News & Events

 

PRICE: $40.00

CAT #: AX 107LP

FILE UNDER: ELECTRONIC

Metropolis Metropolis three vinyl set is an abbreviated version of the most recent Electronic Music soundtrack for Fritz Lang's Metropolis (1927) by the Techno music producer and cultural icon Jeff Metropolis Metropolis album is an abbreviated version of the most recent electronic music soundtrack for Fritz Lang's Metropolis (1927) by the techno music producer and cultural icon, Jeff Mills. Unlike his first soundtrack where tracks addressed specific segments of the film in a track listing form, which was created and released in 2001, this version is more a symbiotic mix of compositions that proposes a nuanced representation of the plot and storyline. As an electronic symphonic music creation, Mills proposes a few interesting points in the schematics of this album: 1. the positioning and role of the listener as the soundtrack is based on the environment of the scenes, rather than pure transcription; 2. as a storyline that takes place in the year 2000, the choice of sound elements refer to some future commonality and foresight between the genres of classical and electronic music -- between man and machine; and 3., in many parts of the soundtrack where sounds are played in unison. This is symbolic of the hopefulness the storyline works towards.From the back cover of the album: "Creating music for Fritz Lang's masterpiece film Metropolis over the many years has been and continues to be a great experience. The film is a story about 'man vs man' with the help of a machine. Its dramatic theme is as relevant now as it was when the filmed debuted in 1927. A film to enjoyed, but also noted and examined." --Jeff MillsMills. Unlike his first soundtrack where tracks addressed specific segments of the film in a track listing form, which was created and released in 2001, this version is more a symbiotic mix of compositions that proposes a nuanced representation of the plot and storyline. ---------------------------- Metropolis Metropolis three vinyl set is an abbreviated version of the most recent Electronic Music soundtrack for Fritz Lang's Metropolis (1927) by the Techno music producer and cultural icon Jeff Mills. Unlike his first soundtrack where tracks addressed specific segments of the film in a track listing form, which was created and released in 2001, this version is more a symbiotic mix of compositions that proposes a nuanced representation of the plot and storyline. As an electronic symphonic music creation, Mills proposes a few interesting points in the schematics of this album. 1- the positioning and role of the listener as the soundtrack is based on the environment of the scenes, rather than pure transcription, 2 - as a storyline that takes place in the year 2000, the choice of sound elements refer to some future commonality and foresight between the genres of Classical and Electronic music - between man and machine. And 3, in many parts of the soundtrack where sounds are played in unison. This is symbolic of the hopefulness the storyline works towards. "Creating music for Fritz Lang's masterpiece film "Metropolis" over the many years has been and continues to be a great experience. The film is a story about "man vs man" with the help of a machine. It's dramatic theme is as relevant now as it was when the filmed debuted in 1927. A film to enjoyed, but also noted and examined." - Jeff Mills

 

PRICE: $29.00

CAT #: BEWITH 102LP

FILE UNDER: JAZZ

2023 restock. Be With Records present a reissue of Ian Carr's Nucleus' Roots, originally released on Vertigo in 1973. From the wild cover to the iconic breakbeats, Roots is thick, funky-prog jazz-rock heaven. Genius trumpeter and visionary composer Ian Carr was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet. The title track is a low-slung, doped-out heist-funk. It was sampled by Madlib for Lootpack and Quasimoto's "Loop Digga". The soothing vocal fusion delight of "Images" follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates' silky vocals and Dave MacRae's Rhodes never sounding better. The cool, driving "Caliban" closes out the first side. Originally the third movement in a four-part commission to celebrate Shakespeare's birthday it stands up on its own, all robust rhythms and blended brass. Keyboard color and Carr's trumpet are splashed across the funk drums and basslines (and there's even some bamboo flute). Side two opens with the short, thrilling samba of "Wapatiti". Next up, "Capricorn" forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would've envied, "Odokamona" is a venomous slice of riff-soaked jazz metal, elevated by Carr's wah-wah horns. The album closes with MacRae's exceptionally cosmic "Southern Roots And Celebration". Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. Keith Davis's cover art for Roots is an acid-tinged airbrush dystopian/utopian living-room party scene. Remastered by Simon Francis from the original Vertigo master tapes. Cut by Pete Norman.

 

PRICE: $20.00

CAT #: BC 031LP

FILE UNDER: EXPERIMENTAL

2018 release. "Lacrau is the first U.S. release of music featuring the legendary Portuguese guitarist's guitarist Manuel Mota. Mota's mysterious, uncompromising, resolutely personal approach to the instrument has most often been captured on solo recordings -- and typically of an immersive length, such as Rck, a 5-CD release from 2013. Lacrau captures the ambience of a warm Sunday afternoon in late fall in Lisbon when longtime friends Mota and David Grubbs sat down for this waking dream of a first duo performance. The session unfolds with a real-time, documentary feel in which athematic, non-repeating musical gestures are rendered with an extreme sensitivity to microscopic soundworlds brought about by fingertips, strings, and tube amplifiers. These explorations are as apt to find emotional weight in the solitary note in all its fret-buzzing glory as they are in unexpected turns of phrase briefly referencing blues and jazz. 'Lacrau' is an older Portuguese word for 'scorpion' (predating 'escorpião'), as well as the name of a good, cheap restaurant in Manuel's hometown of Ericeira, on the west coast of Portugal. Its quality of being out of time, its rough texture, and its multiplicity of meanings make it as good a name as any -- and better than some -- for this beautifully unconventional and unconventionally beautiful album, one that occupies a unique place among the recordings of Mota and Grubbs. Apart from his solo performances and recordings, Manuel Mota is known for his collaborations with a range of musicians including Phill Niblock, Noël Akchoté, Margarida Garcia, David Maranha, Okkyung Lee, Tetuzi Akiyama, and Toshimaru Nakamura. David Grubbs has played in Gastr del Sol, The Red Krayola, and Squirrel Bait and performed with Tony Conrad, Susan Howe, Pauline Oliveros, Eli Keszler, and many others."

 

PRICE: $25.00

CAT #: BFR 021LP

FILE UNDER: ROCK

"Spacey and dreamy yet grimly propulsive, Force From Free sees Dead Meadow continuing to explore transporting, astral-gazing heavy psychedelia. Force Form Free, the new record from Dead Meadow, is spacey and dreamy at times, grimly propulsive at others, and captures one of the most important bands in modern heavy psych continuing their effortless exploration of the transporting, astral-gazing form they've spent their entire existence pushing forward."

 

PRICE: $16.00

CAT #: BJR 083CD

FILE UNDER: WORLD

Bongo Joe Records announce the release of Yalla Miku's debut album. It is a new way of combining African, European, electronic, acoustic and electric music and cultures. The project was launched by Cyril Cyril duo, then joined by Simone Aubert and Vincent Bertholet from Hyperculte and three musicians with migrant backgrounds: the Moroccan Anouar Baouna, the Eritrean Samuel Ades, and the Algerian Ali Bouchaki. For its initiators, the idea was not to appropriate a non-European heritage and to interpret it in the company of musicians from these countries. They opted for a more radical approach: to propose a base of compositions on which the migrant musicians then worked with their instruments, which range from the derbouka to the guembri via the krar, the Eritrean lyre. The album, nourished by these stage performances, was recorded in autumn 2021. The result is full of vibrations, unusual sounds and life experiences. Sung in Arabic, Tigrigna, and French, the lyrics glide over throbbing rhythms, borrowing from gnawa, krautrock, and electro trance. Their eponymous debut album sounds like a call to travel beyond the barriers of sound, a call to a horizon without a visa.

 

PRICE: $16.50

CAT #: BB 416CD

FILE UNDER: ROCK

Christoph Dallach, Andreas Dorau, and Daniel Jahn present Echo Neuklang, a compilation which explores the question of how krautrock has influenced generation after generation of musicians since its inception. A contentious genre at the best of times, the music within its spectrum is essentially intangible. The common thread running through it is a compulsion to seek out the new. Beginning in the year 1981 and extending as far as 2023, the music in this collection demonstrates how the idea of what passed for krautrock in the 1970s has been interpreted or reinterpreted by a diverse array of artists with distinct approaches in the decades which followed, without recourse to any generic conventions. Features Stefan Thelen & Olek Gelba, Burnt Friedman, Haindling, Conny Frischauf, Moebius & Renziehausen, Deutsche Wertarbeit, Kreidler, Workshop, Love-Songs, To Rococo Rot, Härte 10, Schlammpeitziger, and Rheingold.A conversation between Dallach, Dorau, and Jahn: A: Goodness, I'm freezing, it is wintertime in 2019. Here we sit, smoking in a railway station bar to discuss our compilation and the irksome topic of krautrock. Such a stupid word, krautrock. The three of us all agree on that, do we not? D: Indeed we do. There's no rock in krautrock. A: Rock's just as stupid, we can agree on that as well! C: Not one of the interesting, so-called krautrock bands has anything to do with rock. A: The million-dollar question has to be: what is krautrock anyway? I would say that krautrock is a genre which defies description. Think about the rhythms, the music, the instrumentation, there are no recurring elements at all. It must be the freest genre of all time. D: The only common denominator is that it's free music, different music, neither experimental in the classic sense, nor is it pop or rock. C: There has never been a "krautrock sound" as such, it's more of a unifying attitude, a drive to search for something genuinely new. That's how it was back in the early 1970s. A: It was an attempt to find "other" music! But has it crossed into this millennium, is that same spirit in evidence in newer music? C: Absolutely, like the music on this compilation, because it is so hard to classify. A: So what do we call it? D: Neo-kraut? A: I like it, you've left out the rock. D: And so the story continues.

