herb superb. Brilliantly mastered by Moritz von Oswald from Basic Channel. "There's a whole heap of stuff that we did at that time, different even to the music, that we didn't really know what we were doing, we just done it. This feeling on the records, we did that with everything we did, it was just the vibes that we were carrying then, it was all about one massive vibe. Even with the sound, we weren't going to choose something that somebody else did, we definitely was going to choose something that somebody else didn't use. We wanted to go out there and say, Yeah, this is the wickedest thing, everyone has to know, and nobody else can't tell we no different. We pushed it that way, we carried on that way." Artists include: Selah Collins, Mikey Murka, Errol Bellot, Kenny Knots, Richie Davis, Peter Bouncer, Richie Davis, and Jack Wilson And Demon Rockers. With full color insert.
CAT #: HJR 016LPVA London Is the Place For Me 2: Calypso & Kwela, Highlife & Jazz From Young Black London 2LP
2022 restocks; originally released in 2005. Another installment of amazing music from the first wave of modern black settlement in England. The focus remains on the '50s, with classic calypsos running alongside the African jazz of Ambrose Campbell -- the father of modern Nigerian music -- and some blistering high-life. Among the contributions from the '60s there is some South African kwela (featuring Chris McGregor) and a jazz-dance percussion workout from the Trinidadians who put the Notting Hill Carnival on London streets. The LPs are housed in a gatefold sleeve with a beautiful folded insert. There is a trenchant introduction by Paul Gilroy, full discographical notes, and numerous wonderful photographs. Includes tracks by Young Tiger, Ambrose Campbell, Mona Baptiste, West African Rhythm Brothers, Lord Kitchener, Lord Beginner, The Lion, Tunji Oyelana, Shake Keane & His Highlifers, King Timothy, West African Swing Stars, Gwigwi Mrwebi, Russ Henderson, and Rans Boi's Ghana Highlife Band.
CAT #: HJR 017LPVA Lagos All Routes 2LP
2022 repress; originally released in 2005. Honest Jon's presents the second of two compilations (Lagos Chop Up (HJR 015LP) being the first) focusing on music from the Nigerian city of Lagos circa the 1960s, 1970s, and 1980s (considered to be the golden age of African popular music). With many African nations fighting for (or gaining) independence, locally produced modern music was seen as a powerful expression of new national identity. Bands either modernized folk, classical, or traditional African genres, or Africanized foreign genres such as R&B and funk. From West Africa came '60s highlife, which then influenced Fela Kuti's Afro-funk of the '70s, while from the traditional Yoruba religion came juju, fuji, waka, and apala tracks, all of which are included here. Includes tracks by Chief Commander Ebenezer Obey & His Inter-Reformers Band, Sir Victor Uwaifo, Travellers Lodge Atomic 8, Sagbeni Aragbada, Super Negro Bantous, Cardinal Rex Jim Lawson, Ambali Adedeji, Chief Umobaurie and His Group, Mike Ejeagha, Kollington Ayinla, The Harbours Band, Haruna Ishola, Dr Victor Olaiya, and Sir Patrick Idahosa.
CAT #: HJR 035LPVA Give Me Love: Songs of the Brokenhearted: Baghdad, 1925-1929 2LP
2022 restock. Give Me Love: Songs of the Brokenhearted: Baghdad, 1925-1929 is the second in Honest Jon's series of albums exploring the earliest 78s held in the EMI Hayes Archive. In the mid-1920s, The Gramophone Company -- soon before it became EMI -- employed two or three Europeans to criss-cross Iraq. They logged regional demographics, assessed the German competition, and checked out the scores of record shops and hundreds of musical venues. In Kerbala, its man fearfully disguised himself as an Arab. This was the groundwork for three sessions, conducted in Baghdad in the second half of the decade, which produced nearly 1,000 recordings. Business was good -- the first group of records, though deemed aesthetically unsuccessful by the company, immediately produced 12,000 sales through just two outlets in the city. Drawing on the full range of these Baghdad recordings, this is a wondrous, deeply poignant glimpse of social living since obliterated, in which ethnicities, faiths and traditions appear woven richly together, however precariously. There is dance music featuring Arab folk singers from the countryside, backed by professional Jewish musicians in Iraqi styles popularly termed "Egyptian," perfected in nightclubs where the first duty of the secular women singers on this album was prostitution. Also including some Arabic word-play, in a nod to the musical form of the Arabic mawwal, a Hebrew hymn is kick-started with a cry of "Allah!," most likely from one of the Jewish performers. There are pieces from Bahrain and Kuwait, sometimes mixed together in one performance; the different dialects are far-flung. There are beautiful, high, and lonesome Kurdish violin improvisations and some unaccompanied circular breathing on a zourna so unearthly it seems to cross late Coltrane with Sun Ra. All the songs are characterized by searing emotion and crises of feeling, many by erotic urgency. As with the other titles in the series, the recordings have been startlingly restored at Abbey Road; they are presented here with full translations, rare photographs, and notes -- including an extensive interview with a citizen of Baghdad throughout this period, who knew many of the musicians here personally. Features: Mulla Abdussaheb, Sayed Abbood, Dahi Ben Walid, Sultana Youssef, Salim Daoud, Khedayer Bin Kessab, Mulla Seoud El Koweity, Said El Kurdi, Siddiqa El Mullaya, Hdhairy Abou Aziz, Kemani Noubar, Badria Anwar, Kementchedji Alecco, Badria Anwar, and Saleh Ibrahim. Gatefold sleeve.
IDEOLOGIC ORGAN (FRANCE)
CAT #: SOMA 021CDROZMANN, AKOS 12 Stations/Tolv Stationer 7CD BOX
2022 repress. "In 2012 Ideologic Organ released the 2LP set 12 Stationer VI (SOMA 007LP) featuring the last part of a large scale work by the Hungarian-Swedish composer Ákos Rózmann. Here, in 2014 Ideologic Organ is immensely proud to present the complete version of Rózmann 's epic masterpiece presented for the first time in its entirety as a deluxe 7CD set. Akos Rózmann (1939-2005) was born in Budapest where he studied organ and composition at the Liszt Academy. From 1971 to 1974 he studied composition at the Royal College of Music in Stockholm and from 1978 he was an organist at the catholic cathedral in Stockholm. Throughout his life, Rózmann dedicated himself to musique concrete, developing one of the largest and most rewarding bodies of work in this, the most alchemical of all musical genres. In the early '80s, Rozmann started to build a private electroacoustic studio which he installed in the basement of the Catholic Cathedral while continuing to work in tandem at the Elektronmusikstudion (EMS Sweden) where he produced his earlier masterpieces. With an unwavering commitment to the creation of music, Rózmann would often lock himself up in his windowless studio working into the night in order to achieve the results he desired. This combination of vision, passion and stubbornness resulted in one of the most singular catalogs within the field of musique concrète, commissioned by the Hungarian composer Miklos Maros, who requested a five-minute work for piano and voice. Rózmann accepted the offer with the intention of writing a tape piece made from recordings of Miklos' wife, the soprano singer Ilona Maros' and his own experiments with prepared piano. The elements recorded here became the source material for Twelve Stations, a work which flew far from the initial five-minute brief to land 20 years later as a spirit-stretching journey of more than 6 1/2 hours. The compositional process is unique in Rózmann's output due to the 18-year gap between the initial phase and completion of the final work. The first phase made between 1978-1980 consists of an exploration of traditional musique concrète techniques such as speeding up, slowing down, cutting and splicing tape. The last four stations made between 1998-2001 embrace digital technology where small sections of the original recordings from 1978 were fed through an effects processor and improvised on a sampler keyboard. Despite this gap and the different techniques deployed at each period of creation the monumental result sits as a complete and staggering whole. Within the set limitations of the source material Rózmann's skill unfolds in an uncanny ability to coax a vast world of flexible sound from the original piano and voice recordings. The result is a maelstrom of dynamic audio and one of the most daring, challenging and rewarding works of musique concrète from the 20th century. Rózmann was typically ambiguous about the meaning behind his work despite suggesting earlier that the first part of Twelve Stations was an interpretation of the Tibetan Wheel of Life. Twelve Stations is a unique masterpiece of 20th century musique concrète and presents itself as an intensely personal and bold realm of sound, an offering as such, a radical mass open to all." --Mark Harwood; Packaged in a hardcover slipcase with a pull ribbon, a 20-page booklet containing an extensive essay on the composition by the scholar Gergely Loch, photos from the process and of scores and the composer.
CAT #: SOMA 043LPGAMMELSAETER & MARHAUG Higgs Boson LP
Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators. Despite knowing each other for a long time, Gammelsæter and Marhaug's first collaborative work was the Quantum Entanglement LP in 2014. The project lay dormant until Stephen O'Malley and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, before and after the lockdown. The result of this long development to be heard accumulated upon their new album Higgs Boson on Ideologic Organ. Marhaug drew inspiration from concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others. It became a metaphysical juxtaposition involving Gammelsaeter's research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by The Glass Bead Game (1943) by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces -- as the war sailors in World War II. The influence of magic as expressed in tarot. Gammelsæter experiments with a boundary involving the thresholds amongst various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalizations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave. Two worlds coming together, making the music special. Mixing hard facts with science fiction helps create a kaleidoscopic cross point between the complex realities of the past and a possible future. Across eight parts, the two artists brought a broad palette of instrumentation and sound on Higgs Boson. Electronic and acoustic, objects and field recordings, and pipe organ define the structures of which the center is Gammelsæter's magnificent voice. She In the mix, Lasse approached the instrumental elements like landscapes, then Runhild's vocals as characters that inhabit those worlds. Often, Gammelsæter multiple characters fused with the landscape. As an album, Higgs Boson is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music.
