Forced Exposure New Releases for the Week of 7/11/2022
New music is due from Madeleine Cocolas, Aaron Turner, and Hermann Nitsch, while old music is due from Zulu, Jim O'Rourke and Mats Gustafsson, and Surface of the Earth.
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NEW RELEASES FOR THE WEEK OF 07/11/2022
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CAT #: AT 006LPRECONDITE Placid 2LP
2022 repress; double LP version. Includes download code. When Recondite aka Lorenz Brunner emerged in 2012 with his debut album, On Acid (AT 001LP), everyone was still learning about the German producer's inward-looking dancefloor sound. A few years later, his sinewy jams have proved near-universal -- like an underground Zelig, he's fit perfectly everywhere from Rødhåd's Dystopian label to Ghostly International and Innervisions. With Placid, Recondite's full-length return to Acid Test, he indulges his more outré tendencies -- and a welcome return it is.
BANG! RECORDS (SPAIN)
CAT #: BANG 146LPALLIN & ANTISEEN, G.G. Murder Junkies LP
Murder Junkies is the seventh studio album by G.G. Allin and featuring ANTiSEEN. This is GG Allin's final studio album to be released during his lifetime, originally released in 1991. Jeff Clayton, lead singer of ANTiSEEN, has described this album as a mixed blessing. Although he is very happy with the way it turned out, he thinks that a lot of people got the impression that they are nothing more than a backing band for G.G. Allin. Clayton has stated that G.G. Allin was very professional during the recording of the album, and he wonders how much of G.G. Allin's stage act was real and how much of it was "For The Marks". Now this album is being released for the first time as it was originally conceived, and it has been remastered in order to deliver the aggressive sound which with it was recorded.
CAT #: BANG 154LPTRULY Fast Stories... from Kid Coma 2LP
Fast Stories... from Kid Coma is the debut studio album by the American rock band Truly, originally released in 1995. The album was put out by Capitol Records' Revolution imprint, while the vinyl edition was handled by Sub Pop. And now it is being reissued by Bang! Records. Fast Stories... from Kid Coma is loosely a concept album about a comatose kid "reliving a past summer of grandeur." The Encyclopedia of Popular Music called the album "a hard-hitting, insistent record that occasionally overreached in its attempts to distance itself from its contemporaries." Trouser Press wrote: "Heavy but never bludgeoning, melodic but never cheesy, excessive but never ridiculous, Fast Stories is an extended trip into several of rock's outer dimensions." Loudwire ranked the album at twenty-sixth in their list of "The 30 Best Grunge Albums of All Time". Kerrang! wrote that Fast Stories... from Kid Coma "remains a genuinely vital album, and quite possibly the [grunge] genre's swan song." Louder Sound named the album in their list of "10 obscure but absolutely essential grunge albums". MTV called it "the great psychedelic hard rock rush of the year." Members of the band: Robert Roth (vocals, guitar), Hiro Yamamoto (bass guitar, member of Soundgarden), Mark Pickerel (drums, member of Screaming Trees).
BORN BAD RECORDS (FRANCE)
CAT #: BORNBAD 153CDEVARISTE Il Ne Pense Qu'a Ca 1967-1970 CD
Évariste is one of the rare specimens of artist-cum-scientists. Among his kind stand others like Pierre Schaeffer, a Polytechnique graduate (an engineer but also the father of musique concrète) and the eccentric Boby Lapointe (graduate of the École centrale and inventor of the Bibi-binaire system, patented in 1968). Évariste's songwriting, joyful and full of energy (albeit extremely critical), shrouds an original tragedy: born in 1943 among résistants, Joël Sternheimer (aka Évariste) grew up without a father, lost to Auschwitz. In 1966, the young Joël sports Princeton's colorful paraphernalia, freshly returned from the country is in the midst of the Vietnam War. Joël, who's under the supervision of a rebellious physician, is dismissed. He regardless keeps following the prestigious seminaries of the Institute for Advanced Study, chaired by Oppenheimer, inventor of the atomic bomb. Likely inspired by the hippie movement and music, Joël buys a guitar and starts playing in Washington Square. Morisse is blown away by Lucien Morisse's tape and signs him onto the label right away. Michel Colombier, arranger for Serge Gainsbourg, contributes some of his original ideas to the 7" E=mc2. The organist Eddy Louis, who is to participate, in 1969, to the success of Claude Nougaro's Paris Mai (1969), also appears on the record. It's 1966 and the Antoine phenomenon (signed on Vogue) storms through France. Success comes around swiftly and in 1967 Évariste launches into a second 7", Wo I Nee, again arranged by Michel Colombier. Quantum mechanics fans finally get their anthem with "La Chasse Au Boson Intermédiaire" (Intermediary Boson Pursuit). A few months later, it's May '68 and everything's turned upside down. Évariste writes a series of songs inspired by the events, which he immediately submits to Lucien Morisse. When he hears the song "La Révolution" -- a father and son dialogue -- he can't take any more: AZ simply cannot release this. But there and then Lucien Morisse makes a gesture which will remain engraved in French music's history: sorry to be unable to officially stand by the singer, he encourages him to self-produce the record, but with his tacit support. Évariste keeps singing at the Sorbonne with "Jussieu's Gang" and "the young Renaud" he nicknames "le p'tit gavroche" (street urchin). Renaud volunteers to type the lyrics of the song "La Révolution" so that the chorus can be sung and recorded. The self-released 7" La Révolution/La Faute À Nanterre is sold under the table and door-to-door for half the price of a standard record, on and around the boulevard Saint-Michel; and it runs out fast. When the theater director Claude Confortès decides to adapt Wolinski's drawing series titled "Je Ne Veux Pas Mourir Idiot" (I don't want to die a fool), he asks Évariste to write the original soundtrack. Dominique Grange (writer of the song "Nous Sommes Les Nouveaux Partisans") soon joins the team. After 150 performances, Évariste leaves his place to Dominique Maurin (brother of Patrick Dewaere). Évariste composes the songs for Claude Confortès' next play, Je Ne Pense Qu'à Ça ("That's all I think about"), co-wrote with Wolinski in 1969. The comedians of the play record the songs on a 7". 1970 is the beginning of a decade in the course of which Évariste is to make a decisive discovery in the musical and scientific domains. Following this breakthrough, he moves away from self-produced music and gaucho magazines to focus on science. Includes liner notes in English and French.
BUH RECORDS (PERU)
CAT #: BR 160LPLINDE, OKSANA Aquatic And Other Worlds (1983-1989) LP
Oksana Linde belongs to the same creative trail started by artists such as Delia Derbyshire, Suzanne Ciani, or Laurie Spiegel, because like them she knew how to create a personal universe by exploring electronic sounds and to find a place in an eminently masculine environment. Aquatic And Other Worlds is her first album, which compiles electronic synthesizer pieces recorded between 1983 and 1989. Born in Caracas, Venezuela, in 1948, into a family of Ukrainian immigrants, Oksana Linde's work became known at the beginning of the '80s, coinciding with the emergence of a new scene of Venezuelan electronic synthesizer music, with names such as Ángel Rada, Miguel Noya, Musikautomatika, Vinicio Adames, Oscar Caraballo, Aitor Goyarrola, and Jacky Schreiber. In 1981, at the age of 33, Oksana Linde left her job as a researcher due to health issues and began to devote more time to music and painting. She borrowed a Polymoog synthesizer, then a TEAC open reel tape recorder and a Moog Source. With this equipment she set up her small home studio and began to compose her first pieces around 1983-1984. She eventually expanded her equipment, acquiring a 16-channel mixer, a Roland Tape Echo, a TR-505 drum machine, a Korg M1, and years later a Korg TR-88. Between 1984 and 1986 she recorded more than 30 pieces. Between 1989 and 1996 she continued to produce another 30 pieces, thus accumulating a large archive that has remained unpublished. Oksana Linde's music can be intensely hypnotic and psychedelic, but also melodic and playful. Linde programs and plays all the instruments and develops melodic lines that are superimposed on loops and sequences, as well as various layers of reverberant and floating sounds that come and go, and always establish a very cinematic narrative, very typical of the tradition of synthesizer music. The early work of women in electronic music in Latin America is one of those areas that has yet to be worked in depth. In Latin America, the introduction of the synthesizer in experimental, progressive and electronic music from the '70s on, is associated almost exclusively with male figures, which is why the work of Oksana Linde gains particular relevance, as she establishes herself as a figure who breaks that hegemony, and whose extensive production in turn places her as one of the most prolific and notable exponents of synthesizer music in Latin America. Compiled by Luis Alvarado. Includes notes by Oksana Linde, Ale Hop, and Luis Alvarado. Art by René Sánchez. Edition of 300.
CAT #: BULK 020LPLOVAGE Nathaniel Merriweather Presents Lovage Music To Make Love To Your Old Lady By 2LP
"'Lovage' is defined as 'an herb that is said to be a benefit for relieving abdominal pains due to gastrointestinal gas...also touted to reduce flatulence when consumed as a tea.' But when placed in the able hands of sonic mastermind Dan 'The Automator' Nakamura, recording under the guise of musical lothario Nathaniel Merriweather, the result is a concept album of 'music to make love to your old lady by.' With the help of collaborators such as Mike Patton (vocals), Jennifer Charles (vocals) and Kid Koala (turntables), Merriweather serves as your personal guide to the sensual side of life, painting a satirical, darkly funny portrait of love and sex with left-field hip-hop and instrumentals as only he can do."
CIEN FUEGOS (AUSTRIA)
CAT #: CF 024LPGLOBE UNITY ORCHESTRA & THE CHOIR OF THE NDR-BROADCAST, THE Hamburg '74 LP
Recorded during the 105th NDR Jazzworkshop, November 19, 1974 at the Funkhaus Hamburg, großer Sendesaal. This album was originally released on FMP in 1979 (FMP 0560). Liner notes by Alexander von Schlippenbach (in German). 180 gram vinyl.Personnel: Manfred Schoof - trumpet; Kenny Wheeler - trumpet; Peter Brötzmann - reeds; Rüdiger Carl - alto & tenor saxophone; Gerd Dudek: soprano & tenor saxophone; Evan Parker - soprano & tenor saxophone; Michel Pilz - bass clarinet; Günter Christmann - trombone; Paul Rutherford - trombone; Derek Bailey - guitar; Alexander von Schlippenbach - piano; Peter Kowald - double bass, tuba; Han Bennink - drums, percussion, clarinet; Paul Lovens - drums, percussion; and the Choir of the NDR-Broadcast conducted by Helmut Franz.
CAT #: CF 026LPBROTZMANN/MISHA MENGELBERG/HAN BENNINK, PETER 3 Points And A Mountain LP
Reissue, originally released on FMP in 1979. Personnel: Peter Brötzmann - alto and tenor saxophone, E flat clarinet, A clarinet, bass clarinet; Misha Mengelberg - piano, voice; Han Bennink - drums, tenor saxophone, clarinet etc. Recorded by Jost Gebers on February 26th, 1979 at the Akademie der Künste in Berlin. Produced by Peter Brötzmann and Jost Gebers. Cover design by Peter Brötzmann. Photograph by Roberto Masotti. Remastered by Martin Siewert in 2021. 180 gram vinyl.