 

PRICE: $35.00

CAT #: BB 416LP

FILE UNDER: ROCK

Double LP version. Christoph Dallach, Andreas Dorau, and Daniel Jahn present Echo Neuklang, a compilation which explores the question of how krautrock has influenced generation after generation of musicians since its inception. A contentious genre at the best of times, the music within its spectrum is essentially intangible. The common thread running through it is a compulsion to seek out the new. Beginning in the year 1981 and extending as far as 2023, the music in this collection demonstrates how the idea of what passed for krautrock in the 1970s has been interpreted or reinterpreted by a diverse array of artists with distinct approaches in the decades which followed, without recourse to any generic conventions. Features Stefan Thelen & Olek Gelba, Burnt Friedman, Haindling, Conny Frischauf, Moebius & Renziehausen, Deutsche Wertarbeit, Kreidler, Workshop, Love-Songs, To Rococo Rot, Härte 10, Schlammpeitziger, and Rheingold.A conversation between Dallach, Dorau, and Jahn: A: Goodness, I'm freezing, it is wintertime in 2019. Here we sit, smoking in a railway station bar to discuss our compilation and the irksome topic of krautrock. Such a stupid word, krautrock. The three of us all agree on that, do we not? D: Indeed we do. There's no rock in krautrock. A: Rock's just as stupid, we can agree on that as well! C: Not one of the interesting, so-called krautrock bands has anything to do with rock. A: The million-dollar question has to be: what is krautrock anyway? I would say that krautrock is a genre which defies description. Think about the rhythms, the music, the instrumentation, there are no recurring elements at all. It must be the freest genre of all time. D: The only common denominator is that it's free music, different music, neither experimental in the classic sense, nor is it pop or rock. C: There has never been a "krautrock sound" as such, it's more of a unifying attitude, a drive to search for something genuinely new. That's how it was back in the early 1970s. A: It was an attempt to find "other" music! But has it crossed into this millennium, is that same spirit in evidence in newer music? C: Absolutely, like the music on this compilation, because it is so hard to classify. A: So what do we call it? D: Neo-kraut? A: I like it, you've left out the rock. D: And so the story continues.

 

PRICE: $14.00

CAT #: BYG 333LP

FILE UNDER: JAZZ

2023 restock Originally issued in the historic BYG Actuel series, around 1970. Title translated: "One Morning I Waked Up Very Early." "One of the first trombonists to explore free jazz, Grachan Moncur III recorded this album at the Studio Saravah in Paris on September 10th and November 4th, 1969. Featuring Fernando Martins (piano), Beb Guerin (bass) and Nelson Serra De Castro (drums). 4 tracks."

 

PRICE: $19.00

CAT #: COR 172X-EP

FILE UNDER: ELECTRONIC

After the limited splattered one-sided vinyl edition, this 12-inch pressing comes with the remastered original mix on the B-side. The original, the second release on the label Harthouse at the time, is an all-time classic and went down in the music history of Frankfurt. Thirty years later, the track by Sven Väth and A.C. Boutsen has not lost its shine and will certainly continue to provide goosebump moments. Techno is all too often described as timeless but while most of it eventually evaporates into the ether, there are some riffs, melodies, and breakdowns that remain etched into our collective consciousness forever. Legendary Frankfurt label Harthouse is home to more than its fair share of such moments, but you must go all the way back to 1992, the opening strains of the Metal Master classic "Spectrum" to locate the source for this special single-sided remix release. The common denominator and catalyst to all this is of course Sven Väth, co-creator of "Spectrum" and founder of both Harthouse and Cocoon Recordings, while the independent variables in the equation are Bart Skils and Weska, who lend their considerable talent and vision to this sublime makeover. Coming on like rolling thunder, sparks fly immediately as crackling vocoder licks, silky ride cymbals and soaring arpeggios build an atmosphere taut with anticipation before giving way to that iconic melody -- a love letter from Frankfurt to Ibiza, wrought from metal, drenched in distortion yet pulling at the heartstrings -- the perfect soundtrack to any chemical sunrise. It's a powerful re-interpretation that pays the warmest respects to the original and, despite the relentless groove, there is still room for sentimentality -- an invitation to momentarily pause for thought and reflect on the journey so far as the sumptuous breakdown washes over the dancefloor. But not for long, the simmering bass line soon emerges from the euphoria and the track kicks in again, driving you forward towards a new, uncharted spectrum of possibilities. Cover with rainbow silver foil.

 

PRICE: $15.50

CAT #: CSR 323CD

FILE UNDER: EXPERIMENTAL

The sound of the classic period of Psychic TV -- featuring Peter Christopherson and Geff Rushton (John Balance) of Coil, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary Dreams Less Sweet album of the same year. These recordings of a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organized by HÖH and GRAMM Records. Out of print for 23 years, this is the ultimate edition for Psychick Youth. Meticulously remastered, with the track order finally arranged into what was the original show.

 

PRICE: $36.50

CAT #: CSR 323COL-LP

FILE UNDER: EXPERIMENTAL

Double LP version. White vinyl. 180 gram vinyl; gatefold. The sound of the classic period of Psychic TV -- featuring Peter Christopherson and Geff Rushton (John Balance) of Coil, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary Dreams Less Sweet album of the same year. These recordings of a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organized by HÖH and GRAMM Records. Out of print for 23 years, this is the ultimate edition for Psychick Youth. Meticulously remastered, with the track order finally arranged into what was the original show.

 

PRICE: $34.00

CAT #: CSR 323LP

FILE UNDER: ELECTRONIC

Double LP version. Black vinyl. 180 gram vinyl; gatefold. The sound of the classic period of Psychic TV -- featuring Peter Christopherson and Geff Rushton (John Balance) of Coil, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary Dreams Less Sweet album of the same year. These recordings of a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organized by HÖH and GRAMM Records. Out of print for 23 years, this is the ultimate edition for Psychick Youth. Meticulously remastered, with the track order finally arranged into what was the original show.

 

PRICE: $13.50

CAT #: CONICROSE 001CD

FILE UNDER: JAZZ

Heller Tag is the debut album of Berlin-based jazz collective Conic Rose. The young musicians come from the most diverse musical backgrounds: their other projects include names such as arena-filling German pop stars Clueso or Samy Deluxe, but also jazz legends such as Michael Wollny or Joy Denalane. What connects them is their love to explore, create, redefine, and effortlessly move between abstraction and accessibility, high quality sound, and the beauty of the imperfect -- interweaving electronic elements, cinematic jazz, vibey soundscapes, and hints of art rock with eclectic, zeitgeisty influences. Their releases so far as well as the few shows they played on the back of their debut EP (2020) exceeded all expectations, attracting the attention of industry professionals all the way from the UK or USA. All songs are written, recorded, and produced by Conic Rose in their own recording studio in the Wedding neighborhood of Berlin.

 

PRICE: $33.00

CAT #: CORTIZONA 023LP

FILE UNDER: EXPERIMENTAL

Genesis P-Orridge and The Hafler Trio: do these two legends still need any introduction? Genesis P-Orridge was the founding person of COUM Transmissions in 1969, Throbbing Gristle in 1975, Thee Temple ov Psychick Youth and Psychic TV in 1981. Andrew McKenzie started The Hafler Trio (together with Cabaret Voltaire's Chris Watson) in 1982 and since then released all his work under this moniker and collaborated with William S. Burroughs, Autechre, Jóhann Jóhannsson, Nurse With Wound, and Jónsi from Sigur Rós, to name a few. And he constructed the first kit Dreamachine in 1989 together with Brion Gysin. The impact and influence of these pioneers of the industrial underground, visionary thinkers and open minds, anti-heroes of the misfits and the outcasts is hard to underestimate. On Dream Less Suite, the first new album by The Hafler Trio since 2016, Andrew McKenzie unearths, resurrects and completed recordings he made through the years with Genesis P-Orridge. This double-LP features soundtracks to unfinished films, live performances and the real versions of tracks you know and love, released for the very first time and mastered from the original reel-to-reel tapes. Expect the unexpected and be prepared for the unprepared. File under: Subliminal soul music for the very faint-hearted; Demented disco for insecure insomniacs; Asymmetric acid for hoovering hipsters; Immersive polka for naughty night nurses; Soothing sounds for crying babies; Liberating Latin for lesbians on xtc; Transcending tribalism for jogging junkies; Frenetic freakbeat for nihilistic numerologists; Jiving jazz for tyrannic transgenders; Hypnotic exotica for corrupt gymnastics; Indescribable sounds for angry journalists; Endless entertainment for everyone and the rest of the family; All f#cks given 2.0 Masters at work. Includes two inner sleeves with extended liner notes.

 

PRICE: $23.00

CAT #: DAMGOOD 587LP

FILE UNDER: ROCK

LP version.

 

PRICE: $25.00

CAT #: BWR 004LP

FILE UNDER: ROCK

Once again, following the first three volume in the Blues With A Rhythm series, Doghouse & Bone Records are giving the incredible voices of rhythm n' blues the ability to shout! These recordings are carefully compiled in their rare original 45 rpm glory mastered to LP format. Hey! Hey! The blues are alright! Features Lloyd Price and His Orchestra, Lloyd Price, Billy Lamont, Ricky Allen, Joe Mayfield, Big "C" and The Galaxies, Al "TNT" Braggs, Bob Mackey, The Fames, and Dave "Baby" Cortez.