LITTLE BUTTERFLY RECORDS (URUGUAY)
CAT #: LBR 080LP
FILE UNDER: HIPHOPAVR Sankofa LP
Sankofa is the debut album by Avr (Alvaro Silva), a work that takes form through the research and fusion of Candombe and other Afro rhythms from Río de la Plata region with hip-hop and Black American Music. Avr, the great-grandson of Juan Julio Arrascaeta (one of the first Afro-descendant poets to be published in Latin America) writes throughout the album, using several "Africanisms" and lost words that date back from colonial and slavery times, giving the lyrics a connection with his great-grandfather's work, introducing himself as a skillful MC who travels through past, present, and future while using several Candombe rhythms in his flow. Highlighting several personalities from the Afro-Uruguayan culture and from across the American continent, it also presents itself as a valuable work for those interested in researching cultural figures of Black America, especially, Uruguayan. Under the production of Felipe Fuentes, an album knitted with tons of messages, some direct, some to be discovered, came to life. Sankofa means "to look back, to go forward" which is exactly from the beginning what this musical journey is, from a very heavy and dense, ancestral, drum presence, to complex harmonic compositions and arrangements, a work that counts with important contributions of some of the main Afro-Uruguayan artists. A musical "guiso" (South American stew), Sankofa is the vision of the world of a young black male, his way of feeling and interpreting the past, present, and future; and how to transform it in order to generate something new. Includes contributions by Hugo Fattoruso and Ruben Rada.
MADE IN GERMANY (GERMANY)
CAT #: MIG 741LPAGITATION FREE 2nd LP
2022 repress. "When the band Agitation Free came together in 1967 as a result of the merging of two Berlin rock groups, one of the most interesting groups in a dawning independent German music scene was created. With their improvisations between rock, jazz and new music, Agitation Free - soon relegated to the not so flattering category of 'krautrock' - made musical forays into areas that few of their fellow German musicians had ever penetrated."
MUSICA & ENTRETENIMIENTO (SPAIN)
CAT #: ARCICD 002CDMANDUKA Manduka CD
CD reissue of the first album by Brazilian musician, poet and plastic artist Manduka. Originally released in 1972 on IRT, the album is a sought-after collectors' item, especially among those who seek in its cultural richness, fundamental episodes of Chilean popular musical history. An essential record almost entirely written by Manduka during his exile years in Chile, away from his home in Brazil. It includes improvised jams and songs about Brazilian history, his own exile and the new cultures he got exposed to. A sublime combination of acoustic guitar sounds, percussions and delicate songwriting that may remind you of some other Brazilian artists like Os Novos Baianos or even Caetano. It includes a special cover version of Violeta Parra's "Qué dirá el Santo Padre" and features guest artists like Soledad Bravo, Patricio Castillo, Baltasar Villaseca from Congregación, brothers Gabriel and Eduardo Parra, members of Los Jaivas, and Numhauser himself.
CAT #: MYECD 018CDLOS JAIVAS La Ventana CD
After 47 years after its original release on the Chilean label IRT, here it is Los Jaivas' La Ventana, the iconic album that includes the anthems "Todos Juntos" and 'Mira Niñita". Los Jaivas has often been considered one of the most important rock bands in Chile and South America. This influential Chilean band formed in 1963 mixes psychedelic rock and progressive rock with Latin American folk instruments and rhythms. In this album Los Jaivas shows many different artistic facets from improvisation and song writing to the first steps of symphonic creation. Original master tapes have been used for this reissue, following the reels find at the IRT vaults after years unavailable. State of the art technology has also been used to guarantee a top-quality remastered sound that shows music details barely noticeable in the original pressing. The artwork restoration process has been undertaken by Martín Uribe, a member of the band's team, with great attention to detail, by using several copies of the original issue. According to Felipe Domínguez (Al Albordaje Muchachos SPA), supervisor of this reissue project, "we aimed to publish a top-quality release, improving on previous rather average reissue editions. So, when we opened the box containing the tapes of 'la Ventana' and found the reels with all the annotations made at the time, we knew we would be able to make a difference." This is the first in a series of various projects that will make the musical heritage of Los Jaivas available again, including recordings that have remained archived for years and the reissue of other historical titles of the band. This is the aim of the Los Jaivas Cultural Foundation: "to pass on its experience to new generations, along with encouraging a love for music without distinction of race, faith, political color or gender," highlights Mario Mutis, bassist and vocalist of the band.
CAT #: MYECD 023CDCONGREGACION Congregacion Viene... CD
CD reissue of Congregación's Congregación Viene..., originally released in 1972. Psych-folk prog album by one of the most legendary bands of the early 1970s Chilean music scene, that was released at the worst possible time. In spite of not having been a popular band like Los Jaivas, Los Blops and Congreso, they deserve a position of privilege in the history of Chilean rock. Congregación, led by musician and poet Antonio Smith, was from Valparaiso. They wrote lyrics with a significant political, philosophical and religious content, they were a real "celebration of life". Musically, they crafted songs in an Andean style with ethnic atmosphere, we could say they made a kind of psychedelic folk with progressive leanings. They recorded just one LP and a single in 1972. The group was disbanded in 1973 following Pinochet's coup. Their multi-layered music is rich in unexpected nature textures and sounds, emphasizing the deep spiritual and mystic vibe of the album. It features the collaboration of members of Los Jaivas and Amerindios. The music of Congregación has conquered new folk lovers around the world and the original LP is yet a very rare collector's piece. Remastered sound from the original master tapes.
CAT #: MYECD 026CDPANAL Panal CD
CD reissue of Panal's self-titled album, originally released in 1973. Panal was born following the IRT director's will to put together a group that would blend folk and rock in a similar way to one of the most successful bands in the Chilean label: Los Jaivas. A roster of very experienced and talented musicians was recruited for this project and this self-titled album was finally released in 1973. Fierce percussions, stunning guitar riffs and filtered voices create a unique sound across this only album by Panal. The guitar of Carlos Corales (also founder of Aguaturbia) shows resemblances of Santana's style and Franz Benko's work on the production adds a fresh twist and renewed touch to the featured repertoire. Shortly after the coup, the group disbanded, leaving behind this masterpiece. Remastered sound from the original master tapes.
CAT #: MYECD 027CDBLOPS Locomotora CD
CD reissue, originally released in 1974 as Los Blops. Locomotora is a remarkable example of music that really escapes any typecasting rigid in some style. In it you find from a very particular progressive rock, through jazz rock, a very avant-garde folklore, certain elements of classical music, experimental parts, and even a certain groove with a compressed funky taste. "Locomotora" opens the album and it is a song full of solos and rhythmic breaks, with a lot of percussion, psychedelic sounds, and pure rock, perhaps the most experimental on this album, with its introduction full of strange noises and that lives up to the name that the band had adopted for live performances of that time: "Paraffin", a pseudonym that contrasted the clearly acoustic Los Blops of the first two albums, with these very crazy and electric ones. The album continues with the song written by Villegas, "Pirómano", where the characteristics of the mentioned above, in a theme with many changes, colors and arrangements of each of the members. Following with the songs we came across, as the bizarre composition by Juan Contreras, "Sandokan", which after a beginning where a language taken from another planet or at least non-existent is used -- in the style of the French Magma --, becomes a more melodic theme, but full of rock power and symphonic solos. The album continues with the song of Eduardo Gatti, "Strawberry Tart". With a more melancholic and melodic beginning than the previous one, little by little, the song becomes a more jazzy piece, where the voice of Eduardo Gatti himself and the flute solos stand out, along with guitar and piano. Without a doubt, an absolute classic of Chilean rock that closes with the song "Allegro Ma Non Troppo", where the solid base of bass and drums -- very syncopated -- stand out, serving as a platform for the guitar solos and flute and the strange arrangements of each one of the instrumentalists, within a quite complex structure. There are highs and lows in intensity, with parts of a lot of experimentation and improvisation, where all the instrumentalists demonstrate their technical quality and great sensitivity. This special release includes two singles as bonus tracks that were released later in 1978, "Los Momentos" and "La Francisca". For those who call themselves lovers of progressive rock or the avant-garde, this is a jewel that cannot be missed.
CAT #: MYECD 028CDLOS VIDRIOS QUEBRADOS Fictions CD
CD reissue, originally released in 1967. Los Vidrios Quebrados (something like "The Shattered Glasses") formed in 1965 by making their own instruments and playing at schools while they were in the Católica School of Laws. Odeon offered them a contract and they recorded their first single, Friend b/w She'll Never Know I'm Blue. In 1967, they record the legendary Fictions for RCA. This album is played with their own instruments. They cut, pasted, and arranged the frets of their guitars on their own pure intuition. They cut their strings out of steel wire rolls bought at hardware stores. They picked up the songs they wanted to play -- Beatles, Rolling Stones, Yardbirds, and a lot of Kinks stuff -- by going into a club, listening to them on a Wurlitzer jukebox, and going back home trying to remember the song. All songs were sung in English "to separate ourselves from the commercial music of that time", the so-called "Nueva Ola". They sang about everyday things such as "the lack of liberties, the fights caused just by the length of your hair", trying to be the spokesmen of a generation. They were indeed quite an intellectual band in their references and intentions. Though they had begun doing covers, all the songs in Fictions, recorded in a total time of nine hours, were written by themselves. The history of the band ended when Héctor Sepúlveda moved to London in 1969. Originally, they tried to go all together but the rest could not make it, and Héctor played in the streets for a while and opened once for Family at the Marquee. CD with remastered sound from the original master tapes.