CAT #: STEP 004LPBUNYAN, VASHTI Just Another Diamond Day LP
2022 repress. Deluxe gatefold vinyl edition. "With a book of lyrics and artwork, updated by Vashti herself. Additional poster included, unique to the North American edition. This vinyl reissue of Vashti Bunyan's lone 1970 solo release features contributions from British folk royalty including members of Fairport Convention and preeminent producer Joe Boyd."
EFFICIENT SPACE (AUSTRALIA)
CAT #: EFFICIENT 009LPVA 3AM Spares 2LP
2022 repress. 3AM Spares is a new collection of Australian EDM compiled Andras and Instant Peterson that encompasses the darker sounds and later nights of the 1990s and beyond. Following on from forerunner compilation Midnite Spares, this release draws from local 12" releases, CD-Rs and the archives of community radio station 3RRR FM to make a diverse and pumping scene audible once more. No longer confined to beer barns and back rooms, this generation of producers, DJs, clubbers, and ravers embraced a new culture of machine-metaphor and chemical love. Future Sound Of Melbourne's "Resist The Beat" embodies a time when the country's youth united with juggernaut stamina, partying beyond the long arm of the law. Restored from the original DATs, this debut 12" incited label offers from Jeff Mills, Frank De Wulf, and Carl Cox. Released by the likes of Clan Analogue, Creative Vibes, Volition, DanceNet, Juice and Psy-Harmonics, this era's material has evaded sufficient digital documentation until now. Often these bedroom experiments existed solely for compilation inclusions, a plausible scenario for the mysterious Inner Harmony. In the case of Tetrphnm, Jeremy Dower's glacial sub-bass was digitized from the only known CD-R. Third Eye, the impressive evolution of industrial legend Ollie Olsen, finds common ground with "I Will Go", a hypnotic concoction by Adrenalentil and Jandy Rainbow. The most unique take on this new wave of dance music comes from Turrbal-Gubbi Gubbi woman Maroochy Barambah, using the sound palette of tribal house to highlight the broadening ways that identity and culture were being negotiated and manifested within club music. Artificial's Sobriquet remix bends one of the most looped samples of all time to fit a wired new generation's interrogation of that thing called disco. Her playfulness is mirrored in Blimp's frisky garage house, recalling Paul Johnson, while Ian Eccles-Smith's borrowing is comparatively more discrete on the chillout sampledelic collage "The Slaughtering Eye". Andy Rantzen returns to Efficient Space in two incarnations: as half of ambient alias Screensaver, and in collaboration with General Electrik on "Leather Lover:, a cocked and loaded glimpse at the bottom end of Oxford street, originally recorded for the Club Kooky compilation Gay In The Life: Adventures In The Queer Underground (2000). Reinventing himself as Hypnoblob, fellow Sydney Oz-Wave artist Ian Andrews also gives us his pneumatic-drill-step "Deep Down". Includes download.
CAT #: EFFICIENT 013LPWILSON TANNER II LP
2022 repress. Wilson Tanner come to shore with II, a new album of floating melodies, lightly salted. Throwing electroacoustic conventions overboard, Andrew Wilson (Andras) and John Tanner (Eleventeen Eston) recorded this new work aboard a 1950s riverboat with a resourceful array of weatherproof electronic instruments and a long extension lead. These eight compositions pull in a by-catch of maritime folklore; of siren and selkie, seagull and engine oil slick. A change of course from their debut album 69, the ambient temperature drops as II casts out to sea in uncertain weather and returns to the safe harbors of Port Phillip Bay. The seafarers head out to "My Gull"'s poised optimism -- the birds watch but do they listen? By the arrival of "Loch and Key," the shoreline has dissolved completely, the boat floating in serene infinity as the rest of the world spins. Conditions soon take a treacherous turn on "Killcord Pts I-III" -- a 12 minute odyssey that battens down the hatches as these sailors eye merciless waves and blinding ocean spray, jointly channeling Berlin-school electronics and sea legs. In the aftermath, the waterlogged bleeps of "Idle" survey the damage as our parched crew sound the distress signal and ultimately descend into delirium. Known for navigating individual courses as solo musicians, Wilson and Tanner's collective storytelling is saturated in detail, buoying between tension and harmony. II modestly stands as some of both artists' most accomplished material. Includes download.
ESOTERIC RECORDINGS (UK)
CAT #: ECLEC 32806CDSPIROGYRA The Future Won't Be Long: The Albums 1971-1973 3CD
"New three-CD clamshell boxed set of the three albums by Ppirogyra released between 1971 and 1973. This collection features four bonus tracks recorded during sessions for Old Boot Wine and the 1973 single release 'I Hear You're Going Somewhere (Joe Really)'."
FATIADO DISCOS (SPAIN)
CAT #: FD 029LPNOTARO, MARCONI No Sub Reino dos Metazoarios LP
Fatiado Discos present a reissue of Marconi Notaro's No Sub Reino dos Metazoários, originally released in 1973. No Sub Reino dos Metazoários is the first and only record by musician and poet Marconi Notaro, out of Pernambuco, Brazil. For years it was known that the master tape of No Sub Reino dos Metazoários had been lost during two floods that wrecked the Rozenblit Studios. Lots of equipment were damaged and plenty of material gone. However, what no one expected was that the tapes were kept on the highest shelves in the studio where the water did not reach with the thought of "equipment can be replaced, master tapes are unique." Notaro's daughters inherited and rescued the tape and made it available so that Fatiado Discos could release the first and remastered version from the original tapes since 1973. The lysergic highest moments come with nature elements textures as water and wind mixing together with the unmistaken sound of the Tricórdio Acústico -- which is a very unique instrument that Lula Côrtes brought himself from India and then adapted it with the help of a local luthier to the regional sound of the Brazilian northeast. The gatefold designed by Lula Côrtes is portrayed in this release and it also has its inner side designed by Cátia Mezel, apart from an extra insert with unpublished photos of Marconi provided by the musician's family. The album features Lula Côrtes, Zé Ramalho, and Robertinho de Recife is part of the holy trilogy of Psicodelia Nordestina amongst the equally mind-blowing Paebiru (1975) and Satwa (1973). Gatefold sleeve, includes insert.
FEEDING TUBE RECORDS
CAT #: FTR 698CDTHAYER, LLOYD Twenty20 CD
"It has been a couple of years (that felt like a lifetime) since we released lloyd Thayer's last album, Duets (FTR 406LP, 2020), which he recorded with the drummer Jerome Deupree. The intervening time has been weird as hell, but Thayer (master of every string that's ever been strung) has made the decision to create a fantastic, sprawling solo suite for himself. And now it is time to share the beauty with you. Unlike the music on Duets, the piece here was played entirely on double-necked Weissenborn guitar, although the sounds are altered and layered in ways that are a far cry from the delicate slide work for which the Weissenborn is best known. And if there's not a temple bowl in the mix somewhere, I'll eat a bottleneck! Still, many of the same tactics employed on Duets, like mixing Eastern sonances with blues-based art music, are on full display on Twenty20. The extended piece is broken into distinct segments, with different moods, tones, and styles of attack, but the transitions tend to be subtle. You are drifting amidst cool tendrils of acoustic guitar and almost before you know it, there are sparking cables of electrical menace hanging nearby while ghost-tones quiver ominously in the darkness. Because this piece evolved over the two years it did, I am assuming there's a dark narrative thread lurking somewhere in its interior. But here's the thing -- lloyd's playing and writing are as beautiful to listen to as ever, so I'm not sure it's really worth getting bogged down in interpretation. Perhaps the best idea is to just go with the exquisite flow of the music, and damn the torpedoes. Just dig the beauty. Y'know?" --Byron Coley, 2022
GET ON DOWN
CAT #: GET 51468LPGHOSTFACE KILLAH Ironman: 25th Anniversary Edition (Blue & Cream Vinyl) 2LP
Blue and cream color vinyl. "Ghostface Killah released his debut solo album 25 years ago on October 29, 1996. Produced by fellow Wu-Tang Clan member RZA, Ironman found inspiration in sources ranging from blaxploitation films to classic soul and charted a whole new direction for hip-hop in the process. The album features classic bangers like 'Daytona 500' featuring Raekwon and 'Cappadonna' to soulful emotionally moving cuts like 'All That I Got Is You' with Mary J Blige. To commemorate the 25 year anniversary Get On Down is proud to present Ironman in a 2xLP set available on both 'Blue & Cream' and 'Chicken & Broccoli' half-n-half colored vinyl, each version housed in a deluxe gatefold jacket, packed inside a 'shoebox'-style 2nd outer jacket embossed with the year 1996."
CAT #: GET 51505LPGHOSTFACE KILLAH Ironman: 25th Anniversary Edition (Chicken & Broccoli Vinyl) 2LP
Chicken and broccoli color vinyl. "Ghostface Killah released his debut solo album 25 years ago on October 29, 1996. Produced by fellow Wu-Tang Clan member RZA, Ironman found inspiration in sources ranging from blaxploitation films to classic soul and charted a whole new direction for hip-hop in the process. The album features classic bangers like 'Daytona 500' featuring Raekwon and 'Cappadonna' to soulful emotionally moving cuts like 'All That I Got Is You' with Mary J Blige. To commemorate the 25 year anniversary Get On Down is proud to present Ironman in a 2xLP set available on both 'Blue & Cream' and 'Chicken & Broccoli' half-n-half colored vinyl, each version housed in a deluxe gatefold jacket, packed inside a 'shoebox'-style 2nd outer jacket embossed with the year 1996."
GOD RECORDS (AUSTRIA)
CAT #: GODREC 050X-LPFELDMAN, MORTON String Quartet II (Black Cover) 6LP BOX
6LP box with black cover. Excerpt from liner notes by Sebastian Claren: "When Morton Feldman wrote his second string quartet -- or String Quartet II, as he titled it in the score -- in 1983, he found himself at the height of his career: prior to this, his long form compositions, of which the majority lasted around one and a half hours, had not isolated him or let him disappear from concert and festival programming, as he had expected, but were on the contrary celebrated as a major 'breakthrough' and a big 'step forward' . . . Like the long pieces that preceded it, Feldman's String Quartet II consists of repeated patterns, which usually surface at a certain point in the composition without preparation, are maintained over a given period, and then abruptly abort to possibly return later. In this context, Feldman has always emphasized the interplay of 'reiteration' and 'change' in his music -- two aspects that in his mind had been decisive criteria of the music of the twentieth century as 'repetition' and 'variation' (Stravinsky and Schoenberg). He even claimed Schoenberg's concept of 'developing variation' for his composition technique..." Live Recording! 317 minutes over six LPs. Personnel: Morton Feldman - composition; Pellegrini Quartet: Antonio Pellegrini - violin; Thomas Hofer - violin; Fabio Marano - viola; Helmut Menzler - violoncello.