 

PRICE: $25.00

CAT #: BWR 005LP

FILE UNDER: ROCK

Once again, following the first three volume in the Blues With A Rhythm series, Doghouse & Bone Records are giving the incredible voices of rhythm n' blues the ability to shout! These recordings are carefully compiled in their rare original 45 rpm glory mastered to LP format. Hey! Hey! The blues are alright! Features Arbee Stidham, Kip Anderson, Dossie (Thunderbird) Terry, Paul Gayten and His Band, Earl Gilliam, The Five Fleets, Katie Webster, Billy Lamont, Roy Brown, Larry Hart, Billy Bland, and Big John Demarcus (And Sons).

 

PRICE: $25.00

CAT #: BWR 006LP

FILE UNDER: ROCK

Once again, following the first three volume in the Blues With A Rhythm series, Doghouse & Bone Records are giving the incredible voices of rhythm n' blues the ability to shout! These recordings are carefully compiled in their rare original 45 rpm glory mastered to LP format. Hey! Hey! The blues are alright! Features Larry Darnell, The Lovers, Johnnie & Joe, Jim And Monica, Johnny Jenkins and The Pinetoppers, Barbara Greene, Louise Brown, Harold Burrage, The Premiers with Sonny, and Roscoe Shelton.

 

PRICE: $27.00

CAT #: DGRGD 002LP

FILE UNDER: ROCK

A beautiful continuity in the exploration of the composer Grand David known for his sound illustrations but here accompanied on the entire project by the female singer Emma Lamadji. A talented project and an immersion into Tamla Mowton sound, by Grand David, the "touche à tout" wizard!

 

PRICE: $25.00

CAT #: DGRGD 003LP

FILE UNDER: ROCK

Big Bazounga Boogaloo was originally Gil "Bill" Nasal's radio show, hosted by "Radio Beton" since 1999 in Tours, France. Compilation contains many highlights and evergreens from his show. Features Hal Blaine, Casey Jones and the Governors, Vanusa, The Surfers, Human Beinz, The Locos, Jimmy Williams, The Titans, Dewayne and the Beldettas, Harlow Wilcox and the Oakies, Bohanna, The Turtlenecks, The Phaeton, and Ultimates.

 

PRICE: $19.00

CAT #: DC 690LP

FILE UNDER: EXPERIMENTAL

2017 release. "Sapropelic Pycnic is the Drag City and world debut of music presented under the name of Ka Baird. While this record is a commencement of many sorts, it is in no way a mere beginning. Ka's ritual is well underway here, her craft clearly already a dedicated mastery; it finds her on the hunt for new discoveries with a humble desire for the transfigured, the sublime. This has been among the goals since early times, when Ka was one of the founding members of experimental psychlings Spires That In the Sunset Rise. Formed in 2001 out of the Chicago scene, and described by late guitar legend Jack Rose as a 'female Sun City Girls,' Spires' sisterhood of sound deepened the New Folk slant with an array of avant- and world-flavored directions drawing them ever-farther into the source. Ka relocated to NYC in late 2014 and immediately embarked upon new directions -- exploring piano improvisations, electroacoustic intervention, extended vocal technique, physical movement, and the electronic processing of her flute playing. The singular force that is Ka is represented on two releases under the Sapropelic Pycnic name -- the improvised piano album See Sun Think Shadow (released in November 2015 on Brooklyn's Perfect Wave imprint) and the Coltrane tribute A Love Supreme (on Chicago's No Index label in January 2016). With the release of Sapropelic Pycnic, Ka manifests an evolving selfhood, expanding upon the essence of her first two albums' artist name, while replacing and thus becoming that name on her own . . . Emphasizing breath, via voice and flute, Sapropelic Pycnic is a possession, a physical catharsis, a transformation, comprised of burry, guttural rhythms, loops and clusters of flute figures with gliding vocal and synth melodies. Reaching toward the ancient roots of music, Ka utilizes electronic manipulation to take the ear past preconception, combining the linearity of the physical with the abstraction of the cerebral, crafting textural rhythmic noise alongside lush operatic passages, containing multitudes. Conceived live as a series of solo vignettes and played that way by Ka (featuring contributions from Max Eilbacher (electronics), Sandy Gordon (vibraphone) and Troy Schaefer (violin)), Sapropelic Pycnic draws from primordial ooze and raises high a sacrifice to the immemorial concept of the sacred..."

 

PRICE: $28.00

CAT #: DC 755LP

FILE UNDER: ROCK

2019 release. "A pulse, humming forth from the speakers. Rhythms fracture and divide themselves, intersecting, diverging. The pounding of a heartbeat emerges, so stressed...this is a feeling of dread. Thus passes the first couple minutes of 1 Minute 2 Midnight, Russ Waterhouse's second solo release. It's been several years since Russ participated in new music-making as part of the duo Blues Control, now on an open-ended hiatus. Their four albums (plus one collaborative record with Laraaji) are much-heralded sonic journeys, processing observations on community and environment to produce a diverse set of instrumental modes. In the past couple years, Russ's solo work has coalesced as the relationships that had created Blues Control fell apart, making almost unconscious commentary on a disillusioned state of mind. This brought him back to the noise idiom that he'd started with, making cassettes as Rheum in the early aughts. Last year's cassette release, Amaro, recorded live and mostly improvised, was a relative expression of desolation compared to the verdant collaborations of Blues Control, but an evolution of his earlier work. 1 Minute 2 Midnight rides that forsaken vibe into waves of anger and frustration over lack of agency, emoted via encroaching overlays of noise and mixed with an ear for small details scattered among the big sounds, then patterned into two long-form pieces. Living in Richmond, Virginia during this time, Russ found himself in a void, with a variable response to the sense of dissipation -- resistance and surrender, outreach and retreat. Eventually, something had to happen to lead him out of it. A trek to locate bodies of water led him to the intersection of the Appomattox and the James rivers -- but there, the potential clarity that nature might provide was drowned out by the sounds of industrial machinery emanating from the stark environs around the city of Hopewell. Suddenly, here was something that resonated. Upon returning home, Russ did a bit of research and found that Hopewell had been the site of a disastrous chemical spill. The sounds of this place, implying calamity, needed to be captured. 'Hopewell' disperses the collected sounds in a live mix that extends over nineteen minutes through a series of increasingly forbidding moments. Using field recordings, a Sears Rhythm-Matic drum box, Roland TR-505 drum machine, Korg synth and percussion (marbles in a glass jar with a contact mic!), all of it tuned to the ground hum of the drum box, Russ's mix embodies an immanent doomsday. On side two, 'Too Many People' grows out of the first piece, and structures itself more readily. Based around field recordings gathered while wandering through Richmond's Regency Square mall, and climaxing with a corrosive guitar performance, the piece finds Russ employing tactile methodology with a greater sense of equilibrium and organization compared to the organic clamor of 'Hopewell.'..."

 

PRICE: $20.00

CAT #: DC 769LP

FILE UNDER: ROCK

2020 release. "Five years after Tangier Sessions, Sir Richard Bishop, we presume, is back from his travels around the world. With Oneiric Formulary, he's dug deeper into his bag of extra-musical gestures from the eternal and unknowable, along with a few sounds we might recognize, all transmuted for our mortal ears' enjoyment. The last couple of Sir Richard Bishop releases on Drag City were genre exercises of sorts -- The Freak of Araby explored the musical legacy of late Egyptian guitarist Omar Khorshid while Tangier Sessions explored the sound of an obscure 19th century guitar that Rick had acquired from a mysterious Swiss luthier. The title Oneiric Formulary, may sit contrarily on the tongue -- but we may refer to it as representing 'a collection of dream states' -- which means we like it! With such a lofty goal in mind and at his fingertips, Sir Rick returns to the approach of his DC debut, Polytheistic Fragments -- a different sound, a different instrument, for nearly every track, drawing from the music of all nations, including and especially that infamous republic with only one person on the census roll (initials SRB). It's got mad variety, the kind you don't see much of anymore -- an Ed Sullivan kind of evening out, with some spinning plates, dancing mice, and of course, an appearance from Zippy the Chimp. What it means is that when you drop the needle/raise the laser/press the head to tape/or do whatever happens when you stream it, you've got sounds that don't sound at first like guitars -- because they're not! Then you've got sounds that sound initially like guitars -- because they are! Sir Richard found joy in not only finding unlikely sounds, but also writing a fake jingle, soundtracking an unreleased film, reflecting on Southern origins, going concrète (Beatles-style!), using computers (Sir Rick, no!), and accidentally juxtaposing Frippian electric guitar drone against the grit of ol' school acoustic guitar while thinking of sci-fi, as well as revisiting (t)rusty old forms such as Americana, classical, gypsy and raga. It's all trotted out to phantasmic effect, as it brings to us with the freshness, the roar of the old crowd as they see, smell and hear the greatest show on earth."