CAT #: MYECD 031CDLOS MAC'S GG Session CD
Second album by Chilean beat pioneers Los Mac's, originally released in 1967 on RCA Victor. This record features such a unique sound that made them stand out in the local scene and has become a milestone in the development of popular music in Chile. Recorded under the influence of the British Invasion sound, this album includes covers of the Rolling Stones, Dylan, the Hollies... and the outstanding original "Qué Clase de Sentimiento". GG Session anticipated the band's new sound, fully achieved in their next album Kaleidoscope Men.
CAT #: MYECD 032CDLOS MAC'S Go Go/22 CD
The first album by Los Mac's, pioneers of Chilean rock, released in 1966 under the RCA Víctor label. It would be a foundational and groundbreaking work that would open paths in this style of electric guitars and generational ease. After having been discontinued since the 1960s, it is re-released today as a historical artifact to reach record stores all over the world again; now on CD format, remastered with the best technology available. The reissue of Go Go/22 comes back to life after a restoration work on its sound, which was remastered from the original IRT/RCA Victor tapes, giving these new versions a perfect sound of the highest level, rescuing details that manage to give new life to the album when compared to the original edition, in synchro with the new technologies and the times. In addition, its cover and album art has been completely restored, processed to improve the quality of colors and definition, and remain as it was printed the first time, but with a quality that brings the album reborn as a modernized and essential production of Chilean music of important historical value. Los Mac's Go Go/22 is added to a prestigious collection of reissues that Musica & Entretenimiento Discos is developing to preserve and restore the roots of our genealogy of popular music in Chile. This first album in the history of Los Mac's, has 19 tracks where the group covers famous bands such as The Beatles, The Rolling Stones, The Shadows, Buddy Holly, and Chuck Berry, among others, artists that give life to this emblematic band led by David and Carlos MacIver on guitar and bass, respectively. "An album full of the dreams of four boys, brought together in songs that were and will continue to be the favorites of all young people like them... and why not? Also, of those who are no longer teenagers, but feel the spell of 'going back to live' the songs that get into the heart, to the rhythm of the dance or looking into each other's eyes and dreaming... holding hands. And after hearing the album, they will surely think, like us, that 'Los Mac's are ¡MAC... knots!" Features Poncho Perez's pictures inside the disc cover. Unmissable musical document and refined record that is back for the enjoyment of all those who eagerly awaited this album.
CAT #: PAL 068LPORCUTT, BILL Music for Four Guitars LP
"In a trajectory full of about-faces, Music for Four Guitars splices the formal innovations of Bill Orcutt's software-based music into the lobe-frying, blown-out Fender hyperdrive of his most frenetic workouts with Corsano or Hoyos. And while the guitar tone here is resolutely treble-kicked -- or, as Orcutt puts it, 'a bridge pickup rather than a neck pickup record' -- it still wades the same melodic streams as his previous LPs (yet, as Heraclitus taught us, that stream is utterly different the second time around). Although it's a true left-field listen, Music for Four Guitars is bizarrely meditative, a Bill Orcutt Buddha Machine, a glimpse of the world of icy beauty haunting the latitudes high above the Delta (down where the climate suits your clothes). I've written before of the immediate misapprehension that greeted Harry Pussy on their first tour with my band Charalambides -- that this was a trio of crazed freaks spontaneously spewing sound from wherever their fingers or drumsticks happened to land -- but I'll grant the casual listener a certain amount of confusion based on the early recorded evidence (and the fact that the band COULD be a trio of crazed freaks letting fly, as we learned from later tours). But to my ears, the precision and composition of their tracks were immediately apparent, as if the band was some sort of 5-D music box with its handle cranked into oblivion by a calculating organ grinder, running through musical maps as pre-ordained as the road to a Calvinist's grave. That organ grinder, it turns out, was Bill Orcutt, whose solo guitar output until 2022 has tilted decidedly towards improvisation, while his fetish for relentless, gridlike composition has animated his electronic music (c.f. Live in LA, A Mechanical Joey). Music for Four Guitars, apparently percolating since 2015 as a loosely-conceived score for an actual meatspace guitar quartet, is the culmination of years ruminating on classical music, Magic Band miniatures, and (perhaps) The League of Crafty Guitarists, although when the Reich-isms got tossed in the brew is anyone's guess. And Reichian (Steve, not Wilhelm) it is. The album's form is startlingly minimalist -- four guitars, each consigned to a chattering melody in counterpoint, repeated in cells throughout the course of the track, selectively pulled in and out of the mix to build fugue-like drama over the course of 14 brief tracks. It's tempting to compare them to chamber music, but these pieces reflect little of the delicacy of Satie's Gymnopedies or Bach's Cantatas. Instead, they bulldoze their way through melodic content with a touch of the motorik romanticism of New Order or Bailter Space ('At a Distance'), but more often ('A Different View,' 'On the Horizon') with the gonad-crushing drive of Discipline-era Crimson, full of squared corners, coldly angled like Beefheart-via-Beat-Detective. Just to nail down the classical fetishism, the album features a download of an 80-page PDF score transcribed by guitarist Shane Parish. And while it'd be just as reproducible as a bit of code or a player piano roll, I can easily close my eyes and imagine folks with brows higher than mine squeezing into their difficult-listening hour folding chairs at Issue Project Room to soak up these sounds being played by real people reading a printed score 50 years from now. And as much as I want to bomb anyone's academy, that feels like a warm fuzzy future to sink into." --Tom Carter Recorded Winter/Spring 2021 at the Living Room, San Francisco. Mastered by James Plotkin.
PHARAWAY SOUNDS (SPAIN)
CAT #: PHS 008LPKORAY, ERKIN Arap Saci 2LP
2022 restock; double LP version. Master of the fuzz saz, Turkey's answer to Eric Clapton brings his burly axe attacks to the snaky folk melodies of Anatolia. Long-proven to cause just the brain-rot you're looking for, here's a Koray collection of tracks taken from singles and LPs for your acid-drenched pleasure. The guitar slinger who was once stabbed for wearing his hair too long around the streets of Istanbul interweaves melodies as old as the ruins of Ephesus with the riffs of Black Sabbath and his own souped-up ba?lama. Find out why they call him Erkin Baba. Originally released in 1976. Includes a booklet containing extensive liner notes.
PINCHE DISCOS (SPAIN)
CAT #: PINCHE 001LPVA Wild Mexico Vol. 1 LP
2022 repress. So you think you've heard everything when it comes to rare and wild '60s rock n' roll, right? Oh well, you're dead wrong! Leave it to Mexico when it comes to rowdy, crazy, and catchy-as-hell, as this ass-kicking set of rare cuts proves to be without a doubt. Throw this piece of dynamite at your next lame party and prepare to see the universe go ape-shit. There's no way anybody with a minimum taste for untamed '60s music is not gonna love this one to death. Features: Los Polivoces, Los Geminis, Los Aragon, Los Boing, Luis Vivi Hernandez, Los Cuatro Mosqueteros, Los Six Kings, Los Rebeldes, Los Strwcks, Esteban Ramon Y Los Cuadros, Los Teddy Bears, Los Reno, Los Juniors, and Los Gueros.
CAT #: PINCHE 002LPVA Rare Mexican Cuts Of The Sixties LP
2022 repress. Pinche Discos present a reissue of Rare Mexican Cuts Of The Sixties, originally released in 1988. The long out-of-print Rare Mexican Cuts Of The Sixties remains a milestone for fans of obscure and wild rock n' roll all over the world. Composed exclusively of covers, it shows no one can do it quite like those Mexican cats when it comes time to inject a good dose of savage craziness to revitalize well-known tunes, like "Jumping Jack Flash", "Gloria" or "Hey Joe". 15 tunes of pure Mex madness sure to set your adrenaline level over the roof, dig it! Features: Los Locos Del Ritmo, Los Anis, Los Apsons, Los Monstruos, Los Johnny Jets, Miguel Angel & Los Sharps, Los Belmont, Los Rockin Devils, Los Yakis, and Los Ovnis.
CAT #: PLANAM 012LPRODER, KLAUS Kristallisationen 2 LP
Limited 2022 restock. Planam proudly presents the second LP production by Klaus Röder featuring two more pieces from the electronic Kristallisationen series -- "Kristallisation 5" (1993) for microphone recordings of children's chimes (played by children), Yamaha TX 802 digital synthesizer and EMS Synthi A analog synthesizer, "Kristallisation 7" (1997) for microphone recordings and computer sounds, as well as "Frozen Sounds" (2002) for electric guitar sounds and computer sounds and the more concrete "Life-Music 1" (1999) for microphone recordings in the zoo of Wuppertal, computer sounds and Yamaha TX 802 digital synthesizer. Klaus Röder is the archetype of the challenging challenger -- the perfect outsider. Nothing bad about it -- true geniuses often are hiding behind their uncompromising ethic. "Ethic in the attic" would define the home-studio work of this ex-Kraftwerk banned banned banned auf Die Autobahn. The independent, time-stretching composer Klaus Röder is by necessity an inventor. Systems, machines, treatments, everything is (hand)made to provoke, to induce a musical result not only technically superb but loaded with the author's intimacy: humor, sound elements of a private life, a kid giggling... indeed, a highly emotional and poetic approach. Klaus Röder mixes and plays with outside influences -- cut-up, musique concrète, psychedelia, plunderphonics, pop, even blues -- in order to create a patchwork-like but coherent corpus over nearly 40 years of compositional activity. His music blends the warmth of strings and of humanity with the icy matter of electrical components and seems to have just one borderline: that of our ears. Features a full-color sleeve.