CAT #: GODREC 051LPSTANKOVSKI, ALEXANDER Linien II LP+CD
The title, Linien II, gives an indication as to what this cycle is about: "Lines" as a catch-all phrase for melodic relationships: differently formed -- from a unison melody for two instruments to counterpoints of independent voices; composed in different ways -- from "calculated" proportioning to spontaneous writing; expressive in different ways -- from lament to competition. If nothing else, these pieces are also a journey through all registers of the clarinet family, from Eb- and Bb clarinet through basset horn and bass clarinet, all the way down to two contrabass clarinets. Personnel: Alexander Stankovski - composition; Petra Stump-Linshalm - Bb Clarinet, basset horn, bass clarinet, contrabass clarinet; Heinz-Peter Linshalm - Eb Clarinet, Bb Clarinet, bass clarinet, contrabass clarinet.
CAT #: GODREC 056LPFLYING LUTTENBACHERS, THE Imminent Death 2LP
2019 release. The Flying Luttenbachers' Imminent Death is the second release by the seminal cult band since its reincarnation in 2017. Imminent Death is very different in many ways from the previous Luttenbachers releases, but then again, you could consistently say that about most of them. The group has always followed the direction set by its leader Weasel Walter, and reflects his desire to create music of a determinately less common quantity in any given era. The Flying Luttenbachers have always been staunchly committed to making artistic statements which defy current trends and seek the expression of personal truth, mania, and iconoclasm. This offering is a record Mr. Walter has pondered and thought about making for 30 years -- finally, here it is, and it is quite a cathartic exorcism. Personnel: Weasel Walter - drums; Tim Dahl - bass, guitar; Matt Nelson - tenor saxophone; Brandon Seabrook - guitar.
CAT #: GODREC 057LPLEPENIK Ouate LP
2020 release. ...a little bit of Baroque... ...a little bit of Zwölftonmusik... ...a little bit of electronica... ..............that's Lepenik................
CAT #: GODREC 058LPLANG, KLAUS Linea Mundi. Weisse Farben. LP
2020 release. Klaus Lang's involvement with GOD Records began with his cult, two-part release of stunning organ works. Famous for his heavy droning sound, Lang's new pieces are highly successful ensemble pieces. "linea mundi." and "weiße farben." were both premiered at the festival Wien Modern. Heavy textures, disturbing counterparts, slow progressions, threatening dynamics. Personnel: Bas Wiegers - conductor; Klangforum Wien - performer; oenm - Österreichisches Ensemble für Neue Musik - performer.
CAT #: GODREC 059LPLESIONS GRAVES Symposium LP
2020 release. Lésions Graves is an experimental extreme-metal trio on a journey towards minimal music. Racing drum patterns and humming melodic shreds interweave with disharmonic sound spheres and complex rhythmic and melodic phase shifts. Fast, loud, aggressive, repetitive, irritating.
CAT #: GODREC 061LPABLINGER, PETER Orchesterstucke LP
2020 release. Peter Ablinger is one of home composers of GOD Records. His cult releases Regenstücke 1 and 2 (GODREC 018LP) and Voices and Piano (GODREC 034LP) are part of every serious record collection around the globe. With Orchesterstücke, Ablinger finally delivers some of his remarkable orchestra pieces in last ten years. The release contains three of Ablinger's orchestra pieces: "Quartz", "Wachstum, Massenmord", and highly controversial piece "4 Weiss", for orchestra and white noise, the piece that caused utterly polarized reactions at its premiere on 2019 edition of festival Wien Modern. This LP documents notorious event in the best possible way -- stunning performance and angry audience reaction. Transparent red vinyl.
CAT #: GODREC 062LPFLYING LUTTENBACHERS, THE Negative Infinity LP
2021 release. Negative Infinity is a sort of return-to-form in a regard, featuring six tightly scripted doses of what they call "brutal prog" -- the tag Weasel coined in the early 2000s to describe an elite breed of intense, complex bands who emphasized harshness and intensity over the typical prog-rock flutes and fairy positivity. This is prog for the apocalypse, not your uncle.
CAT #: GODREC 063LPLANG, BERNHARD Cheap Opera #1 "Repetitions" / DW30 "Loops for Klaus Schulze" LP
In 2015, Bernhard Lang was approached by Sebastian Berweck to compose a piece for his Berlin-based synthesizer trio Lange // Berweck // Lorenz. Considering his musical background and his roots, Lang saw this offer as double opportunity, one of them being a chance to compose an ultimate tribute to one of his musical heroes, electronic pioneer, Klaus Schulze. On the other side, "Cheap Opera #1 "Répétitions"" turned out as Lang's most political piece to day: his merciless comment on fake patriotism... Both pieces continue Lang's trademark loop aesthetics tradition, however, in a more abstract manner...
CAT #: GODREC 065LPKAJKUT, SLOBODAN Elements LP
"Since my piece Terrible Fake (GODREC 033LP, 2015) and especially Darkroom (GODREC 047LP, 2017), I've been trying to integrate some grooves into classical contemporary idiom. Since those experiments were mostly for smaller setups, this time I wanted to transfer it into the larger one in order to get more possibilities to work with different textures and coloring within harmonic structures of clusters and chromatic movements of melodies. Constant transformation and mutation of musical material makes the sound movable and the whole piece is morphing throughout. The sound of the whole ensemble is filtered through delay effect, which offered additional, almost psychedelic tension to the whole piece, even with some microtonal incidents. The division of the piece into 'Element A' and 'B' is actually a concept of two-sided vinyl and the two parts with almost same duration, are one of the concepts of the whole piece." --Slobodan Kajkut
GOTTA GROOVE RECORDS
CAT #: GGR 2021LPBLACK UNITY TRIO Al-Fatihah (2021 Repress) LP
2022 restock, 2nd edition. "Black Unity Trio - Al Fatihah quite possibly was the first independently released free jazz record ever. Originating in Oberlin, Ohio as the Black Unity Quartet, and ultimately becoming the Trio (Abdul Wadud, Yusuf Mumin, and Hasan Al Hut), the group recorded Al Fatihah in December 24, 1968 at Agency Recording Studio (which was located upstairs in the building housing the legendary Agora Theatre in Cleveland, Ohio). The album ultimately was released in May 1969 in an edition of 500 copies. The album has been legendary among collectors, producers, and DJs in the past several decades, and has been sampled numerous times on other releases. Much mystery surrounded the origins of the album, as well as the status of the musicians, until 2020 when The Wire published an interview with Hasan. Many underground jazz purists know about the intense, though relatively short-lived hotbed of avant-garde jazz in Cleveland, Ohio during the mid-to-late 1960s. Clubs such as Leo's Casino, Jazz Temple, The Doan Club, Le Cave and a few private clubs saw many young avant-garde jazz acts during this time period. I first learned of Black Unity Trio when seeking out tapes of Albert Ayler playing at Le Cave. From that point forward, I had a mission to seek out the members and see if they would be interested in making a vinyl reissue of Al Fatihah. Most of my efforts ran into dead ends, and it did not take very long to learn that the members, perhaps, were content with letting the record fall into the annals of crate digging history. Then in 2019, I received a phone call from someone referring to himself as 'Ron'; who wanted to bring some tapes by the pressing plant. Whenever I get a call on the subject of tapes, my first question is 'how old are the tapes?'. The caller replied 'late 1960's''. Of course, this perked my interest even more, so I asked what sort of material was on the tapes, to which he replied 'Oh, spiritual jazz''. 'Really?'; I replied, even more interested than ever - particularly since the caller id showed a 216 area code phone number. Then he proceeded to say 'it's called the Black Unity Trio''. I about dropped the phone; 'Are you serious, I have been trying to get a hold of you guys for a year!' I replied. Ron (Abdul) was surprised by that statement. But, it led to months of additional conversations with both he and Yusuf about how to get the record back into the world, and eventually I was introduced to Hasan as well. After many phone conferences, we were able to come to an agreement to reissue this seminal free jazz record via Gotta Groove Records' OHWax series. Yusuf personally brought the original 1968 master tapes to Cleveland in early 2020, and we have been working on the audio restoration and package details ever since. We have spared no expense in making this reissue. Our friend Grammy-Award recipient Paul Blakemore's restoration and remastering work cleaned random ticks from the original source, as well as greatly improved the balance to bring out some of the instrument subtleties which were barely, if at all audible, in the original pressing. We also used Gotta Groove's proprietary GrooveCoated stamper plating technology -- This involves an additional electroforming step in the creation of the metal stampers used to press the grooves into the records. GrooveCoated stampers have a lubricious surface which helps high frequencies in particular to be held more intact during the course of manufacturing, verses traditional stampers. This is a record I am truly proud and excited to be working on, and I look forward to a new generation of vinyl listeners to have access to it." --Matt Earley, Executive Producer. The musicians of Black Unity Trio are paid at least 70% of the profits from this release by Gotta Groove Records, Inc.
CAT #: GREL 034LPCAPTAIN SINBAD The Seven Voyages Of Captain Sinbad LP
2022 repress. Originally released in 1982, reissue in 2007. "DJ Captain Sinbad is better known -- and even then, not that well known -- as producer Carl Dwyer, the man who helped dancehall vocalists like Little John and Peter Metro launch their careers. As singing pirate Sinbad, his output is scant, adding up to two-and-a-half known albums and one of those is basically a compilation of tracks he recorded for Dillinger's Oak label. Dillinger is an obvious, heavy influence on Sinbad as he drops slang in that effervescent manner his former label boss was known for. The way he tells the tale of his favorite boxer on 'Sugar Ray' instantly puts a smile on your face and even if 'All Over Me' uses the same riddim as Yellowman's 'Mad Over Me' and does essentially the same thing with it, Sinbad's take is still a rollicking good time. The conscious numbers are less satisfying yet serviceable, and even if the album doesn't live up to its artwork, well really, how could it? In the grand scheme of things, Captain Sinbad will only appeal to the hardcore reggae fan who will no doubt appreciate the hard work Greensleeves has put into their reissue of this fringe release. Henry 'Junjo' Lawes handles the production instead of Dwyer while Scientist does the mixing, while Roots Radics play the tunes." --AllMusic
CAT #: GREL 094LPMUNDELL, HUGH Africa Must Be Free By 1983 LP
2022 repress. Originally released in 1978, reissued in 1986. "The teenaged Hugh Mundell cut Africa Must Be Free by 1983 under the tutelage of the legendary producer Augustus Pablo in the mid-'70s, and had a Jamaican hit with the title track. Mundell's artlessly fervent singing is attractive far out of proportion to his technical skill. It's the sincerity and devotion in his voice that make successes of songs like 'Let's All Unite' and 'My Mind' -- that and the rock-solid instrumental backing of Pablo's studio band, which at this time included bassist and trombonist Leroy 'Horsemouth' Wallace and guitarists Earl 'Chinna' Smith and Jeffrey Chung. The CD issue of this album includes dub versions of six of the original album's eight tracks, as well as several other miscellaneous dub tracks. Like too many of Jamaica's best reggae musicians, Mundell died young -- in an almost creepy irony (given the title of his hit song), he was shot and killed in 1983 at the age of 21."