 

PRICE: $13.50

CAT #: DC 780CD

FILE UNDER: ROCK

"It's 2023, and even the turn of century seems a long time ago now -- but oddly, Purling Hiss's guitar-band ethos feels ever more timeless, even as time accelerates and passes us in the outside lane. The Hiss aren't just a simple part of the tradition going back 50-odd years. Their DNA, pulsing in waves of punk and classic radio rock, grunge and slacker, is ineffably, re-singably music -- but their signature crushed guitar harmonics, fused with deep soulfulness, meld into something that cuts us with fresh heartbreak, an eternal recurrence that seems to be happening right now today, as it pours off the turntable and runs down the street. Drag On Girard, the first Purling Hiss album in six years, cruises through these states of mind and places in time -- dreams from the past and the future, careening lawlessly as they slide around loose on the road, an ever-present youth in their roll. As before, but with new twists, Mike Polizze and his gang let loose with the chaos and noise implied by their name, applying high-end splatter and slow-rolling low end to eight vehicles, running the gamut from gleaming pop gems to head-cleaning epic jams before they're done. The Polizze-on-Polizze prototype for Purling Hiss -- roiling, space-eating layers of guitars draped atop the muted thump of freedom rock, all of it squeezing through the spectrum in a mad dash to be heard -- was established way back in the Hissteria/Public Service Announcement days of the early teens. Now in a fourth album iteration of full-band Hiss, the genius of Mike Polizze's music, beyond the obvious -- his singing/screaming guitar leads, classic song construction and vivid hope-and-dream feels -- is the shifting layers of Hiss that make up the dynamic personalities of each album, from the major-label alternative rock sheen of Water On Mars to the slip-siding chaos of Weirdon and the shadowy 1980s club depths of High Bias. This time out, the colliding circles of time seem to have inspired both the songs and the band, and the sentiment-drenched mood explodes in a wild tangle of guitars that seem constantly about to overwhelm the room. One of the unique qualities of Drag On Girard is a specific lead-rhythm arrangement of the guitars, emitting the expected formidable roar while setting a certain type of rhythmic strut for the band. The two guitars style also trips power-pop impulses in the tunes, with sung-along harmony vocals that evoke classic collective magic and burnish the tunes one by one. Once this vibe's established, side two turns around and stretches out with the molten flow of Purling Hiss at their very most epic; couched within loose improvisatory structures, the title track and 'Shining Gilded Boulevard' play further with the yin/yang of nostalgia and truth as they trade places looking meditatively back to them old days and all their harshness and beauty..."

 

PRICE: $20.00

CAT #: DC 780LP

FILE UNDER: ROCK

LP version. "It's 2023, and even the turn of century seems a long time ago now -- but oddly, Purling Hiss's guitar-band ethos feels ever more timeless, even as time accelerates and passes us in the outside lane. The Hiss aren't just a simple part of the tradition going back 50-odd years. Their DNA, pulsing in waves of punk and classic radio rock, grunge and slacker, is ineffably, re-singably music -- but their signature crushed guitar harmonics, fused with deep soulfulness, meld into something that cuts us with fresh heartbreak, an eternal recurrence that seems to be happening right now today, as it pours off the turntable and runs down the street. Drag On Girard, the first Purling Hiss album in six years, cruises through these states of mind and places in time -- dreams from the past and the future, careening lawlessly as they slide around loose on the road, an ever-present youth in their roll. As before, but with new twists, Mike Polizze and his gang let loose with the chaos and noise implied by their name, applying high-end splatter and slow-rolling low end to eight vehicles, running the gamut from gleaming pop gems to head-cleaning epic jams before they're done. The Polizze-on-Polizze prototype for Purling Hiss -- roiling, space-eating layers of guitars draped atop the muted thump of freedom rock, all of it squeezing through the spectrum in a mad dash to be heard -- was established way back in the Hissteria/Public Service Announcement days of the early teens. Now in a fourth album iteration of full-band Hiss, the genius of Mike Polizze's music, beyond the obvious -- his singing/screaming guitar leads, classic song construction and vivid hope-and-dream feels -- is the shifting layers of Hiss that make up the dynamic personalities of each album, from the major-label alternative rock sheen of Water On Mars to the slip-siding chaos of Weirdon and the shadowy 1980s club depths of High Bias. This time out, the colliding circles of time seem to have inspired both the songs and the band, and the sentiment-drenched mood explodes in a wild tangle of guitars that seem constantly about to overwhelm the room. One of the unique qualities of Drag On Girard is a specific lead-rhythm arrangement of the guitars, emitting the expected formidable roar while setting a certain type of rhythmic strut for the band. The two guitars style also trips power-pop impulses in the tunes, with sung-along harmony vocals that evoke classic collective magic and burnish the tunes one by one. Once this vibe's established, side two turns around and stretches out with the molten flow of Purling Hiss at their very most epic; couched within loose improvisatory structures, the title track and 'Shining Gilded Boulevard' play further with the yin/yang of nostalgia and truth as they trade places looking meditatively back to them old days and all their harshness and beauty..."

 

PRICE: $23.00

CAT #: DC 838LP

FILE UNDER: EXPERIMENTAL

2023 repress. "It was early in 2019 -- no, November 2018! -- that Oren Ambarchi, Johan Berthling and Andreas Werliin met at Studio Rymden, in a quiet, pretty suburban district of Stockholm, to make the music that became Ghosted. They can't remember exactly when it was made because that time -- the when and where that it was recorded -- doesn't really matter anymore. Now the music of Ghosted exists in the intention of a shared moment of playing, a clearly delineated time, put forth with a steady flow of small details on bass, guitar and drums, in a remarkable display of rhythmic flexibility within a minimal framework. Oren and Johan have met many times onstage and off since 2003, with several duo recordings to their credit, as well as additional encounters in the group Fire! with Mats Gustafsson and drummer Andreas Werliin. A while back, Oren and Johan decided to reconvene in the studio for a furthering of the thought process that they'd come to on the second Ambarchi/Berthling collaboration, 2015's Tongue Tied. As Andreas had mixed that session, it felt right to have him on kit -- he'd already been intimately involved in the process. The music they all play together in Fire! is, to put it mildly, loud. This session, they sensed an opportunity to explore different dynamics -- to tap, perhaps, a shared inner ECM space. Studio Rymden sits on an upper floor of the building it's located in, and the light coming through the windows was pleasant on that day. They set up, picked out some amps (including the best-sounding Leslie speaker Oren's ever heard) and got started. Rooting in the rich tonality and repeating figures of Johan's acoustic (and sometimes electric) bass, the four tracks that make up Ghosted act as variations on a theme, unspooling continuously over the course of 39 minutes with the terse flow of krautrock jams -- closely observed percussive riffs and repetitions that build continuously with subtle shifts as they move forward, with the small details flying expansively in and out across the stereo spectrum. Oren's guitar often sounds with an organ-like tone, with notes of fire and glass wafting out over the percolation and permutation in Johan and Andreas' rhythms..."

 

PRICE: $13.50

CAT #: DC 862CD

FILE UNDER: ROCK

"Critically-acclaimed, criminally-overachieving Glasgow-based singer and guitarist Alasdair Roberts is known as a superlative original songwriter as well as an interpreter of traditional songs from Scotland and beyond. For the past twenty years, his recordings have alternated between these two complimentary poles, with 'pop' records such as The Amber Gatherers and A Wonder Working Stone nestling in his expansive back catalogue alongside 'folk' albums such as No Earthly Man and What News (with Amble Skuse and David McGuinness). Additionally, all of these records possess a further dimension, derived from their collation of songs together into one album-length statement. This is part of Alasdair's great achievement in his career -- for him, this thing of music and song hasn't come the eons it's travelled to simply entertain. These impulses fully present and well honed, Alasdair returns to his roots with Grief in the Kitchen and Mirth in the Hall, his fifth full-length collection of traditional song. Recorded live in the studio, it is an entirely solo collection of twelve traditional ballads and songs sparsely arranged for acoustic guitar, piano and voice. The majority of the songs originate in Alasdair's homeland of Scotland, with a couple from Ireland and one from Prince Edward Island on Canada's eastern seaboard too . . . Collectively the songs treat of various conflicts and tensions -- those of gender; of class, status and position; and of geography and tribal belonging ? and the roles and responsibilities expected at the various intersections of these constructs . . . As with many of Alasdair's recordings, Grief in the Kitchen and Mirth in the Hall contains ballads aplenty: tragic ('Bob Norris'), supernatural ('The Holland Handkerchief') and dramatic ('Eppie Morrie'). There are love songs ('The Lichtbob's Lassie') and anti-love songs ('Kilbogie'). There are rare, seldom-heard pieces ('Young Airly') and much more well-known ones ('Mary Mild,' a version of 'The Queen's Four Maries'). Woven through all of this -- a thread of levity, perhaps -- is a triptych of zoological allegories -- a panegyric to a mystical steed ('The Wonderful Grey Horse'), a lament for a lost cow ('Drimindown') and a paean to a regal waterbird ('The Bonny Moorhen'), which serves to highlight the intersection of the mythic, the eternal and the mundane at which we all find ourselves in every day of our life on Earth. Grief In the Kitchen and Mirth in the Hall was masterfully recorded by Sam Smith at Green Door Studios, Glasgow over an economical two days, and mixed in one day..."

 

PRICE: $28.50

CAT #: EB 165LP

FILE UNDER: ELECTRONIC

LP version. Dubmatix has taken his time working on his new album. Sly & Robbie meet Dubmatix Overdubbed was released in 2018 (EB 125CD/LP). It scooped the Juno Award for "Reggae Recording Of The Year 2019", marking the second time the Canadian producer and multi-instrumentalist from Toronto had received this coveted award. ReWired is his first studio album in years and it's already abundantly clear that the wait has been more than worth it. The album offers a dazzling, masterful kaleidoscope of modern sounds of dub-oriented bass music that is enormous fun. The Canadian could be in with a great chance of winning another Juno Award. Features Lone Ranger, Sr Wilson, Exile Di Brave and Kazam Davis, Joe Publik, The Hempolics, Lasai, Ras Kayleb, Jman, Duane Stephenson, Rootwords, and Barry Ashworth.