CAT #: PORPAX 005EPED1999 Body Fluid 12"
The hotly tipped rising producer ED1999 releases his fifth 12" on his own label Porpax. On Body Fluid, the Belgium-based artist unleashes four slices of high-octane big room techno. "Indigo Blood", the second track, after the EP's bitter-sweet Carl Craig circa Landcruising reminiscent ambient opener "Blurry Blue Eyes", primes you for "Body Fluid"'s overall energy level. Balls-to-the wall techno with more than a hint of ED1999's love for Detroit techno. How deep this influence run in ED1999 is nowhere more audible than in "Abyssal Terror" with its jubilant chords and arpeggios. Another fast-paced whirlwind of a track is "Deep Sea Hunter", which has a loopy vibe to it, that is trance-inducing in the best possible way. The bleepy "Azura Sequence" rounds the EP off with another perfectly balanced execution of track-y forward drive and deepness. Visually, the collaboration with Berlin-based graphic artist Oliver Sperl continues. The cover of "Body Fluid" is one of Sperl's artworks that the Porpax team purchased at an exhibition in Berlin a while back.
PORTRAITS GRM (AUSTRIA)
CAT #: SPGRM 005LPREHBERG, PETER Peter Rehberg at GRM LP
Shelter Press and INA grm are pleased and moved to present two previously unreleased recordings of Peter Rehberg, two live performances given at the GRM which, each in their own way, vividly illustrate the extent of his sonic palette. On July 22, 2021, Peter Rehberg passed away, leaving a great emptiness in his wake. Many initiatives have already celebrated or will soon celebrate his memory and the titanic work he put at the service of so many artists - a whole musical community, in fact -- through Editions Mego. INA grm, Shelter Press and Stephen O'Malley, who are continuing some of the collaborative Editions Mego sub-labels (Recollection GRM, Portraits GRM and Ideologic Organ), wanted to pay tribute more specifically to the musician Peter Rehberg, and to his immense talent. Peter Rehberg, as an artist, has collaborated with the GRM on numerous occasions, both with Stephen O'Malley (as KTL) and solo. This release features two concerts given for the GRM, each time as part of the Présences électronique festival. The first concert, given on March 15, 2009 at the Maison de la Radio in Paris, marked the first collaboration between Peter Rehberg and the GRM and the beginning of a long and fruitful friendship. The second concert took place on March 6, 2016. Between these two concerts, seven years have passed, seven years in which the ties between Peter Rehberg and the GRM have been strengthened, seven years in which Peter Rehberg's music has flourished. What is striking in these two concerts is how Peter Rehberg's unique musical sensitivity and "grammar" can be heard beyond the instruments. For while the first concert is pure laptop music, the second is extended to the field of modular synthesis. However, in both concerts, the elements that are so personal to Peter Rehberg's music are present and combine in a layering of sonic abrasions, raw sensations and a sensitivity that is as much about formal awareness as it is about the invocation of overwhelming emotions, even though a little hidden behind a radicality that is always a bit provocative. Peter Rehberg offers us a "portrait music", a music that gives some clues about the personality of its author and whose absence continues to deepen an inconsolable sadness.
CAT #: POTOMAK 826501EINSTURZENDE NEUBAUTEN Fünf Auf Der Nach Oben Offenen Richterskala LP
2022 repress; LP version. Digitally-remastered 2002 release. This is the fourth album by German avant-garde industrial band Einstürzende Neubauten, originally released in 1987. The bonus track "Adler Kommt Spaeter" is an early version of "Zerstörte Zelle." Considerably lower-key than all their previous releases, Fünf Auf Der Nach Oben Offenen Richterskala (trans. "Five On The Open-Ended Richter Scale"), with especially puzzling, almost country-rock track "Morning Dew," sung in English, but with moments of whip-cracking and atomic explosions. There's the same attention to rhythmic assault on this record as on the others, but there's a quieter, more sinister, darker, lower-key ambience at work here, with Blixa Bargeld's vocals right at the center-front of the mix, as he experiments with breath, lower pitches, whispers, and barely-audible squeals. There's a barely-restrained, beautiful tension here that never gets resolved, sounding as if the band is holding itself back from complete annihilation.
PROFOUND LORE (CANADA)
CAT #: PFL 277LPLOCRIAN New Catastrophism LP
LP version. "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)."
PSICO BR DISCOS & POSTERS (SPAIN)
CAT #: PSYCHBRBT 010LPTERRENO BALDIO Terreno Baldio LP
There is a legend that in Terreno Baldio (translated "Wasteland") there is a mystical being who cleans the land of the rivers and seas that the day has brought. Each one has its own land, it is the place where you cleanse yourself, and in a big city, the land wasteland remains as the purification of all who play their rivers and seas, so that the mystical being called Aqueloo, brings his dance rituals at night, spells and clear the ground for the next day.The band Terreno Baldio was born in 1974, when they got together in a group with the purpose of making progressive rock. Roberto Lazzarini was already playing with João Kurk and Joaquim in the Ilanders group, a dance band; Mozart Mello and João Ascensão joined there, having met on the recordings of Pete Dunaway's album. Everyone knew and liked King Crimson, Gentle Giant, and Yes, wanting to make a more worked sound as a group, thus creating Terreno Baldio. Terreno Baldio's music has always had a progressive feel, which was unusual for the standards of the time, characteristic for being well-crafted harmonically and musically, rhythmically, which is the mark of the prog feel. Terreno Baldio is hailed as one of the leading progressive rock bands from the seventies in Brazil, from its surrealistic album art to its equally interesting music. The homonymous work Terreno Baldio, released in 1976, was an active part of a whole scenario of youth suffering from strong political repression, representing in the song "Grite" (Scream) the desire of all Brazilian society that yearned to express its voice with freedom, being an impressive moment of collective catharsis in their live performances. Terreno Baldio has officially released two albums, the first Terreno Baldio, and the second album called Além das Lendas Brasileiras, where progressive rock got even closer to Brazilian culture. Recently with the death of singer João Kurk, the band brought in singer Roger Troyjo, remaining active with the original members Roberto Lazzarini and Mozart Mello, in addition to the accompaniment of Edson Ghilardi on drums, Geraldo Vieira on double bass and violin with Cássio Poletto. Roberto Lazzarini had a solo album called Libera o Bicho released in 2004 with the participation of the band's musicians.
CAT #: RLV 001EPUMILIANI, PIERO Discomania (Jolly Mare Rework) 12"
"Discomania rework launches new Four Flies series aimed at bringing the legacy of Italian film and library music into the world of international clubbing. One of Piero Umiliani's most dance-y tracks ever is finally available again on 12" vinyl, both in its original version and in a special edit retouched by Jolly Mare that further increases its dancefloor potential. 'Discomania' was recorded by Umiliani in 1978 under the moniker Rovi (one of the many aliases he used at the time to avoid saturating the Italian library music market with his name), and sounds wonderfully in tune with the then-emerging cosmic disco scene. Moreover, 'Discomania' enjoys a special place in Italian pop culture, having entered the collective imagination of national TV viewers between 1981-1987, when it was used as the closing theme song for RAI television football program 90° Minuto. This single launches Reloved, a new series from Four Flies in which accomplished DJs and producers rework tunes from Italian golden age soundtracks and library music. Choosing Piero Umiliani for the first release in the series was almost inevitable. And who better than Jolly Mare, one of the label's greatest friends and collaborators, to put a contemporary spin on Umiliani's original track."
CAT #: EZRDR 115LPWHITE LIGHTNING Thunderbolts Of Fuzz LP
LP version. "Standout favorites of Riding Easy Records' Brown Acid compilation series, White Lightning's stellar discography of rare and under-appreciated heavy psych, proto-metal rock gets a vital revival for new generations to learn how swinging, swaggering and often blazingly fast rock'n'roll is done. White Lightning was formed in Minneapolis, MN in 1968 by guitarist Tom 'Zippy' Caplan and bassist Woody Woodrich after leaving garage psych band The Litter (themselves popular standouts from the Nuggets and Pebbles series of garage rock rarities.) Originally a power trio, the band later expanded to a five-piece in 1969 while shortening its name to Lightning. The quintet's brilliant and rare 1970 self-titled album on Pickwick International's P.I.P. imprint provides six of the ten tracks on Thunderbolts Of Fuzz. The original White Lightning trio only released the one 45-rpm single 'Of Paupers And Poets' during their existence (on local Hexagon label in 1968, later reissued by major label ATCO Records in 1969.) A long out-of-print posthumous album released in 1995 gathered unreleased recordings, three of which are found here. This rounds out this collection of recorded highlights from the band's rocky history. Taking their name from a particularly potent type of LSD, White Lightning laid out from the start that it was not cute and cuddly '70s rock. In fact, the band's aggressive tempos are like punk rock way before punk. However, their dirty blues groove and musical prowess shows the band was more than unrefined ne'er-do-wells, they had true versatility."