CAT #: GREL 157LPPABLO, AUGUSTUS One Step Dub LP
2022 repress. Originally released in 1988, 2020 reissue. "While Augustus Pablo is the genius behind what is probably the best dub record ever, King Tubby Meets the Rockers Uptown, One Step Dub, with Junior Delgado, falls decidedly flat and arch. Wailing rock guitar and dub just don't mix, even if that guitar is played by the legendary Earl 'Chinna' Smith. The phaser effects on the drums are also annoying. Delgado, largely famous for bland lovers reggae, has to take most of the blame here, as dub was never meant to be a sentimental form. Even the keyboards sound cheesy and cloying. If it wasn't for a few moments on 'In the Red Dub' and 'Riot Dub,' this overproduced attempt at more accessible dub would be one step away from the trash can." --AllMusic
CAT #: GREL 166LPMILLER, JACOB Who Say Jah No Dread (The Classic Augustus Pablo Sessions 1974-75) LP
2022 repress. Originally released in 1992. "There are those who argue that all reggae sounds the same, and that roots reggae, in particular, consists entirely of minor variations on a very small set of musical (and, Jah knows, lyrical) themes. Reggae aficionados will agree, to a point (though they may point out that the same can be said of Baroque music, big-band jazz, and bluegrass). But push the point too far and you run the risk of having an album like this one brought out and played for you from beginning to end. Who Say Jah No Dread consists of songs Jacob Miller recorded with legendary producer Augustus Pablo, and the dub versions of those tunes, all of which were mixed by King Tubby; talk about a triple threat. This album is one of a few hard, compact gems of roots reggae, a classic so inarguable that even the most intransigent reggae skeptic might be won over by its dark, mystical charms. All of the rhythm tracks on this album have become classics, none more deservedly than the one on which 'Baby I Love You So' is based, which also forms the basis of 'King Tubby Meets Rockers Uptown,' a dub version generally considered to be the finest example of dub ever created. Amazingly, every track lives up to that high standard. If your reggae collection consists of only five titles, this should be one of them."
CAT #: GREL 170LPPABLO, AUGUSTUS King David's Melody LP
2022 repress. Originally released in 1983, 2017 reissue. "Originally released in 1983 on his own Rockers imprint, Augustus Pablo's King David's Melody collects singles from the years 1975-1982. The liner notes do a good job of pointing out that most of the tracks are considered instrumentals instead of dubs, which only means Pablo's more responsible for the melodies and structures of the songs than usual. The serene, relaxed, and otherworldly feelings of Pablo's dub material is well represented, and to a lesser extent, the trippy twists and turns, but they are more modest and mostly on the bonus tracks. The inspiration for the overall positive and supremely spiritual feel to the collection is right in the title. Rastafarian Pablo is referencing spiritual leader Haile Selassie's claim to be descended from King David, a king of ancient Israel who could sooth the soul with his flute and harp. Pablo does the same here with his melodica and occasional keyboards. The easy-rolling title track, the coolly cheerful 'Mr. Bassie,' and the airy 'Cornerstone Dub' all support the original compilation's King David-by-way-of-Selassie inspiration, but Shanachie's bonus tracks -- as interesting as they are -- only relate to Pablo's original intentions for the collection in that they were singles. 'Hot Milk' is a thin number that finds Pablo messing with a tinny synth and a primitive drum machine, while 'Freedom Step,' 'Israel Dub,' and the 'Mr. Bassie' rework titled 'Jah Strength Ital Step' feel a bit thicker and darker than the rest of the album. None of this ruins the collection by any means, but listeners should do themselves a favor and try the 1983 sequence of the album for a tighter, more focused listen. CD players make it easy, and with the majority of these instrumentals being hard or near impossible to obtain otherwise, Shanachie's reissue of King David's Melody is welcome, tinkering and all."
CAT #: GREL 2103LPROOTS RADICS Junjo Presents: Big Showdown 2LP
2022 repress. Originally released in 1980, 2016 reissue. Dub classic. Remastered with bonus disc of original vocal cuts. Includes giant cover poster.
CAT #: KR 087LPALE HOP Why Is It They Say A City Like Any City LP
The new album by the Peruvian-born/Berlin-based experimental artist Ale Hop was conceived in a context of immobility and provides six sonic vignettes that wonder about location, circularity, rootedness, and experience. In collaboration with Ana Quiroga, Concepcion Huerta, Daniela Huerta, Elsa M'balla, Felicity Magan, Fil Uno, Ignacio Briceño, KMRU, Manongo Mujica, Moises Horta, Nicole L'huillier, Raul Jardín, Sukitoa Onamau, Tomas Tello. Following her explorations on music's inherent fixation to geographic space and time, be it through the longing of home -- Apophenia (BR 127LP, 2019) -- or scientific magnification of invisible worlds -- The Life of Insects (BR 141LP, 2020) -- Berlin-based Peruvian-born experimental composer Ale Hop's fourth album, Why Is It They Say A City Like Any City?, was conceived in a context of immobility. During the lockdown months, she started a process of remote collaboration, by sending messages, posted from various cities along a South American trip, to thirteen musicians from around the world. She journaled her impressions upon these places to an intimate fictional character while reflecting on matters of time, sound, space, cosmology and colonial memory. The thirteen musicians dialogued with this voice by taking upon the challenge of responding to the messages with sound collaborations. Field recordings, mouth drumming, drone cellos, electronic loops, arrhythmic rhythms, and voices came back from this experiment. Ale assembled them, by layering, twisting and turning, into sonic vignettes that wonder about location, circularity, rootedness and experience, making it the first time she's set her guitar aside. Expect no answers to the album's title question, but an innermost psychedelic rumination. The release of Why Is It They Say A City Like Any City? is accompanied by a 50-minute audiovisual installation that will premiere at CTM 2022 Exhibition in January, which was created in collaboration with the Mexican technologist and artist Moises Horta. 180 gram vinyl; gatefold sleeve; includes download card.
CAT #: KR 093LPMIMICOF Distant Symphony LP
New album by the Berlin-based musician, composer, and producer Midori Hirano aka MimiCof, entirely recorded using the EMS Synthi 100 at Electronic Studio Radio Belgrade during an artist residency. Contemporary electronic music/ambient for the advanced listener. Midori Hirano is a Japanese musician, composer, and producer based in Berlin. She started learning the piano as a child and later studied classical piano at university. Therefore, the music she releases under her own name is based on the use of piano, but yet experimental and an eclectic mixture of modern digital sounds with subtle electronic processing and field recordings. So far, Hirano released seven solo albums under her civilian name on labels such as Sonic Pieces and DAUW. Under the moniker MimiCof she explores the realm of more experimental music and detailed rhythmic patterns, combined with an idea of drawing melodic shapes and harmonies. As MimiCof she has performed at prestigious festivals and events such as CTM, Heroines of Sound Festival, Boiler Room Berlin, and L.E.V. Festival, and was selected by Frank Bretschneider for the first volume of the Sichten compilation series on his raster label. Besides producing her own works, Hirano has composed music for dance performances, video installations and films which have been screened at Berlin International Film Festival, Krakow Film Festival, SXSW Film Festival and HongKong International Film Festival (among others) and remixed tracks by artists including Rival Consoles, Foam And Sand aka Robot Koch, Liars and Pascal Schumacher. While the last MimiCof album Moon Synch (N 057CD/LP, 2017) was recorded on the Buchla analog modular Synthesizer at EMS Elektronmusikstudion in Stockholm, her latest effort Distant Symphony (the fourth as MimiCof) was created on a different synthesizer: the EMS Synthi 100 Synthesizer at Radio Belgrade. All sounds from this instrument were recorded as single sound samples at first, then mixed and modified into three long pieces of music, so that the audience can experience the machine's uniqueness and versatility of sound. Hirano understands this work as a gesture of respect for the Synthi 100's character: though a vintage instrument, it has never lost the beauty of its modern sound. 180 gram vinyl; includes download card.
LEWIS RECORDINGS (UK)
CAT #: LEWIS 1118CDEDAN Beauty And The Beat (2022 Reissue) CD
"While Edan's critically acclaimed debut, Primitive Plus, was a celebration of hip-hop's golden age and a true throwback, his sophomore album, Beauty And The Beat, is a vast musical collage that contains many different influences; hip-hop, rock, pop, dusty breaks, hazy loops, luxurious off-kilter samples and curveball tempo changes that are all crafted into one cohesive piece of art. In 2015, FACT placed it at number 30 on the '100 Best Indie Hip-Hop Records of All Time' list. In 2013 NME placed it at number 392 on the '500 Greatest Albums of All Time' list."
CAT #: LEWIS 1118LPEDAN Beauty And The Beat (2022 Reissue) LP
LP version. "While Edan's critically acclaimed debut, Primitive Plus, was a celebration of hip-hop's golden age and a true throwback, his sophomore album, Beauty And The Beat, is a vast musical collage that contains many different influences; hip-hop, rock, pop, dusty breaks, hazy loops, luxurious off-kilter samples and curveball tempo changes that are all crafted into one cohesive piece of art. In 2015, FACT placed it at number 30 on the '100 Best Indie Hip-Hop Records of All Time' list. In 2013 NME placed it at number 392 on the '500 Greatest Albums of All Time' list."
CAT #: LEWIS 1118PD-LPEDAN Beauty And The Beat (2022 Reissue) (Picture Disc) PIC. DISC
LP version. Picture disc. "While Edan's critically acclaimed debut, Primitive Plus, was a celebration of hip-hop's golden age and a true throwback, his sophomore album, Beauty And The Beat, is a vast musical collage that contains many different influences; hip-hop, rock, pop, dusty breaks, hazy loops, luxurious off-kilter samples and curveball tempo changes that are all crafted into one cohesive piece of art. In 2015, FACT placed it at number 30 on the '100 Best Indie Hip-Hop Records of All Time' list. In 2013 NME placed it at number 392 on the '500 Greatest Albums of All Time' list."