 

PRICE: $23.00

CAT #: EMEGO 264LP

FILE UNDER: ROCK

Limited restock; LP version. After a trilogy of spectacular explorations of relentlessly driving rhythms -- Sagittarian Domain (EMEGO 144CD/LP, 2012), Quixotism (EMEGO 202CD/LP, 2014), and Hubris (EMEGO 227CD/LP, 2016) -- Simian Angel finds Oren Ambarchi renewing his focus on his singular approach to the electric guitar, returning in part to the spacious canvases of classic releases like Grapes From The Estate (BT 036LP/TO 061CD) while also following his muse down previously unexplored byways. Reflecting Ambarchi's profound love of Brazilian music, Simian Angel features the remarkable percussive talents of Cyro Baptista, a key part of the Downtown scene who has collaborated with everyone from John Zorn and Derek Bailey to Robert Palmer and Herbie Hancock. Like the music of Nana Vasconcelos and Airto Moreira, Simian Angel places Baptista's dexterous and rhythmically nuanced handling of traditional Brazilian percussion instruments into an unexpected musical context. On the first side, "Palm Sugar Candy", Baptista's spare and halting rhythms wind their way through a landscape of gliding electronic tones, gently rising up and momentarily subsiding until the piece's final minutes leave Ambarchi's guitar unaccompanied. While the rich, swirling harmonics of Ambarchi's guitar performance are familiar to listeners from his previous recordings, the subtly wavering, synthetic guitar tone you hear is quite new, coming across at times like an abstracted, splayed-out take on the '80s guitar synth work of Pat Metheny or Bill Frisell. Equally new is the harmonic complexity of Ambarchi's playing, which leaves behind the minimalist simplicity of much of his previous work for a constantly-shifting play between lush consonance and uneasy dissonance. Beginning with a beautiful passage of unaccompanied percussion dominated by the berimbau, the side-long title piece carries on the first side's exploration of subtle, non-linear dynamic arcs, taking the form of a gently episodic suite, in which distinctive moments, like a lyrical passage of guitar-triggered piano, unexpectedly arise from intervals of drifting tones like dream images suddenly cohering. In the piece's second half, the piano tones become increasingly more clipped and synthetic, scattering themselves into aleatoric melodies that call to mind an imaginary collaboration between Albert Marcoeur and David Behrman, grounded all the while by the pulse of Baptista's percussion. Subtle yet complex, fleeting yet emotionally affecting, Simian Angel is an essential chapter in Ambarchi's restlessly exploratory oeuvre. Personnel: Oren Ambarchi - guitars & whatnot; Cyro Baptista - percussion & voice.Recorded by Randall Dunn, Joerg Hiller, Iuri Oriente, and Oren Ambarchi. Photography by Traianos Pakioufakis. Design by Lasse Marhaug. Edited by Joerg Hiller and Oren Ambarchi at Choose Studios, Berlin. Mixed by Joe Talia and Oren Ambarchi at Good Mixture, Tokyo. Cut by Rashad Becker at Dubplates & Mastering, Berlin. Executive Producers: Konrad Sprenger and Dick Wolf.

 

PRICE: $25.00

CAT #: EMEGO 295LP

FILE UNDER: ELECTRONIC

2023 repress, black vinyl. Nik Colk Void is well established with her work -- using modular systems, voice and guitar -- as one half of Factory Floor, one third of Carter Tutti Void (alongside Chris Carter and Cosey Fanni Tutti) and with the late Peter Rehberg as NPVR, but perhaps surprisingly, Bucked Up Space is her first solo album release. Void explains, "When Peter Rehberg initially asked me to produce a record for Editions Mego, I didn't feel quite ready and asked if we could make a record together instead. Collaboration is so ingrained into what I do, I only felt ready to make this album after working through ideas live, using the audience in place of the collaborator." Bucked Up Space combines Void's love of improvisation with the driving force of beat-driven music absorbed from performing in galleries, residencies, and clubs across the UK and Europe. She goes on to say, "You find out more about yourself when you explain your ideas to others, and that's how I felt the live performance worked for me." The process steadily teased out a language and Void employed a variety of tactics in the recording process including a methodical approach of collecting data at her home studio in a manner not dissimilar to keeping a diary. Her microscopic focus on raw instrumental noise, layered and reformulated, resulted in a sound catalog that Void divided into groups for their tone, density, and texture. These initial pieces were taken to a studio in Margate to put them into a more cohesive compositional context. Something that pragmatically started as cold and detached was given warmth, unity, and emotion in the studio. Via improvised repetition co-existing alongside organized production, Void conjures new sonic muscle with tracks such as "Interruption Is Good" and "FlatTime". Initial recordings are rendered into sequences initiating the organic rhythms, triggering awkward jerks of hi-hats and percussion, or used to activate the margins of post effects detectable in the tracks like "Demna", "Big Breather", and "Oversized". Void explains: "It was important to me that the simplicity in the work disguised a lot of complexity, I want this work to be absorbed instinctively." The sleeve image is a still from We Are City by Brazilian artist Maria de Lima. Engineered by James Greenwood, mastered by Rashad Becker. Tracks 1, 4, 5, 7 and 9 were mixed by Marta Salogni. Bucked Up Space is the result of the ideas and resulting sounds of free exploration morphing into a personal structured album that fearlessly molds patience, listening, and restraint.

 

PRICE: $18.00

CAT #: ENV 008R-EP

FILE UNDER: ELECTRONIC

Autumn of 2022 marked 20 years since the initial release of Metro Area's first and only album, Metro Area. Environ had already remastered and re-released this essential LP for its 15th anniversary. So, this time around, the label is doing something a bit different. To celebrate two decades of Metro Area, Environ has partnered with renowned mastering engineer Matt Colton (Metropolis Studios) to remaster and recut the first four Metro Area 12"s: Metro Area, Metro Area 2, Metro Area 3, and Metro Area 4. Unlike the album reissue, these records include the original, extended 12" versions of all songs, including some which have never been re-released. Metro Area is the duo's first 12" EP, originally released in 1999.

 

PRICE: $18.00

CAT #: ENV 014R-EP

FILE UNDER: ELECTRONIC

Autumn of 2022 marked 20 years since the initial release of Metro Area's first and only album, Metro Area. Environ had already remastered and re-released this essential LP for its 15th anniversary. So, this time around, the label is doing something a bit different. To celebrate two decades of Metro Area, Environ has partnered with renowned mastering engineer Matt Colton (Metropolis Studios) to remaster and recut the first four Metro Area 12"s: Metro Area, Metro Area 2, Metro Area 3, and Metro Area 4. Unlike the album reissue, these records include the original, extended 12" versions of all songs, including some which have never been re-released. Metro Area 4 is the duo's first 12" EP, originally released in 2001.

 

PRICE: $23.00

CAT #: ECLEC 22827CD

FILE UNDER: ROCK

"This new Esoteric Recordings edition gathers together these recordings from 1973 and presents them in remastered form as a double CD set, which also features an illustrated booklet with new essay."

 

PRICE: $18.00

CAT #: ECLEC 2801CD

FILE UNDER: ROCK

"Newly remastered and expanded edition of Bright City, the classic solo album by guitarist and vocalist Miller Anderson. Remastered from the original master tapes and featuring an additional six bonus tracks previously unreleased on CD. Includes a session for BBC Radio One's Sounds Of The '70s show recorded in September 1971."

 

PRICE: $21.00

CAT #: EXM 029CD

FILE UNDER: ROCK

"Two rare solo albums from the late Hugh Hopper former member of Soft Machine. Jazzloops and its sequel The Stolen Hour features Hopper with special guest appearances by his fellow Soft Machine members and friends; Robert Wyatt, Elton Dean, revered jazz drummer John Marshall, Gong alumni Didier Malherbe, and French guitarist Patrice Meyer. Both discs have been remastered and the booklet features the original comic for The Stolen Hour."

 

PRICE: $27.00

CAT #: FAITICHE 017LP

FILE UNDER: ELECTRONIC

2023 repress. Faitiche release a short version of the radio play Zwischen (German for "between"). Devised and produced by Jan Jelinek for German public broadcaster SWR2, Zwischen brings together twelve sound poetry collages using interview answers by public figures. Each collage consists of the brief moments between the spoken words: silences, pauses for breath, and hesitations in which the interviewees utter non-semantic sound particles. These voice collages also control a synthesizer, creating electronic sounds that overlay and merge with the voices to make twelve acoustic structures. We all know the speaker's fate: you falter, you mispronounce, there are breaks, silences, and false starts. This results in delays, a language noise compared by Roland Barthes to the knocks made by a malfunctioning motor. Such gaps can be disconcerting, standing as they do for a failure of the speaker's rhetorical skills. But what happens when they become a constitutive, poetic factor? Zwischen consists of twelve answers to twelve questions. The answers were all recorded in interview situations. From the speech of the interviewees -- all eloquent public figures -- the pauses are extracted and edited together. The result is a series of sound collages of silence. But this silence is deceptive, as it is only meaning that falls silent. What remains audible is an archaic body language: modes of breathing, planning phases, seething word particles in search of sense that can break out into onomatopoeic tumult or drift off into sonorous noise. In a further step, each of the twelve collages controls a modular synthesizer via its amplitude and frequency. Supposedly defective speech acts conduct synthetic sounds and the speakers regain their composure -- not via the spoken word, but through sound. The opening questions in the various interviews are answered by: Alice Schwarzer, John Cage, Hubert Fichte, Slavoj Zizek, Joseph Beuys, Lady Gaga, Ernst Jandl, Karlheinz Stockhausen, Marcel Duchamp, Friederike Mayröcker, Yoko Ono, and Max Ernst. Jelinek extends his thanks to Frank Halbig and SWR2. Includes download code; Edition of 500.