CAT #: EZRDR 136LPVA Brown Acid - The Fourteenth Trip LP
LP version. "Here's just a few of the gems on Brown Acid - The Fourteenth Trip, the much beloved series that is the Nuggets of proto-metal, pre-stoner rock: The Legends' 'Fever Games' is a 1969 fever dream of heavy psych on par with Blue Cheer at their heaviest, featuring an incredible intro with whammy-bar gymnastics through an Echoplex. This Harrisburg, PA power trio, featuring Dan Hartman (Edgar Winter Group, et al) and his brother Dave, also name-checks Jimi Hendrix Experience in the midst of the song's most blatant Hendrix rip. Perhaps that's how Fever Games work? Transfer's velvet smooth groove has an almost proto-punk feel like a mashup of the Velvet Underground and The Flamin' Groovies. But the lyrics referencing tokin' reefer and the twanging surf lead situate them closer to their heavy rock brethren. This very rare 1974 self- released 45 is this lone archive of the band's existence -- assume they just kept right on playin' it cool into oblivion. Cox's Army deploy the grungy rocker 'I'm Tired' which sounds like if Jimi Hendrix fronted Mudhoney. Yes, please! Though they hailed from Aurora, IL, it sounds like there's definitely some Pacific Northwest in their blood. Particularly in the gritty production, which hints at The Sonics' 'bustin' outta lo-fi' style. Not much is known about the enigmatic Columbus, OH musician known as Raven, whose 'Back to Ohio Blues' closes this edition. The mantra-like droning riff of this eight-minute jam is a Black To Comm-style epic, driven by Raven's hostile, no-bullshit diatribe until it all busts open for an insane two-minute long drum solo soaked in odd effects that sounds like it was copped from a Melvins album."
CAT #: EZRDR 137LPHELL FIRE Reckoning LP
LP version. "Sometimes a band grows so exponentially from one record to the next, it's almost jarring. Hell Fire has already established themselves as the preeminent masters of a new hybrid breed of Bay Area thrash and NWOBHM in just a few short years, but their fourth album Reckoning is the type of ascendance that truly sets a band apart. Reckoning is their Master Of Puppets, their Number Of The Beast, their Defenders Of The Faith. From the very first notes of the album opening title track, you can feel a vital new energy and inspiration to their music. To say Hell Fire used the recent global downtime to dig within and fully refine their sound would be an understatement. It truly is a reckoning. 'This album is every aspect of our band amplified to its maximum potential,' says singer/guitarist Jake Nunn. 'This is the record we've always wanted to make, and it feels like we're just getting started,' guitarist Tony Campos adds. 'We wanted to push ourselves musically and capture some of our frustrations, anger, loneliness, and rage over being locked inside and dealing with life during a global pandemic in the days when no one really knew how to navigate,' says drummer Mike Smith. With no touring on the horizon in 2020, the band hunkered down and recorded nearly a full album in preproduction home demos. 'I set up a little studio in my garage to record guitar, bass, and vocal tracks,' Campos says. 'While Mike bought an electronic drum set and we demoed every song so we were more prepared going into the studio.' Each of them found themselves practicing more on their own and ironing out every last detail and nuance before finally being able to once again play in a room together. The band's heightened professionalism also brings in guest bassist Matt Freeman (of Rancid and Operation Ivy fame) on the album after original bassist Herman Bandala departed the band amicably during the initial writing process. New bassist Kai Sun joined Hell Fire in Fall 2021."
CAT #: EZRDR 145LP
FILE UNDER: SOUNDTRACKSORCERY Stunt Rock LP
"In the 1970s era of rock's theatrical excesses, Sorcery delivered next level performances in which a battle ensued on stage between illusionists portraying Merlin versus Satan. While Alice Cooper and KISS brought costumes, gore and flashpots to the mainstream, these Los Angeles hard rockers integrated live magic, theatrical drama and fourth wall breaking performance for new heights in musical storytelling. While Sorcery consists of professional musicians -- the core group being guitarist Richard (Smokey) Taylor, vocalist Greg Magie and bassist Richie King -- two magicians also performed on stage when they played live. The band's nearly immediate local popularity from their debut in 1975 also made them in demand for film and TV. Enter: Stunt Rock. Way before Jackass, before Crocodile Dundee, contemporaneous with Kiss Meets The Phantom Of The Park and as timeless as classic Heavy Metal, there was Stunt Rock. The 1978 low budget, high concept B-movie integrated hard rock, magic, dangerous stunts and an early form of mockumentary filmmaking into an epic feature film about an Australian stunt man reunited with his American cousin (and Sorcery member) in L.A., and all Hell breaks loose. Sorcery composed the soundtrack -- which also served as the band's debut album -- and were shown performing songs throughout the film. The Stunt Rock soundtrack highlights the sweet spot between the playful, campy occult imagery of the '70s before Satanic Panic and the religious right's kayfabe outrage pushed bands to tone things down in favor of glam pomp. What one gets here is pure, knobby occult heavy metal that sounds something like Sin After Sin-era Judas Priest with Robert Plant on vocals, crossed with the melodrama of Alice Cooper and The Who's rock operas. The songs are taut, quickly shifting from part to part, motif to overture. The tunes are infinitely catchy and laden with attention grabbing titles like 'Talking To The Devil', 'Mark of The Beast', 'Stuntrocker' and 'Burned Alive.' On the surface, the film Stunt Rock seems campy and crazy enough to be embraced even if the music weren't all that exciting, but Sorcery proves that their work deserves to be seriously appreciated in the canon of classic rock."
CAT #: ROAR 014LPMETZGER, PAUL Gedanken Splitter LP
2022 restock. Paul Metzger continues to pile up the plaudits from critics and peers alike for his virtuosic string-slinging, gaining notice through Three Improvisations On Modified Banjo ?(2005) and his split LP with Ben Chasny and Chris Corsano on Roaratorio (2006). Metzger's modified banjo is tricked out with additional sympathetic raga strings, although the compositions on Gedanken Splitter are informed by much more than Eastern drone music alone. Recorded in the same period as Deliverance (2007), this is a more jagged and aggressive (although no less accessible) affair. Metzger winds these improvisations around thornier threads than on his previous releases, and while never turning completely abstract, Gedanken Splitter moves even further away from anything resembling typical banjo fare. This is mesmerizing and singular playing. "If Paul Metzger's last album Deliverance evinced his yearning to free the banjo from the shackles of convention, Gedanken Splitter shows what comes after the chains hit the earth; Metzger's attack is unmatched in the new American Primitive camp." --Bill Meyer, The Wire.
CAT #: ROAR 028LPLACY & JOE MCPHEE, STEVE The Rest LP
2022 restock. In June of 1977, Steve Lacy and Joe McPhee shared a double bill in Basel, Switzerland. Lacy invited McPhee to join him for a duet to close his set, for which McPhee elected to bring out his own soprano saxophone. The main part of Lacy's performance was issued on the classic Clinkers LP (1978); after 36 years, here is The Rest. This one-sided, limited LP marks the first and only time that these two master musicians played together, but the simpatico meshing of their distinctly individual voices points towards a shared history on a different plane. Previously unreleased material licensed from Hat Hut Records. Cover artwork by Judith Lindbloom. Download coupon included. "This 20-minute improvisation shows two stylists of the soprano sax jousting, jabbing, dovetailing and slithering around each other. At times, it sounds as if Lacy is going to go into one of his compositions and McPhee, for his part, holds his own against the master, his more visceral soprano sound contrasting nicely with Lacy's elegance. This limited-edition, one-sided vinyl is truly an unearthed gem." ?Robert Iannapollo, New York City Jazz Record
CAT #: SHR 209LPWOODS, BEN Dispeller LP
LP version. "On Dispeller, Ben Woods's beguiling new album, his intimate experiments in rock paint a vivid portrait. Here, the New Zealand artist leans comfortably into intuition and abstraction. Expansive arrangements are anchored by heavy-lidded prose, while carrying the air of the portside shack it was made in. Dispeller was recorded throughout a year in Woods's hometown, Lyttelton, with Ben Edwards (Aldous Harding, Marlon Williams, Julia Jacklin) at the helm of the mixing console and co-producing. Utterings, footsteps, and the rattles of the room linger beneath the album's dense instrumentation, alluding to the familiar space the songs were captured in. Here, Woods's songs breathe and flourish into their own worlds. 'I found my voice in trying to make atonality croon,' he says. 'With Dispeller it was less about harmony -- the blend was capturing the songs very honestly in the room, and still making each of them to transport you somewhere different.' Even beside Woods's acclaimed debut, PUT (2019), which saw him sharing stages with Aldous Harding, No Age, Julia Jacklin and Steve Gunn, Dispeller enchants. The songs here are stronger, the instrumentation stranger. With chopped and screwed vocal contributions from underground hero Alastair Galbraith, 'Speaking Belt' snaps and pulses with the sordid clatter of a lost Xpressway single. Charlotte Forrester from Womb (Flying Nun) adds their diaphanous voice to 'The Strip And Punishing Type'. On fragile duet 'Wearing Divine', Lucy Hunter (Opposite Sex / Wet Specimen) threatens to steal the limelight, before a full hive of Marlon Williams's honeyed vibrato comes spluttering out of what sounds like a rusted can. Woods's melodies bring to mind Scott Walker's dramatic tunefulness, while his voice holds something of Gordon Gano's waver, pushed through New Zealand vowel mangling. Dispeller's arrangements hit at the subtle, reactive instrumentation of late-era Fugazi, the glowing murk of Grouper, the Antipodean-gothic drudge of Tall Dwarfs, and the mechanical outer crust of Sparklehorse. However, while Woods experiments with the disparate and the disharmonious, it is the open heart which elevates Dispeller. His voice holds the physical and spiritual middle; flirting with, but never succumbing to the splendor and turmoil which surround it."