CAT #: M 1214CDWILLIAMS, TONY Play Or Die CD
"Tony Williams certainly counts among those unique drummers in jazz today, whose work has had a lasting influence on styles and still does. At the tender age of 16, saxophonist Jackie McLean brought him to his band in New York. He also made his first recording with McLean. Soon after, aged 17, Williams was already making a splash in the second Miles Davis Quintet. Almost twenty years later, in 1980, on May 30 and 31, Tony Williams went to the Zuckerfabrik recording studio in Stuttgart/Germany, together with Tom Grant (keyboards, synthesizer, he joined this band on the recommendation of Jeff Lorber) and Patrick O'Hearn (bass, synthesizer). In the 1970s and early 1980s, this studio was an illustrious address for audio productions of all kinds. Larry Coryell, Wolfgang Dauner, Stephane Grappeli, Elvin Jones, Martin Kolbe + Ralf Illenberger, Volker Kriegel, Alphonse Mouzon, John Scofield and the United Jazz+Rock Ensemble recorded there, to name just a few. Tony Williams and Peter Schnyder co-produced the recording. The album was recorded in just two days and mixed right there in the studio. This timeless album, released in an edition of only 500 copies, was hardly promoted at the time and may therefore have remained unknown to one or the other. All the better that now for the first time since the release of the Vinyl it is also available on CD, with a significantly improved sound."
MUNSTER RECORDS (SPAIN)
CAT #: MR 430LPANA Y JAIME Dire A Mi Gente LP
Munster Records present a first time reissue of Ana y Jaime's Diré A Mi Gente, originally released in 1969. An essential Colombian album that connects the new generations that grew up after the fall of the socialist block. It's a classic with one foot in protest song and the other in acid rock, harsh sounding but also current, raw and sincere. It's reminiscent of Nadaism via Pablus Gallinazo, the bittersweet tenderness of Elia y Elizabeth and the post Yetis duet of Norman y Darío. It was recorded by the brothers Ana and Jaime Valencia and originally released in 1969 on the local label Discos 15. The messages it conveys are still fresh and the blend of superb songs, arrangements and the candor of the duo's performance proves the relevance and importance of re-listening to this album in an increasingly nihilistic and depoliticized world. The teenage voices enhance the truthfulness and power of conviction of the classic songs of Alí Primera and Daniel Viglietti. The endearing song "Cuántos Momentos", originally recorded by Iván Darío López from Los Yetis-Norman y Darío, stands out on the album. "Es Largo El Camino", with more stark lyrics by Nelson Osorio backed by Astudillo's screeching guitar, sends shivers down your spine. Diré A Mi Gente reaffirms that the transformative power of music is still there, latent, waiting to be unleashed. Even though the road traveled to get there is sometimes long. Liner notes by Mexican DJ and collector Carlos Icaza aka Tropicaza (Dublab, Worldwide FM.)
CAT #: MR 431LPEMPIRE Expensive Sound LP
Munster Records present a reissue of Empire's Expensive Sound, originally released in 1981. Empire was an offshoot of Generation X, and their only LP Expensive Sound remains an obscure (yet highly rewarding) listen. Originally released in 1981, the same year Gary Numan and Soft Cell were raking in big bucks with their noir-flecked brand of retrofuturism, Expensive Sound was out-of-step with the climate of commercial music. Their music was raw, bare, warm -- distinct from the glacial, antiseptic pop that would dominate the decade. The album was neither totally forward-looking nor nostalgia embracing. Instead, Expensive Sound does what great albums tend to: preserves a specific moment in time. There's an arid, unvarnished quality to the recordings -- typified by front man Derwood Andrews's voice and words. He sang with uncommon fragility and in a soft, almost diffident voice. There's little reverb, almost no double tracking, and absolutely no attempt to Americanize his delivery. The subject matter is rendered in a similar, disarmingly plain way. Boredom, depression, unrequited love, and existential dread are treated in equal parts -- sans one song about playing the electric guitar (the aptly titled "Electric Guitar"). While Derwood's lyrics exhibit some of the doom-and-gloom sentiment of post-punk progenitors Joy Division, they are almost Holden Caulfield-esque in their simplicity. Empire's response to adversity is delivered with a shrug and a sigh. If Andrew's bashful vocals are part of the charm, his expressive guitar playing is the main attraction of Expensive Sound. As the sole guitarist on the record, he demonstrates a versatility unusual for the band's punk roots -- deftly maneuvering between chunky, minimalist riffing (like on "Hot Seat"), vast swathes of dark noise ("Empire"), and lacerating, tightly coiled leads ("Safety"). While Expensive Sound may be better known for the bands it inspired -- the neo-psychedelia of The Stone Roses and the athletic fretwork of Fugazi -- they deserve appreciation on its own merits: one of the finest guitar pop records of the era.
MUSIC ON VINYL (NETHERLANDS)
CAT #: MOV 1937LPCOMUS First Utterance LP
2022 restock. "First Utterance is the debut album of the progressive folk band Comus. It was released in 1971, with the opening song 'Diana' being released as a single. The album was notable for its unique blend of progressive rock, folk, psychedelia, and elements of paganism and the macabre. The overall thematic tone of the album is of vulnerable innocence facing abusive power, the songs dealing with violence ('Drip Drip'), rape ('Diana', 'Song to Comus'), and insulin shock therapy ('The Prisoner'). These themes contrast starkly with the acoustic sound of the record, featuring acoustic guitar, violin, flute, and lyrical, almost Arcadian, female harmonies. 180 gram audiophile vinyl. Includes insert. Including the single 'Diana'."
CAT #: PERL 013EPLAUBNER & RIC Y MARTIN (RICARDO VILLALOBOS & DANDY JACK), STEPHAN Sommerpause 12"
2022 repress. Split release from Stephan Laubner (STL) and Ric y Martin, a project from Ricardo Villalobos and Dandy Jack (Rather Interesting's Martin Schopf). Laubner's side is a hypnotic 10-minute track, plus three locked grooves/loops. Ric y Martin's side is the nine-minute "Sini Est."
CAT #: PERL 023LPVA Superlongevity 2 2LP
2022 repress. Originally released in 2001. "In 1999, Perlon released the Superlongevity compilation that became a 'must have' for music lovers all over the world. Now, with cat. # 23, the label and its artists like to say 'Thank You' with the release of the second part. Nine exclusive, brand new songs out of the Perlon-universe. Panty Tec's opener 'Doubledip Uuh..', recorded by Sammy Dee & Zip right after returning from 2000's North American tour, was inspired by the spooky myth of a chicken wing recipe, that is kept top secret by an El Paso diner. Narcotic Syntax mastermind James Dean Brown collaborates with Markus Nikolai to present the 'Muff Diver'. A real monster, where elevator funk meets hypo gastric house to transform all electrified bodies to a huge body of love. Side B opens with another brilliant Chicago influenced Soulphitction track entitled 'Phake And Phoney' followed by a collaboration of Baby Ford & Zip, who realized that there was 'No Milk Today'; recorded last year at I-Fach/London. 'Indio Muerto' is brought to you by Luciano, who formerly released Sense Club together with Mr. Villalobos. A nice foretaste to the future planned release by Geneva/Santiago De Chile based Luciano on Perlon. Markus Nikolai has some lascivious 'Chitchat On Sunsetcliff' with the wonderful Stephanie De Chico. Again, supported by the phenomenally swinging one-man orchestra Theo Krieger. 'The Unexpected Guest' on Superlongevity 2 is Marc Leclair from Montreal/Quebec, who has not released on Perlon yet, but will in the near future. His project Akufen is just getting more and more known through releases on different international outlets, beside Perlon. We call it Hakelhouse. Finally, we approach the D-side and get invited by the Dimbiman to join him on an expedition through the depths of dimbiworld; 'H?k?le'a' will take you to a place you've never been before... once you got there Ricardo Villalobos takes over, and of course he already prepared a tasty 'Panpot Spliff' especially for you to land softly."
CAT #: PERL 026EPPANTYTEC Elastobabe 12"
2022 repress. "Zip & Sammy Dee (aka Pantytec) are going to Perlonize the universe with this 12" entitled Elastobabe! On the A-side you'll find the original version, featuring vocalist Florian Schirmacher, a nice pre-taste of Pantytec's debut-album. The B-side offers a remix conceived by Soul Capsule's Peter Ford (aka Baby Ford) and Thomas Melchior, who took a ride to outer space, where they met with the cosmic warrior to bend this track (and your mind) to an even more elastic state... plus, bonus acapella for the DJ's pleasure."
CAT #: PERL 029EPSOULPHICTION Presents Manmadescience 12"
2022 repress; originally released in 2002. Soulphiction shares the A-side with close friends Reiff and Lieten to form Manmadescience, specialists in "underthecarpethouse." On the flipside it's Soulphiction solo again with "Lickashot" and an alternate version of "Get It Right."
CAT #: PERL 033EPDIMBIMAN The Vibration Of V 12"
2022 repress. 2003 release from Perlon label-founder Zip's solo project Dimbian. Three tracks plus a locked groove, timeless music.
CAT #: PERL 042EPHORROR INC. I Plead Guilty 12"
2022 repress. 2004 release. Marc Leclair from Montréal, also known as "Akufen", dims the lights to bring us "Horror Inc.". With last years "Horrorama EP" on Revolver and the follow up "Horrorama remixes" (including a "Dimbiman" remix) he introduced his new project to us. Straight out of the crypt Mr.Leclair continues to tell the story, that he started with last years constribution to the "superlongevity3? labelcompilation entitled "A Dream Within A Dream"
CAT #: PERL 049EPJOHN, MATT Joker Family Park One 12"
2022 repress. "Perlon's 49th release is brought to you by Berlin-based Matt John. Entitled 'Joker Family Park One' it marks the first part of a story with an open ending... at the beginning, we meet miss 'Princess Unknown,' who rings the bell with great passion. After a pleasant ride through 'The Rising Scope,' we finally finally reach the hypnotic fields of 'Ferro Sanol Duodenal,' which marks the end of this stunning debut of Mister John."
CAT #: PERL 075EPPROPER, SAN Keep It Raw 12"
2022 repress; originally released in 2009. This is the first solo 12" from San Proper for Perlon. San, who's based in Amsterdam, is also responsible for the A'dam Family Series of five 12"s that were released on Rush Hour Recordings in 2007. His song "Magnificent Speech Funk" was remixed by Laurent Garnier in 2008. This time, San keeps it raw. We'll let you figure that out.
RANDOM ACOUSTICS (GERMANY)
CAT #: RA 033CDBAUER/GEORG GRAEWE/JOHN LINDBERG, KONRAD Sottobosco CD
Recorded live May 3, 2018 at Porgy & Bess, Vienna. Recorded by Wolfgang Racher and Gerald Domjan, mixed and mastered by Martin Siewert. Personnel: Georg Graewe - piano; Konrad Bauer - trombone; John Lindberg - double bass.