 

PRICE: $26.00

CAT #: FARO 122X-LP

FILE UNDER: WORLD

2023 repress. Heavyweight vinyl. Far Out Recordings present the ten-year anniversary of Arthur Verocai's Encore, originally released in 2007. Encore features 11 original compositions from Arthur Verocai with guest musicians including Azymuth, Ivan Lins, and a nine-piece string section. The highly anticipated follow-up to Arthur's eponymous debut album from 1972, Encore saw Arthur joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combines Brazilian influences with his take on American soul and cinematic experimentation, and shows that Arthur's sound is as poignant as it ever was. In the mid-2000s, following on from Marcos Valle, Joyce, and of course Azymuth, Arthur Verocai joined the long-line of Brazilian musicians whose music was to be introduced to a whole new legion of fans by Far Out Recordings. The story of Encore begins with Joe Davis, Far Out Recordings' head honcho who stumbled upon Arthur's debut in a dusty record store in downtown Rio in the late '80s. At the time of its release in 1972, critics panned Arthur's debut and both the album and artist subsequently vanished into obscurity. Fast forward to winter 2004 and Joe's at the studio of Far Out Recording artists Harmonic 313 -- aka production duo Mark "Troubleman" Pritchard and Dave Brinkworth -- playing them some of his favorite Brazilian albums. Dave recalls the moment Joe put on Arthur's debut, "As soon as the needle hit the record and we heard the fantastic arrangements, songs and sounds, Arthur completely blew our minds." Three months later and Dave was in Brazil with Arthur Verocai, and the plans for what was to become Encore were being laid down. Produced by Dave, Encore sees Arthur on incredible form, the 35 plus years between the recording of his debut and this the follow-up just melting away as Arthur picked up the (conductor's) baton once again to create 11 epic tracks of stirring samba-soul and experimental cinematic movements that sees him creating a record to rival his debut.

 

PRICE: $26.00

CAT #: FARO 210-1LP

FILE UNDER: WORLD

2023 repress; LP version, Volume 1. 180 gram vinyl; includes download code. Since their debut in 1975 (FARO 117X-LP), Azymuth have risen to rank alongside the world's greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock 'n' roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature "Samba Doido" (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid. Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan 'Mamão' Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Azymuth's name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti, and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music -- from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward; these previously unheard recordings took place between 1973-75 at Bertrami's home studio. At the time of recording, there was nothing in Brazil, less the world, that sounded anything like them, so it's unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, told in effect that the music was 'wrong'. When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Beginning a long and fruitful relationship, "Prefacio" would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996). Only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form. On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros, and Conti were realizing at the time. Fifty years on, Azymuth's earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

 

PRICE: $26.00

CAT #: FARO 210-2LP

FILE UNDER: WORLD

2023 repress; LP version, Volume 2. 180 gram vinyl; includes download code. Since their debut in 1975 (FARO 117X-LP), Azymuth have risen to rank alongside the world's greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock 'n' roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature "Samba Doido" (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid. Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan 'Mamão' Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Azymuth's name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti, and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music -- from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward; these previously unheard recordings took place between 1973-75 at Bertrami's home studio. At the time of recording, there was nothing in Brazil, less the world, that sounded anything like them, so it's unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, told in effect that the music was 'wrong'. When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Beginning a long and fruitful relationship, "Prefacio" would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996). Only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form. On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros, and Conti were realizing at the time. Fifty years on, Azymuth's earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

 

PRICE: $25.50

CAT #: FTR 660LP

FILE UNDER: ROCK

"On a hot night in Philly -- Saturday August 9, 1998 -- Brooke Sietsons's backyard hosted the No More Bush tour. The line-up that evening was Zaïmph, Jack Rose, MV+EE, Tom Carter & Willie Lane, 50 Foot Women with Axolotl, and the sole known appearance of the Mike Watt/Charles Plymell duo. Plymell and Watt had met a year earlier at the Festival Ecstatique in Western Mass, and they hit it off like crazy. So, when this tour was coming together, and Charley agreed to reprise the work he did on the More Hair Less Bush tour in '94, we noticed Watt's path with the Stooges might intersect around the Philly area. As always, Watt was chuffed to not have to take a day off, and excited to team up with one of his literary heroes. Plymell was stoked as well, and the two were spieling and laughing from the moment they hooked up. When it was time for them to perform, they were ready to fucking rock. Watt starts things with a couple of his own poems (which were published as a booklet for this appearance) then Charley rolls into it, with Mike shifting to bass. Starting with classics -- "Song for Neal Cassady," "Was Poe Afraid?," etc. -- Plymell adds a couple of new ones at the end, while Watt pulls spectral bass lines from the aether, and the dark hot night soaks it all in. The whole event was pretty amazing, but this meeting of the minds, was really the high point for most of us. You might not have been there, but thanks to the recording made by Laki Vazakas and the pics taken by Dan Cohoon, you can now lie and say you were! Just remember -- we were all sweating. Even Charles Burns!" --Byron Coley, 2023

 

PRICE: $25.00

CAT #: FKR 013X-LP

FILE UNDER: SOUNDTRACK

2023 restock. Back in the latter half of the 1960s the burgeoning idiosyncratic group of alternative filmmakers coming out of (then) Czechoslovakia known as the Czech new wave were taking art house cinemas in western Europe and America by storm. The hour-long films that came out of the infamous Barrandov Studio production house played a competitive rival to that of the French and Italian new waves with their very own immaculate and spellbinding takes on cinema verité, film noir, surrealism and cinema concrète. But after the Soviet Union invaded Czech in August 1968 the clampdown on non-conformist creative arts saw over seventy films either banned or withdrawn from production in a mass culling of film reels until 1970. It is not until recent years that the genre has become widely recognized as a veritable and virtually untapped source of inspiration for fans of experimental cinema, psychedelic cinematography, baroque costumes and scenery, music and graphic design. Daisies pulls together what you might call the "Holy Trinity" of the Czech new wave -- director Vera Chytilová, costume and set designer Esther Krumbachová, and cinematographer Jaroslav Kucera -- arguably the three most forward thinking and truly experimental minds in the whole of the CNW collective. Witness Les Petites Margeurites (original French theatrical title) as they mischievously flutter through Prague's finest restaurants accompanying middle-aged men on flamboyant double dates in gastronomic ménage à trois -- "If the world spoils itself, then we shall be spoiled as well" decide the two bikini clad button-cute Maries in the film's opening scenes. The radical and experimental nature of Daisies is further enhanced by its erratic score which consists of the juxtaposition of various non-melodic elements and sound effects, laden with a broad palette of samples and snippets of choral and classical vintage recordings spliced with concréte effects, traditional brass band music, Disney style exotica, Charleston dance standards, and token '60s beat tracks. Originally prepared for public consumption by Finders Keepers in 2007 and available once again this immaculate release was taken from the original reels and compiled in close accordance to the original storyline and comes complete with unseen archive images, original international poster designs and new and extensive sleeve notes. Compositions by Jiri Sust & Jiri Slitr, Eva Pilerova, Jan Klusák, and Marie Cesková. Available on standard black vinyl and a strictly limited edition white and yellow yolk vinyl pressing (edition of 500).

 

PRICE: $28.00

CAT #: GET 51506LP

FILE UNDER: HIPHOP

"Green vinyl. Originally released on July, 20th 1987 on Dangerous Music, Born To Mack is Too $hort's fourth studio album and re-released as his first major label release in 1988 on Jive Records. Long out of print on vinyl, this West Coast classic contains the nine+ minute track 'Freaky Tales' which Snoop Dogg would state was highly influential, to such an extent that Snoop covered the song in '97 for the hip-hop covers compilation In Tha Beginning. Too $hort is one of the pioneers of West Coast Hip-Hop, commemorated with a street named in his honor -- Oakland's Too $hort Way dedicated in December of 2022. Too $hort continues to make music and plays West Coast classics and upcoming artists on his Rock The Bells radio show Don't Stop Rappin and is a member of West Coast Pioneers super group Mount Westmore."

 

PRICE: $18.00

CAT #: GGGR 125LP

FILE UNDER: EXPERIMENTAL

"A follow-up to the duo's LP, CCTK Music (2021, Gilgongo Records), Performances features three sets from Fella and Isaac, from Gilgongo Records' 15th Year Anniversary celebration in Phoenix, AZ -- December 2019. Like the event, the record starts with a recreation of the second side of CCTK Music, using six reference lacquers of CCTK's A-side as source material to make a live collage. Following this are solo sets from Isaac (using her laptop as a feedback loop/sound source/physical device) and Fella (offering a slow-moving electro-acoustic/tape-machine based piece). Includes a sketched layout for the CCTK installation and a reproduction of the event's flier. Recorded and mastered by John Wiese."