STATIC SHOCK RECORDS (UK)
CAT #: SSR 048LPURANIUM CLUB All Of Them Naturals LP
2022 repress. Sharpen your pencils, pseudo intellectuals, The Minneapolis Uranium Club (or just Uranium Club) have returned with a new LP! All Of Them Naturals is a collection of new songs that sound exactly like Wire, and exactly like Devo, and exactly like The Randoms, and exactly like Total Control, and exactly like The Shitty Limits, and exactly like Eddy Current, and exactly like The Fall without Mark E. Smith's languidness. It's like the Sex Pistols misfiring. All eight tracks come fully approved by The Sunbelt Chemical Corporation.
SUB ROSA (BELGIUM)
CAT #: SR 507LPKUPPER, LEO Electronic Works & Voices 1977-87 2LP
Perfect follow-up to Sub Rosa's precedent double-LP Electronic Works & Voices 1961-1979, this release highlights Leo Kupper's earliest compositions with his GAME machine -- Générateur Automatique de Musique Electronique (Automatic Generator of Electronic Music) constructed during the 1960s. Purely electronic sounds into new structures, Leo Kupper shows through his four tracks a real spirit of renewal. Released in Sub Rosa's Early Electronic series.Leo Kupper was born in Nidrum, Hautes Fagnes (Eastern Belgium) on the April 16th, 1935. He studied musicology at the Liège Conservatory, then became the assistant of Henri Pousseur who, in 1958, had just founded the Apelac Studio in Brussels. Kupper started to work on his first pieces there, but he would finalize them only upon putting together his own studio in 1967: the Studio de Recherches et de Structurations Electroniques Auditives (studio of audio electronic research and structuring). That is where he would compose, to this day, over forty works, most of them on instruments of his own design. In the '70s and '80s, he built a series of Sound Domes (briefly established in Rome, Linz, Venice, and Avignon), places where every sound, every phoneme uttered by the listening audience was transformed by hundreds of loudspeakers of various sizes organized in a dome shape. This device transformed sounds through space and time: something said could be morphed into another sound hours, days, perhaps years later. Leo had envisioned that a device like his, a place for contemplation, would be much-needed in cities where nature had been evacuated. In the late '70s, after discovering Iranian music master Hussein Malek, Kupper became one of the very few Western virtuosos of the santur.The GAME machine: In 1961, having terminated his musicology studies, Leo Kupper left Liège for Brussels. By that time, centers for music research such as those in Cologne, Paris, and Milan had already produced works of experimental music, where pioneers were forging new and diverse routes in electronic music, "musique concrete" and electro-vocal music. The GAME machine was constructed during such period and spirit of renewal and technical exploration. The GAME consisted of a collection of variable "sonic cells" sensitive to modulations of positive and negative voltages and programmable manually through the aid of color-coded cables. Complex electronic loops and sound from loudspeakers and from microphone pick-ups were then either recorded by tape-machines or performed and interpreted by musicians who opened automatic channels, thus triggering automatic sound to exit the speakers. This in turn penetrated the machines by means of microphones and was replayed.
CAT #: SR 511LPMAGGI, PHIL The Encrimsoned LP
Sound architect and filmmaker from Liège, Belgium Phil Maggi is known as the lead singer of heavy-rock combo Ultraphallus. He has shared the bill with Jerusalem In My Heart, Keith Rowe, Phill Niblock, Tuxedomoon, Sote, Thisquietarmy, and many others. The Encrimsoned is the second part of his diptych inspired by Henry Corbin's writings, which started with his previous album Animalwrath (SR 453CD). The Encrimsoned is a four-track album, harboring a few musical friends and usual collaborators (Maja Jantar, Tom Malmendier, Radwan Ghazi Moumneh, Sebastien Schmit, Gabriel Séverin, Xavière Fertin). Ranging from free-jazz to ambient-electronic contemporary art sound, this adventurous second and final chapter is an homage to Hardy Fox, pioneer and primary composer for The Residents. Inspiration: Henry Corbin, Lawrence Ferlinghetti, Bela Tarr, Farid od'din Attar, Shihab od'din Sohrawardi, The Residents. Milky white vinyl.
CAT #: SR 524LPACDA/ERIC THIELEMANS, CHANTAL A New Score For Koyaanisqatsi LP
Dark-folk songwriter Chantal Acda and beyond drums-percussion musician extraordinaire Eric Thielemans propose a new score for Koyaanisqatsi, re-actualizing the incredibly beautiful, raw, rhythmic, and touching images of this '80s cinematographic masterpiece. Slow deep electric waves, lonely synths in sonic desert landscapes, rhythmic pulses, transporting drums and bells, and deeply longing sounds and voices make up the audible fundamentals of this imagined, neo shamanic, ritualistic music to accompany the Earth as it keeps on supporting our post human frenetics even today. This release contains a selection of the musical material scored for a live performance together with the screening of the movie. The live performance premiered on Film Festival Gent and Vooruit in the fall of 2022. White vinyl.Chantal Acda: Currently based in Belgium, Dutch-born Chantal Acda (b. 1978) has worked under the Sleepingdog moniker since 2006, making three acclaimed albums. After touring the UK, it was time for her first real solo record. Playing in various formations (Isbells, True Bypass, Marble Sounds) had made her conscious of shared patterns. Through her solo career, she's worked with German pianist and producer Nils Frahm, multi-instrumentalist Peter Broderick (Efterklang, Bella Union, Erased Tapes), cellist extraordinaire Gyda Valtysdottir (Múm), and Shahzad Ismaily. Acda has released four solo records under her own name. She also released some live recordings with her band, and also with jazz guitarist Bill Frisell. In 2019, Chantal created her first music/theater performance P_wawau for Oerol Festival, The Netherlands. She worked with Valgeir Sigurdson (Björk, Bonnie Prince Billy) and singers from Het Nederlands Kamerkoor. She released an album of music from the performance: Puwawau (2019). In 2021, Chantal released her most recent album Saturday Moon (2021, GRCD 1029CD/GRLP 1029LP).Eric Thielemans, drummer and percussionist. Travelling across music scenes and disciplines, Thielemans navigates by means of his own compass. Recently, Thielemans has collaborated with PVT -- a trio together with Mika Vainio and Charlemagne Palestine -- a new trio together with Oren Ambarchi and Charlemagne Palestine, a new duo together with Oren Ambarchi, Billy Hart, Chantal Acda, Marshall Allen (Sun Ra), Tape Cuts Tape, Distance Light & Sky, Jozef Dumoulin, Trevor Dunn, Shahzad Ismaily, Vaast Colson, Nico Dockx, and many more.
SURVIVAL RESEARCH (AUSTRALIA)
CAT #: SVVRCH 028LPDIBANGO, MANU Africadelic LP
2022 repress. Survival Research present a reissue of Manu Dibango's Africadelic, originally released in 1972. The strange and majestic musical beast that is Africadelic was Dibango's follow-up to Soul Makossa (1972), but it was initially released on Louis Delacour's library music label, Mondiaphone, before Soul Makossa became an international phenomenon. As a Mondiaphone release, it was aimed at television and film producers seeking atmospheric background music, so the original titles are simply "Theme No 1," "Theme No 2," etc., with corresponding rhythmic notations such as "3/4 Africain," "Afro Beat 12/8," and "Medium Soul Beat," though once "Soul Makossa" hit the stratosphere, subsequent reissues bore actual song titles. In any case, the album is simply wonderful, a driving mix of Afro soul, funk, and jazz, with an undercurrent of Latin percussion throughout, given further shades by rock guitar and soul organ, as heard on "African Battle" and the title track; opener "Soul Fiesta" builds dramatic percussive tension before Dibango drops a killer vibraphone riff, while "African Carnival" makes the most of the full horn section, Dibango's sax soloing giving room for complex polyrhythmic percussion breaks. "Oriental Sunset" has beautiful vibraphone from Dibango too, as well as a thrilling flute melody, "Monkey Beat" and "Wa Wa" are funky soul struts and "Percussion Storm" has the band marching off into the African sunset as Dibango unleashes another killer vibraphone melody. Listening back to the album now, it is hard to believe that the whole shebang was written in a couple of days and committed to tape within the space of a week, but that is all more testimony to the greatness of Manu Dibango, one of African music's true pioneers.
TOY TONICS (GERMANY)
CAT #: TOYT 133EPGORDON & BOB THE EGOIST, FELIPE Freedom EP 12"
Felipe Gordon comes back to Toy Tonics. The Colombian musician, producer, and DJ has been part of the TT label crew since 2017 when he released his debut Teusaquillo EP. Since then, Felipe has made a huge career. He made a second EP for Toy Tonics (Wait On Me, 2020) he now releases on labels such as Heist Recordings, Kai Alce's NDATL, Clone Royal Oak, Phonica Records, Shall Not Fade, and was featured on Cinthie's DJ Kicks. With his third EP on Toy Tonics, Felipe now takes a next big step in his artistic development. He's been working for some months now on a new and organic path, a different way of vocal house. He started working with a talented young Colombian singer called Bob The Egoist AKA Daniel Pardo. Bob is a young Berklee degree student with a deep and emotional voice, an amazing knowledge about the classic soul and RnB and a clever and enthusiastic way of writing chord progressions, you will hear his name more often than you can imagine in the next coming months. This new Felipe Gordon EP has a more organic driven feel, and is definitely a vocal house record. With a lot of classic 1990s house feel, but still not sounding retro at all. It has a slight futuristic feel. Besides the great vocal ideas, the tracks are based on amazing chord progressions that remind the jazz-funk music from the early 1970s. Rhodes and clavinets, wah-wahs and a nasty, soulful atmosphere. Felipe did some heavenly synth work, creating music with a deep yet funky character -- always punchy and analog. Felipe's production style seems to be exploring new grounds. The music was recorded in two weeks only in December 2021. And probably that's one of the reasons why these tracks don't sound over-produced. The instant, rolling feel gives the songs its special character. Features Toro Moratto and Marc Bianco.