CAT #: RM 4142CDTOLVI, ANTTI Spectral Organ/Feedback Gong CD
Finnish artist Antti Tolvi operates at the nexus of performance and installation. His work, which is concerned with how sound operates in the spaces that contain it, is a meditation on how sound reveals itself, in time and in space to the listener. Each of the works captured on this edition dwell in the reductive, the subtle and the sustained. The pieces seek to draw attention to microtonal variation and flutter. They arc in a slow reveal that highlights Tolvi's patience and his unwavering desire to create work that invites us to become settled within it.From Antti Tolvi: "'Spectral Organ' was played and recorded with no over dubs in Kemiö Island, in a 14th century church on 22/9/2019. We have these acoustically amazing spaces even in the smallest villages and towns in Finland. In every space there are these unique and solid, super complex analog wave generators ready to play. You just need to get in and turn the wave generator on. Even this particular, very basic church organ has around 2200 tuned pipes . . . Because of high amount of pipes and the fact they are often not so well tuned, all kind of interesting microtonal intervals are easily found. The idea in this piece is to create static spectral sound sculpture. An invisible, in situ, air sculpture. A sculpture where you can enter, stay and leave. It is a kind of floating architecture inside the visible architecture. This sculpture will always be different in each different church. In this recording I play almost whole piece just by slowly opening and closing the stops. This organ luckily has mechanical stops. In some organs stops work with electricity. Usually this means that stops are either completely open or close, not anywhere between. This limits notably the amount of colors you can get out of organ. You will lose the possibility to slide from tone to tone. The second piece, 'Feedback Gong' is a recording made as part of a sound/light installation I completed in early 2020. The installation was premiered at B Gallery Turku in midsummer 2019. The installation has on-going feedback though a 20" gong cymbal. The cymbal hangs between two microphones and a 15" speaker without any physical contact. 'Feedback Gong' has a pretty similar invisible sculpture idea as the first piece does. Here we give the most delicate decision to the feedback circuit. These small differences and variations make alter the sound and create the nature of the piece..."
CAT #: RM 4167CDCOCOLAS, MADELEINE Spectral CD
Madeleine Cocolas's Spectral is a reimagining of the familiar. It is an attentiveness to the incidental, and a reaching out towards the unheard. Taking these acoustic microcosms as a source of focus, she unpacks these transient flickers and memories, and repositions them; exploding them outward and shifting perspective. Spectral, celebrates the shadows of melody and the afterthoughts of rhythm. It breaths with a sense of calculated intensity that reflects on Cocolas's focus throughout the process of realizing the work. It is a dynamic set of transient states which bring to mind a world reimagined through new senses and new ways of being.From Madeleine Cocolas: "Spectral is built on a foundation of sounds I collected from my immediate surroundings in recent times. It's a familiar story, casting your ears close to home. I captured these sounds as a type of aural diary to mark days and weeks as they passed. As our physical worlds seemed to become smaller, my senses of observation and perception of my immediate surroundings sharpened. Inside these small spaces I found a wellspring of materials that seemed to offer themselves up. At the time I didn't know why I was collecting sounds or what I would do with them, it just felt like something I needed to do and it helped me stay connected and feel tethered to my surroundings. With my phone on hand, ready to record on walks around the block, past whirring industrial machines, deafening crickets and crashing storms, I found so much beauty and meaning in the sounds and the recordings I collected. As the collection grew, I could sense these links between them, some sounds seemed to gravitate towards one another, they self-arranged almost. It felt very natural to then build layers over the top of them, to be able to express some of the emotions that the sounds triggered, of memories from the moments from when they were captured. At its core, Spectral is about deep stillness, observation and perception underpinned by emotional expression. It is a subtle shift in memory, a recoloring of the world we think we know and a willingness to lean into that possibility."
CAT #: RM 4172CDONODERA, YUI Too Ne CD
Yui Onodera's work is patient. He invites a sense of dwelling with his pieces, an encouragement to pause and to allow sound to swell up around you. On Too Ne, he charts out a very specific sonic exploration. Across these five works he creates a lilting passage of sound, a liquidous flow that confirms the adage of ambient music existing as constant, but never solid. Too Ne also invites a sensing of the self, in that the works ask you to examine our own memories as a way to unlocking a deeper resonance within the work. Onodera has created an incredibly generous and open sound field here, one in which you might find yourself dwelling, deeply.From Yui Onodera: "These pieces are what can be described as almost static ambient tracks. They are about a recognition of perceived stillness, even when there is change in the sounds' relationships with each other, and with the listener. 'Too Ne' is an old Japanese word that refers to a sound that is sounding from far away. It is about distance, and also perhaps about reaching out to those sounds that seem to exist far away from us. 'Too Ne' is a word that is not often used in modern Japan, but it has a long history, and can be found in the oldest extant collections of Japanese waka (poetry in Classical Japanese), such as 'Manyoshu'. It is sometimes understood that there are many sounds that appear in people's minds here, when they think of an imagined landscape. Sounds as memory markers, but also as devices to help us imagine more deeply the places we visit and recollect with our minds. Here, I recall in my mind the distance of static sounds like vague clouds, delicate sounds like a state where cherry blossoms whirl in the wind and resemble snow falling."
CAT #: TW T-LPSURFACE OF THE EARTH Surface Of The Earth 2LP
Since its release in 1995, Surface of the Earth's self-titled first album has gradually been recognized as an unlikely minimalist masterpiece and one of the key albums to emerge from New Zealand's 1990's Free Noise movement. Liberated from tonal and structural convention, yet also embracing elements of drone and ambient music, the Wellington trio created an album that defied easy categorization. It has been called "one of the most important albums to ever drag the subterranean vibe of unending drone into the stifling, weirdly beautiful vista of urban decay", and has drawn parallels with the works of Phill Niblock, William Basinski, and Éliane Radigue, as well as Tony Conrad and John Cale. It is a rare album where players, instruments, and space coexist and play equal parts -- coalescing to create a new, monumental kind of music -- one that is both haunting and embracing, dark and transcendent. The album began as a limited edition, self-released cassette in 1995. Later it was made available as a double lathe-cut LP in an edition of 20 before eventually being released on CD by Bruce Russell's legendary Corpus Hermeticum label alongside works by A Handful of Dust, Flying Saucer Attack, Thurston Moore, and The Shadow Ring. It was recorded live between 1994 and 1995 with two microphones to cassette in a cavernous wooden community hall in the city center of Wellington, NZ; the music created with a shambolic collection of cheap, hardly functioning electric guitars, ancient NZ made valve amps and a scant few effects, reverb, walkie talkies, Dictaphones, and a synthesizer with its keys taped down. For all of that -- the album sounds like a field recording from another world: dark tones reverberate, metals echo and clatter and electricity crackles, blooms of feedback emerge held in suspension -- half floating, half driving through a dense nocturnal atmosphere. Over its nine pieces and nearly 80-minute duration it courses with an undeniably organic, human energy; it develops and sustains with a sort of terrifying beauty that evokes elation and dread, a tension and ease that transports the listener to another sort of dimension. Thin Wrist present Surface of the Earth for the first time ever in its complete form. Restored and remastered from the original tapes; presented in a deluxe tip-on gatefold with black pigment ink foil stamping on pure black tactile Reef paper. Surface of the Earth were: Tony McGurk, Donald Smith, Paul Toohey. Recorded at Thistle Hall, Wellington, AOTEAROA, 1994-5. Black Edition produced by Peter Kolovos; Mastered by Elysian Masters; Black edition design by Rob Carmichael, SEEN Studio; Executive Services: Bruce Russell; Technical Services: Peter King, Thomas Sims, John Button.
CAT #: TROST 201LPTURNER, AARON To Speak 2LP
Over the last ten years, Aaron Turner has increasingly focused on improvisation, and this refined emphasis on free composition has been applied to his work within the bands SUMAC and Old Man Gloom. His most unbridled improvisation pieces, however, have been solo guitar works issued under his own name. On his first official full length, To Speak, Turner dives even deeper into subconscious playing and the deeper possibilities of electric guitar. The seven songs on the album vary in terms of timbre, volatility, and volume despite being rooted in the same principle of pure expressionism. Entering the studio with Randall Dunn with no written material, Turner set out to capture improvised pieces devoid of any premeditation, adornment, or alterations. During the process abstract drawings were hung in the studio to act as visual cues and "displays of things from the interior manifested outwardly." Ultimately, the "no overdubs" rule was abandoned in favor of pushing elements of the compositions to the forefront, though no edits were made to the original takes. On To Speak, you hear the dramatic topography of the interior mind as articulated with electric guitar in concert with the body. On the album opener "Firelight," the foundation of an anxious electric hum serves as the bedrock to pillars of sonically degraded string stabs. On the title track, a blown out bottom heavy lead gets bombarded by treble-bleached bursts of squelching distortion. Crooked melodies yield to feral snarls on "Granny's Pendalogue." You hear something akin to musique concrète on "An Unpleasant Gravity," and a pensive unadorned drone composition on "Wingehaven Descension." Following is a disruption of the preceding calm with the guitar mangling of "Brittle Expectancy." Finally, in the stormy closer "A Deep and Instant Regret" forlorn foghorn melodies get bombarded by white-out squalls and ragged lines of wounded guitar.Aaron Turner: guitar, tapes, effects. Recorded and mixed by Randall Dunn at Avast!, Seattle, WA, February, 2019. Additional recording and mixing by Turner at HoLC, Vashon, WA, January-March, 2021. Mastered by Timothy Stollenwerk at Stereophonic, Portland, OR, July 2021. Vinyl mastering and cut by Kassian Troyer at Dubplate & Mastering, Berlin, Germany, September, 2021. Art and design by Turner.
CAT #: TROST 205CDO'ROURKE & MATS GUSTAFSSON, JIM Xylophonen Virtuosen CD
A collection of improvised duets with guitarist Jim O'Rourke and reedist Mats Gustafsson. All of the material has been newly remastered. Some tracks were in parts or in its complete form released on Incus CD38 (1999) with a different mix and master. All other tracks are unreleased. Mastered in 2021 by Jim O'Rourke. Recorded and mixed to two-track, September 23rd, 1999 by Jeremy Lemos at ACME Studios, Chicago. Personnel: Mats Gustafsson - tenor saxophone, fluteophone, flute, junk; Jim O´Rourke - guitar, accordeon, junk.
CAT #: TROST 205LPO'ROURKE & MATS GUSTAFSSON, JIM Xylophonen Virtuosen 2LP
Double LP version. A collection of improvised duets with guitarist Jim O'Rourke and reedist Mats Gustafsson. All of the material has been newly remastered. Some tracks were in parts or in its complete form released on Incus CD38 (1999) with a different mix and master. All other tracks are unreleased. Mastered in 2021 by Jim O'Rourke. Recorded and mixed to two-track, September 23rd, 1999 by Jeremy Lemos at ACME Studios, Chicago. Personnel: Mats Gustafsson - tenor saxophone, fluteophone, flute, junk; Jim O´Rourke - guitar, accordeon, junk.
CAT #: TROST 208LPMOFAYA! (JOHN DIKEMAN/JAIMIE BRANCH/LUKE STEWART/ALEKSANDAR SKORIC) Like One Long Dream LP
LP version. A powerful collision of musical personalities -- American saxophonist (and Dutch resident) John Dikeman invited avantgarde trumpeter Jaimie Branch, bassist Luke Stewart (Irreversible Entanglements) and drummer Aleksandar Skori? to form a new band project. This quartet presents its own definition of contemporary improvised jazz; with no distinct leader and with tight and supportive interplay, they demonstrate the independent musical voice of each own. Album cover by Jaimie Branch. Personnel: John Dikeman - saxophone; Jaimie Branch -trumpet; Luke Stewart - bass; Aleksandar Skori? - drums.