 

PRICE: $10.00

CAT #: GGGR 128CD

FILE UNDER: EXPERIMENTAL

"Strega Beata is the third full-length album from Sam An's dark electronic, genre-bridging solo project under the semi-notorious moniker Lana Del Rabies. After a brief hiatus, this record is her first full-length release since the gothic, industrial noise of 2018's Shadow World (on Deathbomb Arc). Strega Beata, which loosely translates to 'Blessed Witch,' is an apocalyptic myth told through dense, textural compositions pulling from the vast corners of dark genre music. The title's meaning is appropriate for the existential, cathartic, and otherworldly themes explored. The record is told through the evolving perspective of a cryptic and obscure 'Mother' creator figure, specifically echoing the mother and crone goddess archetypes. This figure is vocalized through LDR's eerie harmonies, spoken words, pleading howls, and frenetic screams aimed towards another archetype, the chosen one. These vocalizations sometimes hover above trip-hop low tempos and unnerving atmospheres ('Mourning,' 'Hallowed is the Earth'), sink through vintage horror movie darkwave synths ('Master,' 'Apocalypse Fatigue'), weave through art metal distortions and relentless drone bass tones ('Mother'), or blast through unconventional industrial rhythms ('Prayers of Consequence,' 'A Plague'). Lana Del Rabies is the solo dark electronic, genre-bridging solo project of Phoenix based musician, producer and multimedia artist Sam An. With origins as an experimental project that re-contextualized the more ominous aspects of modern pop music made by women (like that of Lana Del Rey), Lana Del Rabies' music incorporates industrial, gothic noise and metal, with experimental, darkwave and ambient elements. Her work thematically embodies discordant spaces between the occult and the political, personal trauma and collective grief, and brutality and benediction."

 

PRICE: $30.00

CAT #: GGGR 128LP

FILE UNDER: EXPERIMENTAL

Double LP version. "Strega Beata is the third full-length album from Sam An's dark electronic, genre-bridging solo project under the semi-notorious moniker Lana Del Rabies. After a brief hiatus, this record is her first full-length release since the gothic, industrial noise of 2018's Shadow World (on Deathbomb Arc). Strega Beata, which loosely translates to 'Blessed Witch,' is an apocalyptic myth told through dense, textural compositions pulling from the vast corners of dark genre music. The title's meaning is appropriate for the existential, cathartic, and otherworldly themes explored. The record is told through the evolving perspective of a cryptic and obscure 'Mother' creator figure, specifically echoing the mother and crone goddess archetypes. This figure is vocalized through LDR's eerie harmonies, spoken words, pleading howls, and frenetic screams aimed towards another archetype, the chosen one. These vocalizations sometimes hover above trip-hop low tempos and unnerving atmospheres ('Mourning,' 'Hallowed is the Earth'), sink through vintage horror movie darkwave synths ('Master,' 'Apocalypse Fatigue'), weave through art metal distortions and relentless drone bass tones ('Mother'), or blast through unconventional industrial rhythms ('Prayers of Consequence,' 'A Plague'). Lana Del Rabies is the solo dark electronic, genre-bridging solo project of Phoenix based musician, producer and multimedia artist Sam An. With origins as an experimental project that re-contextualized the more ominous aspects of modern pop music made by women (like that of Lana Del Rey), Lana Del Rabies' music incorporates industrial, gothic noise and metal, with experimental, darkwave and ambient elements. Her work thematically embodies discordant spaces between the occult and the political, personal trauma and collective grief, and brutality and benediction."

 

PRICE: $16.50

CAT #: GUESS 066CD

FILE UNDER: ROCK

"Hawkwind, Jefferson Airplane, and Tull all mixed together!" "the precursor to the entire 'The Cramps - Bad Music For Bad People'..." "predates the White Stripes by 20 years!" "this reminds me of early Kurt Vile demos in areas..." "sounds like something Jack White would do now" These are some of the comments you can find on YouTube by people who have just discovered Oliver's private press masterpiece Standing Stone (GUESS 065CD/175LP). That gives you an idea of how unique and ahead of its time Oliver's music is. Recording all by himself at a remote farm in Wales (within hailing distance of the real Standing Stone in the Preseli Hills, Pembrokeshire) and assisted by his brother Chris (a BBC engineer at that time) Oliver self-released in 1974 Standing Stone, now a cult album, reissued on Guerssen last year. Fans of Standing Stone will be blown away when they hear Stone Unturned, a previously unreleased second Oliver album, recorded also in 1974 at the farm and assisted by brother Chris. Performed by Oliver using a single mic, guitars and various effects devices, this is in the same vein as Standing Stone but even more loose and raw. Highly recommended to any acid folk/psych blues fan. Previously unreleased album from 1974 released for the first time. Master tape sound; insert with liner notes and photos; digital download card. "... anyone with a feel for psychedelic guitar, acid folk and mysticism could not deny that Oliver's work is unique in its own breath-taking way, an offering from the deepest point of his being."

 

PRICE: $28.00

CAT #: GUESS 180LP

FILE UNDER: ROCK

2023 repress, LP version. Reissue. Originally released as private pressing in 1971, the Farm album is highly sought-after and revered by collectors. Recorded by this Southern Illinois band in 1971 at the legendary Golden Voice studios, it's chock full of jammy, bluesy guitar psych with heavy dual guitars, organ, congas, harp... Recommended if you like Quicksilver, Allman Brothers, Canned Heat, Ten Years After... Remastered sound; original artwork; includes booklet with photos and extensive liner notes by Kevin Rathert (It's Psychedelic Baby) LP version includes download card. "A vital album for fans of vintage guitar action." --Patrick Lundborg (Acid Archives).

 

PRICE: $16.00

CAT #: HAB 021CD

FILE UNDER: WORLD

"Blisteringly groovy collection of completely off-the-radar songs by Libyan composer/producer Najib Alhoush's group The Free Music, circa 1976. Releasing an astonishing ten albums, all impressively strong and equally infused by soul, funk, disco, and reggae, The Free Music created a distinctly infectious groove that unfortunately didn't make an impact outside of Libya due to the complex political situation at the time. There is a reason it says 'Part 1' in the title. Avid Habibi Funk listeners may be familiar with Libyan composer/producer Najib Alhoush, who's track 'Ya Aen Daly' -- the Bee Gee's 'Stayin Alive' cover -- was included in our second compilation. While the original track never excited us, Najib's version managed to strip it from its pop approach that had taken over disco during the genre`s peak. At that time, disco tracks mostly were aiming to appeal to the widest audience possible. Najib had turned the original track into something different and very unique. Upon further research we found that Najib was actually the singer and founder of The Free Music band alongside Fakhreddin, Salim Jibreel, Abdulrazzak 'Kit-Kat', Mukhtar Wanis and Mohameed Al Rakibi. Initially, we only licensed Najib Alhoush's "Ya Aen Daly" from Yousef Alhoush, Najib's son, who was pleased to hear that there was interest in his father's music form someone abroad. In the process of exchanging and learning about Najib's music and career, our understanding was that The Free Music only recorded the one album. This couldn't be further from the truth, in fact, there were ten albums produced by the group, all impressively coherent with a clear influence from disco, soul, funk and reggae. The Free Music album was probably the longest it ever took us to gather information, photos and musical source material in a good enough quality to be reissued. This is largely due to the complicated political situation in Libya, compounded by the fact that Libya is still largely cut off from international payment systems, so getting an advance payment to the right person can be a process that takes weeks. The same goes for getting master tapes to a studio abroad and afterwards back to Libya. When we look for music that works under the umbrella of Habibi Funk, we often come across albums where bands experimented with influences from soul, jazz, funk, disco and more, usually on a single track or two but then they often go down to a different path for the rest of the album. This was not the case for The Free Music. All their albums are fully dedicated to their unique blend of disco, reggae and funk and it feels that when we made the selection for this album, we could have chosen a completely different number of tracks and the album would be been equally strong."

 

PRICE: $28.00

CAT #: HAB 021LP

FILE UNDER: WORLD

LP version. "Blisteringly groovy collection of completely off-the-radar songs by Libyan composer/producer Najib Alhoush's group The Free Music, circa 1976. Releasing an astonishing ten albums, all impressively strong and equally infused by soul, funk, disco, and reggae, The Free Music created a distinctly infectious groove that unfortunately didn't make an impact outside of Libya due to the complex political situation at the time. There is a reason it says 'Part 1' in the title. Avid Habibi Funk listeners may be familiar with Libyan composer/producer Najib Alhoush, who's track 'Ya Aen Daly' -- the Bee Gee's 'Stayin Alive' cover -- was included in our second compilation. While the original track never excited us, Najib's version managed to strip it from its pop approach that had taken over disco during the genre`s peak. At that time, disco tracks mostly were aiming to appeal to the widest audience possible. Najib had turned the original track into something different and very unique. Upon further research we found that Najib was actually the singer and founder of The Free Music band alongside Fakhreddin, Salim Jibreel, Abdulrazzak 'Kit-Kat', Mukhtar Wanis and Mohameed Al Rakibi. Initially, we only licensed Najib Alhoush's "Ya Aen Daly" from Yousef Alhoush, Najib's son, who was pleased to hear that there was interest in his father's music form someone abroad. In the process of exchanging and learning about Najib's music and career, our understanding was that The Free Music only recorded the one album. This couldn't be further from the truth, in fact, there were ten albums produced by the group, all impressively coherent with a clear influence from disco, soul, funk and reggae. The Free Music album was probably the longest it ever took us to gather information, photos and musical source material in a good enough quality to be reissued. This is largely due to the complicated political situation in Libya, compounded by the fact that Libya is still largely cut off from international payment systems, so getting an advance payment to the right person can be a process that takes weeks. The same goes for getting master tapes to a studio abroad and afterwards back to Libya. When we look for music that works under the umbrella of Habibi Funk, we often come across albums where bands experimented with influences from soul, jazz, funk, disco and more, usually on a single track or two but then they often go down to a different path for the rest of the album. This was not the case for The Free Music. All their albums are fully dedicated to their unique blend of disco, reggae and funk and it feels that when we made the selection for this album, we could have chosen a completely different number of tracks and the album would be been equally strong."