CAT #: TEG 78503LP
FILE UNDER: HIPHOPCAMP LO Uptown Saturday Night 2LP
2022 repress. "Camp Lo's first record, which did not disappoint. It struck the perfect balance between club tracks and underground bangers for the mixtape crowd. Critically acclaimed and fan approved, this late '90s album must-have was complimented by the incredible cover art illustrated by legendary NYC graffiti artist Dr. Revolt that paid homage to Marvin Gaye's 1976 classic I Want You. It's hard to believe in the time of Puffy's heyday, Camp Lo had developed and delivered a style of hip hop that was not only fresh and creative, but also straight up dope. Flipping intricate rhyme styles over some of Rap's finer beats, the fact that Camp Lo got main stream radio play and love from big time club DJ's is a testament to the essence of what hip hop was once about: raw talent and originality! Remastered from the original tapes and pressed on loud double vinyl."
CAT #: TUP 034LPSLEEP Volume One LP
2022 repress. "Volume One is the debut album. It was the only album recorded with second guitarist Justin Marler, before he became an Orthodox monk. Volume One showcases a darker sound and stronger doom metal influence than Sleep's later work."
CAT #: VAMPI 108LPVA The Afrosound Of Colombia Vol. 1 3LP
2022 repress. Over 2 ½ hours of funky, hot Afro-influenced tracks from the '60s and '70s golden-period of the seminal Discos Fuentes label in Colombia. Forty-three dancefloor hits provide an irresistible mix of genres: salsa, cumbia, boogaloo, tropical funk, and chicha. The story of the Afrosound is a tale of transformation. It tells of the enslaved African peoples who were taken to Colombia, who mixed with Europeans and indigenous inhabitants (by force or choice), and were eventually set free, as well as the escaped cimarrones (maroons) that lived in palenques (fortified settlements) and continued their own traditions. The Afrosound sings of a double diaspora, first the trek in chains during the infamous Middle Passage from the Motherland of Africa to the so-called New World, then much later, the migration from the plantations to the cities. This release deals with the unique sounds produced as a result of the inventive mixing of pop and roots that took place in the urban confines of the Discos Fuentes studios, far from Colombia's coastal regions. The invented term "Afrosound" serves as the title of a thrilling and sometimes odd soundtrack that chronicles the diffusion and evolution of the musical culture from those coastal regions as it was brought inland, where it was translated, simplified, mass marketed, manufactured, modernized, "whitened," globalized, recycled, and then sent back to the world at large, disseminated from the cities of Medellín and Bogotá, where the major bulk of the music production industry resided in the '50s through to the '70s. To tell the story of Afrosound, you not only have to know about the influence of Afro-Antillean music and indigenous Colombian tropical coastal genres, you also have to know something about the history of Discos Fuentes and musician/producer Julio Ernesto "Fruko" Estrada. Suffice it to say that the coastal area of Colombia shares in common with other areas in the Caribbean Antilles a certain tropical mix of sensuality and syncopation that somehow manages to combine joy and pain in a transporting wave of rhythm and melody that is food for the soul. The tracks on this compilation were chosen from the vast archives of Discos Fuentes because they are fun, funky, and unexpected. The title of this compilation comes from one of the Fuentes bands, Afrosound, but here it's taken more as a general term to denote the funkier side of the label's prolific output in the '60s and '70s. The unifying factor for the collection is that the tracks all have something to do with African roots or influences in one way or another, and they mark a period of sonic experimentation, self expression, upheaval, rebellion and rebirth in the industry, nurtured by Discos Fuentes and its stable of musicians, producers, and engineers. Full-color printed inner sleeves include in-depth liner notes with rare photos and original LP artwork.
CAT #: VAMPI 266LPLOS CORRALEROS DE MAJAGUAL Esta Si Es Salsa! LP
Ésta Sí Es Salsa! is one of the most sought-after records in the impressive catalog of the Discos Fuentes tropical all-star group Los Corraleros de Majagual. It was released in 1970, nine years after the band was first conceived by Alfredo Gutiérrez, Calixto Ochoa and label boss Don Antonio Fuentes as an orchestra to play mostly typical folkloric Colombian genres like porro, cumbia and paseo and the occasional guaracha or pachanga, but with a fully orchestrated big band sound that combined the accordion with a complete rhythm and brass section. The record is high on collectors' want lists for many reasons, not least of which is its excellent sound quality and the diverse repertoire infusing its grooves, ranging from expected coastal tropical Colombian rhythms like paseaíto, paseo and pasebol (all related to cumbia and vallenato), to more exotic modes like sonsonete, casatschok, and the Cuban genres of descarga and charanga. There was never any doubt with the label's intentions of introducing this "new" genre of salsa on this LP, albeit as seen through the lens of Colombian musicians only recently converted to the movement, and indeed, the title unequivocally proclaims: "¡Ésta sí es salsa!" ("This is definitely salsa!"). The proof is in the fascinating (and long) cover versions of Nuyorican artists from the burgeoning Big Apple salsa scene that are the centerpiece of the album. Two massive dance tracks on the record are "Ocho Días" and "Amanací Tomando", but neither was inspired by exposure to New York salsa, as they are very "typical" Colombian numbers. The album includes outstanding cover versions of '60s New York salsa but featuring the unusual sound of the accordion and the heavy bass playing of Julio Estrada. First time reissue.
CAT #: VP 4239CDUPSETTERS, THE Return Of The Super Ape CD
"Return Of The Super Ape was the final revelation from Lee Perry's Black Art Studio before it closed, a psychedelicized dub journey into uncharted sonic territories. Return Of The Super Ape is the follow-up album to highly acclaimed dub album Super Ape. Just like its predecessor, the album was produced by Lee 'Scratch' Perry. It was the last album by the Upsetters before Perry closed down his Black Ark Studio. The album showcases yet again the prodigious production skills of undisputed dub master Lee 'Scratch' Perry's insanely layered textures and technical wizardry. With the Upsetters providing their musical backing. Now freshly remastered and restored for 2022 with original press artwork. Includes foldout and booklet."
WAH WAH RECORDS (SPAIN)
CAT #: LPS 149LPZWEISTEIN Trip - Flip Out - Meditation 3LP/7"
2022 restock. Originally released in 1970. "Zweistein was the brainchild of Suzanne Doucet, who was joined by her sister Diane during the recording process, with added studio effects by Peter Kramper. Doucet spent the first part of 60's as a pop star -- gathering number of hits, and as a TV presenter. Filled with a radical spirit, a love of art and technology, and fueled by a heavy intake of psychedelic drugs, her successes proved unfulfilling by the end of the decade. Zweistein was born. The album, which stretches over three LPs, each with its own theme -- Trip, Flip Out, and Meditation, is a writhing radical construction in sound -- far closer to the revolutionary gestures of synthesis, electronic and electroacoustic practice emerging during that era, than what is commonly associated with Krautrock or Kosmische. Almost completely abstract, with passages of fleeting melody and drone - enveloping landscapes realized through sound, Trip Flip Out Meditation is pure art, creativity, and experimentation, filtered through the lens of LSD -- the heights of the era and all the wonders it brought, with an unmistakable, overt attack on the pop sensibility of its day. An artist diving underground, rearing their head into the mainstream with a thrust of what was found. An astonishing edition -- double gatefold, silver engraved gimmick sleeve, 3LP plus a bonus 7" single w/PS and a colour insert. Limited to 1000 copies."
CAT #: LPS 206LPZANOV Green Ray LP + 7"
2018 release. "Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of 'Secret' fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself his first synths and started producing works into a 4-track TEAC tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. And so Zanov soon caught the attention of Polydor, who released Green Ray in 1976. It is a work made with minimal equipment if compared to other French sythesists, not to mention their German peers, he worked on the EMS VCS3 synth and used a 4-track Teac and a Revox A77 Mk IV reel to reel tape recorders obtaining huge sound results. You can appreciate an influence from the Berlin school, Green Ray walks the same path of what artists like Tangerine Dream and the likes were producing at the time, Zanov had felt under the spell of Ricochet, but his head was boiling with ideas which gave the recordings a very personal, unique touch. Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe. We offer the first ever vinyl reissue of Zanov's Green Ray under license from Pierre Salkazanov himself and with his cooperation, in a limited edition of 500 copies that reproduce its original artwork, come with remastered sound and an 8 page insert with liner notes and photos courtesy of www.audionautas.com plus one bonus 7" with previously unreleased on vinyl format material."