CAT #: TROST 209LPAMADO THIS IS OUR LANGUAGE QUARTET, RODRIGO Let The Free Be Men LP
LP version. Music by four strong individual players with room for eruptive solo-parts, but always held together by intense communication and beautiful interwoven melodies. The quartet's second album A History Of Nothing (TROST 170CD/LP) got a huge number of excited reviews: "A superb quartet outing. The music is all improvised, but it's firmly rooted in jazz, with superb interaction between all of the players, both on ripping, high-velocity blowouts and more delicate forays." --Peter Margasak (Chicago Reader) "Freedom is clearly a responsibility as well as a joy, and it's emphasized here by the group's shared commitment: each musician is constantly working in two directions, stretching further and creating cohesion. The music is improvised with such an ear to complementary detail that it's literally being collectively composed." --Stuart Broomer, Free Jazz Collective "Together, this quartet is dynamite. It's exciting to hear a European musician along with three Americans, and notice that they communicate so well." --Jan Granlie, Salt Peanuts Recorded by Klaus Hedegaard Nielsen at Jazzhouse, Copenhagen, March 2nd, 2017. Mixed by Joaquim Monte and Rodrigo Amado. Personnel: Rodrigo Amado - tenor saxophone; Joe McPhee - pocket trumpet, soprano saxophone, pvc pipe; Kent Kessler - double bass; Chris Corsano - drums.
CAT #: TROST 212CDLEANDRE/PAULINE OLIVEROS/GEORGE LEWIS, JOELLE Play As You Go CD
A grand meeting of three luminaries in the fields of improvisation, avantgarde and experimental music -- live recorded by the national Czech radio station, as part of the festival VS. Interpretation 2014 in Prague. Personal notes from Joëlle Léandre and liner notes by Tracy McMullen, 2021. Mastering: Martin Siewert. Artwork: Lasse Marhaug. Personnel: Pauline Oliveros - el. accordion; Joëlle Léandre - contrabass, voice; George Lewis - trombone, laptop electronics.
CAT #: TROST 213LPPARADISO INFERNAL Paradiso Infernal LP
Paradiso Infernal is a new electronics and guitar duo from Vienna, comprising of members Christina Nemec and Christian Schachinger. Schachinger and Nemec have previously collaborated in the trio Shampoo Boy with Peter Rehberg, a powerful alloy of extreme noise, dark drones, luminous ambience and fundaments of rock (Blackest Ever Black). Schachinger was involved in the '90s indie band Occidental Blue Harmony Lovers, the Schlager Coverband Der Scheitel and most notably Peterlicker a noise rock band feat. Rehberg (Editions Mego). Nemec's background lies in avant-rock and industrial outfits such as Bray and the feminist performance group SV Damenkraft. She remains highly active as a solo artist and composer, both as Chra and under her own name. Her latest solo album SEAMONS was released on Editions Mego in 2020 (EMEGO 285LP). Chra's music is abstract and enigmatic, she creates dark, raw electronic soundscapes that don't want to "please" at any moment. Paradiso Infernal spark off abstract electronic/guitar noise-layers in reminiscence of avantgarde composer Giacinto Scelsi. Paradiso Infernal was recorded and processed by Christina Nemec and Christian Schachinger at TROST Waldviertel Studios 2020-2021. Mastering by Martin Siewert. Artwork by Susi Klocker. Personnel: Chra / Christina Nemec: electronics, field recordings, effects; Christian Schachinger: guitar, effects.
CAT #: TROST 214LPRANALDO/JIM JARMUSCH/MARC URSELLI/BALAZS PANDI, LEE Churning of the Ocean LP
LP version. Extended instrumental tracks from the nocturnal studio session of director and musician Jim Jarmusch, Sonic Youth's Lee Ranaldo, Balázs Pándi (Keiji Haino, Venetian Snares, Merzbow) and producer Marc Urselli (John Zorn, Mike Patton, Laurie Anderson, a.o). All was recorded live and analog, and in the moment. Mixed, mastered, recorded and produced by Marc Urselli at EastSide Sound Studios, NYC, 2019. Artwork by Italian artist Sara D'Uva. Press quotes from the S/T debut album (TROST 181CD/LP, 2019): "Lee Ranaldo/Jim Jarmusch/ Marc Urselli/Balázs Pándi is an egoless collection of ideas from four musicians who sound like they've been working together for an eternity" --Daniel Sylvester, Exclaim! "It's exactly this unpredictability that makes the quartet's evocative sounds thoroughly captivating" --Antonio Poscic, The Quietus. "A magical, hypnotic and somehow frightening album" --Jazzthing Magazine. Personnel: Lee Ranaldo - guitar, pedals, bells; Jim Jarmusch - guitar, pedals, mini-synthesizer; Marc Urselli - bass, laptop; Balázs Pándi - drums.
CAT #: TROST 215CDHARNIK, ELISABETH Superstructure - Holding Up A Bridge CD
Austria pianist and composer Elisabeth Harnik has created a multi-faceted body of work by crossing genre boundaries through various collaborations in the field of improvised music, composition and sound art. Superstructure was written in 2006 and was recorded and produced live in concert by the Austrian Broadcasting Corporation ORF-Ö1 with "Jeunesse -- Musikalische Jugend Österreichs" at Radio Kulturhaus Vienna in 2007 and performed by All Ears Area Ensemble with Elisabeth Harnik (piano), Petra Stump (clarinets), Krassimir Sterev (accordion), Michael Moser (violoncello), Christian Wolfarth (percussion), Josef Novotny (electronics), Klaus Janek (double bass). Holding Up A Bridge was commissioned and performed by the up-and-coming Viennese ensemble Studio Dan in 2018. Studio Dan is Thomas Frey (flute), Viola Falb (alto saxophone), Dominik Fuss (trumpet), Daniel Riegler (trombone), Michael Tiefenbacher (piano), Hubert Bründlmayer (drums), Sophia Goidinger-Koch (violin), Maiken Beer (violincello), Philipp Kienberger (double bass). Cover artwork by Heidi M. Richter. Design by Federico Peñalva. Liner notes by Richard Barrett.
CAT #: TROST 216LPSTEAMBOAT SWITZERLAND Terrifying Sunset LP
Contemporary German painter Albert Oehlen invited Steamboat Switzerland to create music for his solo exhibition Tramonto Spaventoso at the Gagosian Gallery in Los Angeles, 2021. Oehlen and the experimental Swiss ensemble had already collaborated in 2019-2020 at the Serpentine Galleries (London). The recorded compositions draw connections with Oehlen's own visual strategies in which he interprets and transforms John Graham's painting Tramonto Spaventoso (Terrifying Sunset) (1940 49). The music has been played throughout the day of the exhibition from June 10 to July 24, 2021. Steamboat Switzerland are: Dominik Blum (organ), Marino Pliakas (bass), and Lucas Niggli (drums) who define themselves as a "Hammond Avantcore trio". Their music, meanders between new music and improvised jazz with influences from hardcore, prog, and noise. Artwork by Albert Oehlen. Graphic design by Metaphor. Mixed and mastered by Martin Siewert (Vienna), March 2021.
CAT #: TROST 217CDSAKATA & TAKEO MORIYAMA, AKIRA Mitochondria 2CD
Spectacular live recording from 1986 of two seminal figures of the Japanese avantgarde -- Akira Sakata on saxophone and Takeo Moriyama on drums. Mitochondria captures the reunion of the two free jazz masters, who started playing together in the Yosuke Yamashita Trio in 1972 until 1975. For both, the experience with the trio was an important step in the development of their own career and musicianship. The recordings are a remarkable performance in which each successfully highlights the essential elements of his playing while giving of room for the other musician. Recorded at Kashiwa Church Chiba Pref. in Japan on May 24, 1986 by Yukio Tezuka on Sony stereo cassette recorder. Mixed by Jim O'Rourke, Mastered by Martin Siewert. Graphic design/cover photo by Lasse Marhaug. Liner notes by Kazue Yokoi.
CAT #: TROST 219CDURUK Ame: Live at Artacts CD
Two duos firmly anchored in improvised music -- Duthoit/Hautzinger and Drake/Zerang -- explore what ritual music can mean in the present time. They moan and groan, sigh and sing in the jungle of their soul. Melodies between tradition and contemporary music in all their extremes ventures forward into a poetry full of sound noises. Recorded live at Artacts, Alte Gerberei, St. Johann, March 7th, 2020. Personnel: Isabelle Duthoit - clarinet, voice; Franz Hautzinger - quarter-tone trumpet; Hamid Drake - percussion, frame drum, voice; Michael Zerang - percussion, frame drum.
CAT #: TROST 219LPURUK Ame: Live at Artacts LP
LP version. Two duos firmly anchored in improvised music -- Duthoit/Hautzinger and Drake/Zerang -- explore what ritual music can mean in the present time. They moan and groan, sigh and sing in the jungle of their soul. Melodies between tradition and contemporary music in all their extremes ventures forward into a poetry full of sound noises. Recorded live at Artacts, Alte Gerberei, St. Johann, March 7th, 2020. Personnel: Isabelle Duthoit - clarinet, voice; Franz Hautzinger - quarter-tone trumpet; Hamid Drake - percussion, frame drum, voice; Michael Zerang - percussion, frame drum.
CAT #: TROST 222CDBROTZMANN/FRED VAN HOVE/HAN BENNINK, PETER Jazz in der Kammer Nr.71 CD
The first concert of Peter Brötzmann, Fred Van Hove, and Han Bennink in East Germany -- 4.11.1974, Deutsches Theater, Berlin. Recorded by radio for the series Jazz in der Kammer Nr 71. Liner notes by Bert Noglik, with translation by Jeb Bishop. Recorded by Radio GDR, Berlin. Produced by Brötzmann, 2021 mastering by Martin Siewert. Artwork/design by Brötzmann/Untiet. Personnel: Peter Brötzmann - alto/tenor saxophone; Fred van Hove - piano; Han Bennink - drums.
CAT #: TROST 223CDNITSCH, HERMANN Weinviertel Sinfonie CD
Hermann Nitsch loved the countryside where he lived, the Austrian "wine county." With this release he wanted to combine his music, his art, and the landscape. Recorded on August 28th, 2021, Nitsch Museum, Mistelbach. Conductor: Michael Mautner; Performers: members of the Radio Symphony Orchestra Vienna (RSO Wien). Mix and master by Christoph Amann, Vienna.
CAT #: TROST 225CDSNEKKESTAD/SOREN KJAERGAARD, TORBEN Another Way of the Heart CD
A calm, acoustic debut album by saxophonist Torben Snekkestad and pianist Soren Kjaergaard, influenced by the beautiful and peaceful nature surroundings of the western coast in Norway, where they met to record this special album. Titles are adapted from the texts by Torben Ulrich in the work Meridiana: Lines Toward A Nonlocal Alchemy. Recorded by Anders Boska at Ocean Sound Recording, Giske, Norway August 18-20, 2021. Cover illustration and design by Lasse Marhaug. Personnel: Torben Snekkestad - tenor/soprano saxophone, clarinet, trumpet; Søren Kjærgaard - grand piano.
CAT #: VAMPI 230LPZULU Zulu LP
Vampisoul present the first ever reissue of Zulu's self-titled album, originally released in 1974. The first record by Zulu was also his last. Shortly after releasing it in 1974, the artist withdrew from the music scene and never returned. 46 years later, his music still sounds out of time. His musical eclecticism heralded a different era and linked rock with Afro-Latin American beats and pop. His debut and only LP is one of the last great albums of the first wave of Peruvian rock. No other original records of this type were released in Peru until the early '80s. In the '70s, in Peru, most rock groups sang in English. For his LP, Zulu chose to sing in his own language and focus on his own emotions and experiences. In the early days of his career, he became member of Los Shain's, for less than a year. Then he was invited to join Traffic Sound playing bass guitar and keyboards and record the band's third album Lux. An offer to start a solo career would follow and "Como una escalera", "Alegría", and "Cariño grande" 45s were released. The expectations that his first solo singles generated were met by the release of the LP Zulu in 1974, boasting an eclectic and innovative sound. Andean folk, Afro-Latin beats, psych-tinged prog rock scents, Moog glides, choir arrangements spread across the entire album creating a truly unique piece of music. A few demos were also recorded for the next album but this never saw the light. In December 1974, a few months after the LP was released, the artist decided to disappear. At this point of his life, he started to become aware of the need to define spirituality. After exploring and comparing countless religious, philosophical, psychological texts and trying transcendental meditation and yoga, he concluded that the Bible was the most profound and clearest text. While this was going on, his public figure grew thanks to the success of his album. At the end of 1974, Zulu surprised the manager of IEMPSA, Augusto Sarria, by communicating his decision to leave show business. The artist vanished into the religious path, making sure his music got as unnoticed as possible... The reissue has been supervised by the artist himself and includes extensive notes and the extra track "Haces mal, pobre chico", B side to his first single that never made it into the album.
CAT #: VAMPI 255LPVALENCA, ALCEU Molhado De Suor LP
Vampisoul present a reissue of Alceu Valença's Molhado De Suor, originally released in 1974. In the early '70s Tropicalia was going strong, a challenge to both the music establishment and the state. Música Popular Brasileira (or MPB) was firmly established. Up in the northeastern corner of Brazil, centered in Recife, was another exciting strain of Brazilian culture called Udigrudi. Molhado De Suor is the first solo effort by Alceu Valença, mixing traditional northeastern Brazilian music and rhythms with folk rock and psychedelia. Aided by Lula Cortes and Geraldo Azevedo, Valença's rich vocals combine with driving guitar work, moody arrangements and unusual trips, successfully integrating the sounds of his native region, Pernambuco. Sought-after Brazilian classic Molhado De Suor was originally released in 1974 on Som Livre. Valença followed its release with many albums, each one establishing him as not only superstar. Reissued again after being unavailable for years.
WE INSIST! RECORDS (ITALY)
CAT #: CDWEIN 017CDFAZIO ENSEMBLE, ENRICO Girotondo CD
The idea for Girotondo is taken from the play of the same name written by Arthur Schnitzler. Like the characters in Schnitzler's text, here the musicians are invited to take part in a series of dialogues in pairs, so as to form a chain, a roundabout: the first with the second, the second with the third, until the last one joins the first, closing the circle. The musicians have been matched by lot to a theater character, so that the duets are the random result. Fazio acts as a guest, an external narrator to the couples, elaborating an electronic introduction that represents the scenic space in which the encounters develop, and a final roundabout in which everyone is involved.Personnel: Enrico Fazio - project, double bass, electronics; Mario Arcari - oboe; Giancarlo Locatelli - bass clarinet; Alberto Mandarini - trumpet; Francesco Aroni Vigone - alto sax; Valeria Sturba - theremin; Adalberto Ferrari - contrabass clarinet; Gianni Virone - flute; Gianpiero Malfatto - euphonium; Emanuele Parrini - violin; Marco Tardito - baritone sax.
CAT #: WS 006CDWHITE, RALPH It's More In My Body Than In My Mind CD
Recorded in Austin, Texas in March of 2020, just days before the city and the rest of the world shut down, Ralph White spent two days with producer, Jerry David DeCicca (Will Beeley, Ed Askew) and recording engineer, Don Cento, capturing a raw and wild set of performances. Ralph, having recently converted his van into a mobile living and touring quarters equipped with a wood-burning stove, left Austin, the city where he was born over 70 years ago, and retreated to an Arizona commune where he began building a new house in the desert hills to escape the virus and insanity of daily living. Opener "Lead Man", signals the beginning of a wild and unsettling record, at times dark and foreboding, at others eerie and enigmatic, taking you a step further into Ralph's very own American mystery zone. Ralph takes you on a journey through his myriad of travels: from Dock Boggs to Syd Barrett to William Faulkner to Stella Chiweshe to Blind Uncle Gaspard -- scratching banjo, rasping train whistle hollers, rolling kalimba, rousing accordion, taut shimmers of guitar, caustic fiddle, and lyrics that could have been hidden amongst the dusty inner groove of a lost Harry Smith 78 -- weaving in-and-out of streams of consciousness, time and place. Just a few of the titles: "Lead Man" is a bleak and longing look in the mirror; "Motel 6", plays out a haunting lament set upon roadside America; "The River Daughter", reimagines life on the sandbar, akin to McCarthy's Suttree; "Lonesome Fugitive", acts as a cautionary ode to a life spent looking over one's shoulder. In addition to his solo work, White has recorded or performed with a diverse group of folk and avant-garde musicians: Thurston Moore of Sonic Youth, Jandek, Jack Rose, Eugene Chadbourne, Michelle Shocked, Sir Richard Bishop, and Michael Hurley. Artwork of Max Kuhn."This is what Ralph White really sounds like. It's what time passing really sounds like. It's what a look really feels like. This record is someone touching you all over!" --Bill Callahan"White was a member of well-loved punk bluegrass outfit Bad Livers, but his solo work is possessed of a much more lonesome spark, exaggerating the implied drone at the heart of the music of Dock Boggs and The Stanley Brothers -- White plays wooden six-string banjo, violin, button accordion and kalimba and his voice has a high, eerie quality to it -- extremely psychedelic." --David Keenan, The Wire
CAT #: ZEHRA 004LPGERMAN & FRANCOIS RABBATH, TULAY Homage To Nazim Hikmet LP
Following the reissue of the self-titled debut by Tülay German & François Rabbath in 2021 (ZEHRA 003LP), Zehra present the second and final part of our Tülay German reissues: Homage To Naz?m Hikmet (1982). Once again in a duo setting with François Rabbath, Tülay German pays tribute to one of Turkey's greatest poets of the 20th century: Naz?m Hikmet (1902-1963). Recorded in the early '80s this two-album work cycle refers heavily on Turkish poets and the tradition of a??ks (singer-poets and wandering bards) and consists of unique and modern interpretations of Turkish folk songs unmatched to this day. Back in the '60s Tülay German shook the Turkish music landscape with several 7" records. Most notably her first 7" record Burçak Tarlas? (1964) is now considered the cornerstone of what was to become the Anadolu rock/pop movement and underlines her rebellious nature and sense of justice. But due to increasing repression, Tülay German and her lifelong partner and intellectual impetus Erdem Buri decided to leave Turkey a few years later. In France, Tülay German signs a major contract with Philips resulting in many 7" releases sung in French under the moniker Toula?. Despite the success and recognition, Tülay German doesn't feel comfortable with the record deal and decides to quit the contract. Later, she signs to independent world music label Arion to pursue her actual artistic goals more in line with her origin and temperament. Back to her mother tongue, Tülay German records above mentioned albums for Arion under full artistic freedom, the only full-lengths in her 20+ year career. Alongside with double-bass virtuoso and turkophil François Rabbath, the albums consist of a??k traditionals and intonated poems mainly by Naz?m Hikmet. Her passionate voice and the restrained arrangements of François Rabbath turn these centuries old melodies and poems into glowing manifestos for love and justice. The fruitful collaboration of these artists-in-exile adds significantly to the rich heritage of Turkish folk music. Naz?m Hikmet is considered as one of Turkey's greatest poets of the 20th century, though during his lifetime his works were banned in Turkey for decades and he spent most of his life in prison or in exile. Tülay German ended her musical career in 1987. In 2021 Tülay German was awarded with the Lifetime Achievement Award by the Istanbul Foundation for Culture and Arts, Turkey.
CAT #: ZEHRA 005LPTAKAMAKI/UMUT CAGLAR/FAHRETTIN AYKUT, JONE Myth Of The Drum. Urban Transformation LP
Multi-instrumentalist Umut Ça?lar (Konstrukt, Karkhana), former Baba Zula drummer Fahrettin Aykut and the Finnish saxophone player/shakuhachi specialist Jone Takamäki join forces in a stunning improvised live set that blends free jazz with East-Asian Zen-sounds. The idea for Myth Of The Drum. Urban Transformation dates from an art exhibition in Istanbul 2017 where Fahrettin Aykut exhibited an installation called "Urvban Transformation" that combined painting and music, dealing with the relation of humankind and earth which is symbolized through a tree put upside-down. Aykut, former drummer in the Turkish group Baba Zula and these days a well-known architect in Turkey, asked his longtime friend Umut Caglar, multi-instrumentalist in Konstrukt and Karkhana, to join for an actual performance -- Caglar on his side was in touch with Jone Takamäki who has been a central figure of the Finnish free jazz/avantgarde scene since the 1970s. His album Universal Mind (1982) is a sought-after collector's item of European spiritual jazz, he was a member of the group Roommushklahn (with Raoul Björkenheim a.o.) and in 1991 he joined the ECM signed Finnish jazz/rock/improv collective Krakatau, founded and run by Raoul Björkenheim, and last but not least Takamäki received the first ever Pekka Pöyry Award. Besides being deeply rooted in jazz, he is also a specialist in Japanese shakuhachi and hocchiku flute playing which makes this ad hoc-trio so extraordinary: repetitive drumming, shamanistic throat sounds and plenty of string and reed instruments, a constant ebb-and-flow of sounds and energy -- neither pure jazz nor world music but a blend of both, forming a fascinating third! Meditative in its continuously pulsating rhythm, cathartic in the moments of sonic outbursts -- a few months after the Istanbul art fair performance, the trio (augmented to a quartet by Alan Wilkinson) played two shows at London's Cafe OTO and gossip has it saying that Thurston Moore who attended the show confessed afterwards that he was very touched emotionally. 180 gram vinyl; includes insert and download code.
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