CAT #: LPS 207LPZANOV Moebius 256 301 LP + 7"
2018 release. "Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of 'Secret' fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself an EMS VCS3 and started producing works into a 4-track TEAC tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. By the time of his second LP, Moebius 256 301, issued also on Polydor in 1977, Zanov had already gathered a small collection of gear, including an ARP 2600 and an ARP sequencer, his old VCS3, an RMI Harmonic and a PS 3300. Again, under the influence of both first and second generation of Berlin school musicians the LP will appeal to fans of Klaus Schulze or Tangerine Dream, but they will also find a big deal of Zanov's own personal sound on it, since as the musician himself reckons he had little contact with other peers of his generation, so besides a general love for the electronic gear used and the sounds you could make out of them the creative ideas behind his works were all his own. On his second album a richer sound is found, not only due to the use of the new gear, since some of its tracks were recorded using only his old EMS, but also due to his experience after having taken his works to the life stages in the Golf Drouot boite, the Lase Olympia venue (on the basement of the famous Olympia), the Paris Planetarium or those for planned one month tour (of which in the end only four dates were accomplished). Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe. We offer the first ever vinyl reissue of Zanov's Moebius 256 301 under license from Pierre Salkazanov himself and with his cooperation, in a limited edition of 500 copies that reproduce its original artwork, come with remastered sound and an eight-page insert with liner notes and photos courtesy of www.audionautas.com plus one bonus 7" with previously unreleased on vinyl format material."
CAT #: LPS 209LPOMNIBUS Omnibus 2LP +7"
2018 release. "New Jersey's Omnibus formed from the ashes of garage bands from the New Milford area: The Cliffhangers, The Forerunners and The Vandals. Original members came from these three local bands and consisted of Jay Polt, Al Raimondi, Bob Wegrzyn, Bobby Marcinczack and Jerry Garino. They soon hit the local scene and got in touch with brothers Steve and Eric Nathanson who would become their managers and finance their first recordings. A United Artists recording deal was the next step, through which the band issued their debut 45 'The Man Song' / 'It's All In Your Heart' plus their eponymous LP in 1970. Omnibus had an amazing psychedelic sound that took all the right elements from West Coast bands like The Doors or The Jefferson Airplane, Bosstown sound acts like Ultimate Spinach or Chicago hipsters like H.P. Lovecraft to produce their very own Made in Milford, N.J. mixture. Strong, dramatic vocals, tons of fuzz guitar and swirling organs built up their magic sound. Wah Wah proudly offers the first ever reissue of their original 1970 album, plus a whole second LP compiling previously unreleased recordings from rare acetates with earlier recordings of some of the LP tracks and some non released songs. Also added is an extra bonus 7" with the garage killer 'The Farm', which would have been an explosive 45 for the band had not been withdrawn from release. A luxury remastered 2LP + bonus 7" set that includes a facsimile of a vintage Omnibus gig poster in a gatefold package respecting the original artwork, plus an 8 page booklet with photos, lyrics and liner notes written by Jay Polt himself and reissue curator Ezra Lesser - all this in a strictly limited edition of only 500 copies, get yours while still available! If you like bands like The Doors, The Children, Ultimate Spinach, The Beacon Street Union, Fever Tree or Clear Light you ought to have this one on your collection!"
CAT #: LPS 218LPDENOIR, DIANE Diane Denoir LP
2019 release. "One of the most legendary LPs from Uruguay remains a hidden treasure in the rest of the world. It is the first LP by singer Diane Denoir. Diane was a regular in the 'Conciertos Beat' (Beat Concerts) of Montevideo's 1960s scene where she performed with Eduardo Mateo on guitar (leader of El Kinto, one of the most influential bands in 'candombe beat', and the ones who coined the term), Roberto Galletti on drums and Antonio Lagarde on double bass. Diane was also Mateo's muse throughout the early years of his career, he wrote several songs for her, among them 'Esa tirsteza,' 'Y hoy te vi,' and the classic 'Mejor me voy.' Eduardo Mateo would become one of the biggest names of all times in Uruguay's musical scene. Diane, instead, found herself outside the country when the military coup installed a non-constitutional government in Urugay in 1973 and was wisely advised by friends not to go back home to avoid trouble with the new dictatorial regime. A brave defendant of Human Rights, she had been very active against torture, thus becoming a target for the dictatorial regime military intelligence. She exiled in Argentina and Venezuela, and she later settled in Europe and didn't perform in public or record again until recent years when she returned to her home country. On her eponymous 1972 debut album, Diane fused all her influences in one solid sound through songs created by Uruguayan songwriters (Eduardo Mateo, Urbano Moraes -- bassplayer for El Kinto, -- Daniel Amaro, Giuso Bellanca), plus Argentinian lyricist Edgardo Lisi. She had released a couple of 7" between 1966 and 1970, but it is her debut album -- which would be her only one until her 2008 comeback -- that made her legend grow among future generations of music lovers. It's hard to name artists in the same dimension as Diane Denoir for reference, but be sure that you will love this LP if you like the candombe beat scene of El Kinto, Tótem or the Fattoruso brothers (Hugo and Osvaldo) in their post Los Shakers works, but also the bossa nova sound and even artists of their own like Vainica Doble. Very limited edition, only 500 copies made. Remastered sound. Comes in upgraded artwork, gimmick cover with printed inner sleeve."
CAT #: LPS 222LPUNDERDOGS, THE Blues Band LP
2020 release. "Wah Wah is proud to release the first ever legit vinyl reissue from master tape of New Zealand's legendary Underdogs' first LP from 1968. Lovers of John Mayall and his Bluesbreakers (note the Eric Clapton tribute paid on the sleeve of this album) will love this album. The Underdogs formed in 1964 and shared the scene with other greats from the country like The La De Da's, The Action (NZ band, not to be confused with the UK mod godfathers) and The Pleazers. They spread the rhythm and blues word from their native Auckland through several 45s on the Zodiac label and went through a series of line-up changes prior to the release of their fabulous first long player. The Underdogs Blues Band LP was recorded by Murray Grindlay on vocals, Lou Rawnsley on guitars, Neil Edwards on bass and Tony Walton on drums, and shows the group's appreciation for Mayall's combo -- just like The Bluesbreakers' Crusade LP the Underdogs open their album with a cover of Albert King's "Oh, Pretty Woman," one of three 'Bluesbreakers' songs covered on the LP. On this first long player the band storm into a world of guitar led rave-ups a la Yardbirds, organ blues grinders and even give a sight to what's to come next with some incipient heavier sounds a la Cream. This is a 500 copies only reissue, housed in its original artwork in a vintage styled backflaps sleeve and insert."
CAT #: WWSCD 061CDHUBBARD, FREDDIE Music Is Here: Live At Studio 104 Maison de la Radio, (ORTF), Paris 1973 CD
Wewantsounds announce the first-ever release of the mesmerizing live performance by Freddie Hubbard and his quintet recorded in Paris at Maison de la Radio (ORTF) on March 25, 1973. Featuring Hubbard with George Cables on Fender Rhodes, Junior Cook on sax/flute, Kent Brinkley on bass, and Michael Carvin on drums, the group interprets four Hubbard classics in deep, spiritual mode. The tapes of the concert were transferred at INA's studios and remastered by Colorsound Studio 1973 was a special year for Freddie Hubbard. He had been one of jazz's brightest young stars for more than a decade and had also recorded as a sideman for such luminaries as John Coltrane, Art Blakey, and Ornette Coleman. After a spell at Blue Note and Atlantic Records, Hubbard signed to CTI records in 1970. Launched by Creed Taylor, CTI was the up-and-coming jazz label at the time, aiming at the pop market with their trademark blend of fusion jazz and highly stylized album covers. There, Hubbard recorded five highly successful studio albums further cementing is reputation as a jazz superstar. In early 1973, after years of working with the cream of the CTI stable of musicians for his albums and concerts, Hubbard decided to put together a new quintet consisting of Junior Cook on sax, Kent Brinkley on bass, plus two young Turks from the thriving post-bop jazz scene: pianist George Cables and drummer Michael Carvin. The quintet, save Carvin, would record Hubbard's Keep Your Soul Together for CTI later that year (his last album for the label) but for the time being, the quintet was busy touring and they all left for Europe to hone their skills as a tight unit. The music they created during that tour, as showcased on this live performance recorded in Paris, is nothing but extraordinary and unlike anything Hubbard had recorded for CTI. The musicians are heard here playing four recent Hubbard classics: "Sky Dive", "The Intrepid Fox", "Povo" and "First Light" in a very different style: the music here is deep and organic, retaining the quintessence of the four beautiful melodies and stretching them in long, spiritual work outs. The concert which was filmed by French TV in beautiful black-and-white by Marc Pavaux and legendary DoP Willy Kurant is a vivid testimony of the musicians' togetherness, caught in full flight on this performance and taking the music to higher grounds. Artwork designed by Raimund Wong. Liner notes by Kevin Le Gendre in conversation with drummer Michael Carvin.
CAT #: YAZ 1050HLPLEWIS, FURRY In His Prime 1927-1928 LP
2022 restock. 180 gram vinyl reissue, originally released on Yazoo in 1975. "Furry Lewis was an exceptional bluesman from Memphis who combined raggy and bottleneck guitar arrangements with wry lyrics. His first recordings, presented here, captured him at the height of his inventive power. His renditions of 'I Will Turn Your Money Green' and 'Kassie Jones' have become standards on the blues repertoire."
CAT #: YAZ 1065HLPMISSISSIPPI JOHN HURT 1928 Sessions (180-Gram Vinyl) LP
2022 restock. 180 gram vinyl reissue, originally released in 1979. "With his warm, gentle vocals and rhythmic guitar lines, Mississippi John Hurt's recordings represent a fascinating counterpoint to what is expected of Mississippi blues. His repertoire is a mixture of narrative ballads, traditional songs and blues."new releases are also viewable at https://www.forcedexposure.
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