 

PRICE: $24.00

CAT #: SUBURBIA 021LP

FILE UNDER: ROCK

Reissue, originally released in 1995. Originally released on the legendary No Tomorrow label, Radio Surf is one of the absolute classics of the '90s Spanish Ramones-inspired pop punk resurgence. Includes their 1993 single and four demo versions as bonus, with double-sided insert. Blue vinyl. "If you want to listen to good pop punk listen to Spanish bands" --Ben Weasel, Maximum RocknRoll, 1995.

 

PRICE: $12.50

CAT #: SUBURBIA 025EP

FILE UNDER: ROCK

Reissue, originally released in 2013. The debut EP from New England's garage punk group, Wimpy & The Medallions featuring Wimpy Rutherford, the original front man of the cult pop-punk band The Queers. A strong line-up behind him, featuring ex Queers/Nobodys guitarist Geoff Palmer, Kurt Baker from The Leftovers, and members from The Connection. Still Headed Nowhere was recorded and written in 48 hours during Memorial Day weekend 2012. Revisited artwork for this Hey Suburbia limited edition 7".

 

PRICE: $14.00

CAT #: IMPREC 260CD

FILE UNDER: EXPERIMENTAL

2023 restock. Originally released in 2009. "Back to music after three years of silence... On the suggestion of Robert Ashley, Douglas Dunn commissioned this piece from Éliane Radigue for choreography. Only the first part of Triptych was staged at the premiere at the Dancehall/Theatre of Nancy on February 27 1978. Recorded in the composer's studio in Paris. After the premiere of Adnos I (IMPREC 028CD) in San Francisco in 1974, a group of French students introduced Éliane Radigue to Tibetan Buddhism. When she returned to Paris, she began to explore this spirituality in depth, which slowed her musical production up until 1978. Triptych marks her return to composition, and draws its inspiration from 'the spirit of the fundamental elements,' water, air, fire, earth... Éliane Radigue likes to add that this has often been useful to her in her moments of research and transitions. This three-part composition, with its great humility and contemplative simplicity, heralded a new period of work and was the first in a series of masterpieces inspired by Tibetan Buddhism: Adnos II (1980); Adnos III (1981) [both included on IMPREC 028CD]; Songs of Milarepa (1983), with the voices of Lama Kunga Rinpoche and Robert Ashley; Jetsun Mila (1986); as well as the Triologie de la Mort (XI 119CD): Kyema (1988), Kailasha (1991), and Koumé (1993). Archival images included in the accompanying booklet." --Manu Holterbach

 

PRICE: $25.00

CAT #: IF 1009X-LP

FILE UNDER: ELECTRONIC

Reissue. In 2010, electronic composer Arandel quietly released his first album In D on the then young InFiné label. At the time, the artist was strictly anonymous, put in the forefront its strict methodology of composition, and unleashed to the world what was destined to eventually break ground as a classic debut. The original pressing of that record sold out more than ten years ago, and at long last is finding new life on gold limited edition vinyl (including an enamel pin of the doodle that adorns the album cover). The record covers immense ground despite the strict "sonic dogma" put in place (every song in the key of D, and no samples allowed beyond what Arandel played himself). With these limitations aside, the record traverses a wide sonic map that covers classic, pristine leftfield house, ambient experimentalism, and even mind-expanding psychedelia. As stated by The Line of Best Fit in 2010, "In Dis an exciting, occasionally intoxicating and spirited album that owes as much to the spirit of its influences as it does to the desired mystery of its creator."

 

PRICE: $26.00

CAT #: JPR 061LP

FILE UNDER: EXPERIMENTAL

"Exotic Moog is a much sought after title in our Martin Denny reissue series. Great music for synth, exotica, experimental, '60s rock and psych hunters. Classic black vinyl."

 

PRICE: $29.00

CAT #: JPR 068X-LP

FILE UNDER: ROCK

"The Dead Boys debut studio album, Young, Loud and Snotty, was recorded and released in 1977 and quickly became one of the definitive US punk rock albums! Sourced from the original master tapes. Pressed at RTI for Maximum Fidelity. Rolling Stone -- Best Top 10 Punk Albums of all time. Black vinyl."

 

PRICE: $15.50

CAT #: PROJR 10-03

FILE UNDER: WORLD

2023 repress. Two excellent Revolutionaires cuts. Sly and Robbie at their best. An unreleased dub from the Bunny Lee produced "2 Bad Bull" track originally vocal by B. Simpson. These early tracks were recorded at Channel One and produced by Bunny Striker Lee. Rare and raw.

 

PRICE: $19.00

CAT #: N 77123CD

FILE UNDER: JAZZ

"A great live recording on Vinyl & CD on Jazzline! This release in a series of live recordings of concerts from the 'Fabrik' in Hamburg-Altona, one of those hidden treasures from the archive of the NDR, was intended to bring back the memory of changes and revolutions in the world of jazz of more than four decades ago. It has now turned into an obituary -- at the end of September 2022 the tenor saxophonist Pharoah Sanders passed away at the age of 81. This recording of the Sanders Quartet from 6 June 1980 is so far the oldest from the 'Fabrik', predating the great jazz-epoch of the venue. An era, which even today Thomas Engel, the first program planner of the 'Fabrik', describes as a very special period for popular and not-so-popular culture in Hamburg and far beyond. Furthermore, this concert formed part of the then fifth edition of what was still called the 'New Jazz Festival', a summit of German, European and US-American musicians. Only thanks to the NDR Bigband, top-class jazz was performed at the old industrial site on Barnerstrasse in Altona at all. In the mid-1970s, the band was brave enough to leave its familiar recording studio and perform rousing concerts at the 'Fabrik'. Since 1976, the 'New Jazz Festival' organized by Wolfgang Kunert, the program planner of the big band, institutionalized jazz music at this exceptional location."

 

PRICE: $53.00

CAT #: N 78123LP

FILE UNDER: JAZZ

Double LP version. "A great live recording on Vinyl & CD on Jazzline! This release in a series of live recordings of concerts from the 'Fabrik' in Hamburg-Altona, one of those hidden treasures from the archive of the NDR, was intended to bring back the memory of changes and revolutions in the world of jazz of more than four decades ago. It has now turned into an obituary -- at the end of September 2022 the tenor saxophonist Pharoah Sanders passed away at the age of 81. This recording of the Sanders Quartet from 6 June 1980 is so far the oldest from the 'Fabrik', predating the great jazz-epoch of the venue. An era, which even today Thomas Engel, the first program planner of the 'Fabrik', describes as a very special period for popular and not-so-popular culture in Hamburg and far beyond. Furthermore, this concert formed part of the then fifth edition of what was still called the 'New Jazz Festival', a summit of German, European and US-American musicians. Only thanks to the NDR Bigband, top-class jazz was performed at the old industrial site on Barnerstrasse in Altona at all. In the mid-1970s, the band was brave enough to leave its familiar recording studio and perform rousing concerts at the 'Fabrik'. Since 1976, the 'New Jazz Festival' organized by Wolfgang Kunert, the program planner of the big band, institutionalized jazz music at this exceptional location."

 

PRICE: $19.00

CAT #: GG 432CD

FILE UNDER: ROCK

"New album by UK electronic music pioneers Nocturnal Emissions together with Italian designer and composer Barnacles. Nocturnal Emissions was founded in 1980 by Nigel Ayers together with collaborators Daniel Ayers and Caroline K. They have released numerous records and CDs in music styles ranging from electro-acoustic, musique concrete, hybridized beats, sound collage, post-industrial music, ambient and noise music. The sound art has been part of an ongoing multimedia campaign of guerrilla sign ontology utilizing video art, film, hypertext and other documents. Early albums on the band's own Sterile Records were harsh noisy affairs, until Songs Of Love And Revolution turned to near synth pop melodies. Matteo Uggeri is an Italian visual designer and composer from Milan. He invests himself in sound poetry of everyday life, organized around a vast array of personal field recordings and melodic compositions meticulously arranged in a story-telling way. He has been active in music since 1996 and has collaborated with many groups from the Industrial scene. This new album finds him working with UK's electronic music pioneers Nocturnal Emissions. Together, they create dub-oriented beats with cut-up vocals that are hard to fit into a genre. It's a playful affair and a pure pleasure to listen to."

 

PRICE: $14.50

CAT #: KM 180122CD

FILE UNDER: ROCK

Reissue of the original 1974 album by Gille Lettmann aka Sternenmädchen/Star Maiden. Live in the Quadro Studio: Gille and Klaus Schulze. Music inserts from the LPs Seven Up (Ash Ra Temple and Timothy Leary), Lord Krishna von Goloka (Sergius Golowin), Tarot (Walter Wegmüller). Statements by Sergius Golowin, Timothy Leary, Brian Barritt, Walter Wegmüller, Liz Elliot, Rolf-Ulrich Kaiser. Recorded at the Zeitschiff Studio Dierks. Carefully transferred and remastered from the original analog master tapes by HaGü Schmitz at Dierks Studios in Pulheim-Stommeln in 2022.

 

PRICE: $39.50

CAT #: KYNEX 003LP

FILE UNDER: ELECTRONIC

For the first time in more than a decade, Paul St. Hilaire (AKA Tikiman) presents a solo album -- 100% Tiki. Over his 30-plus year career, St. Hilaire has become one of dance music's quietly legendary figures. Born and raised in Dominica, he moved to Berlin in 1994 and has lent both his voice and his musicianship to some of the most iconic electronic music from the German capital -- and beyond. Renowned for his collaborations with Moritz von Oswald and Mark Ernestus (AKA Rhythm & Sound), he has also appeared on records with Deadbeat, Rhauder, Larry Heard aka Mr. Fingers and Stereotyp (G-Stone Recordings), amongst others. However, few know the extent of St. Hilaire's compositional and technical mastery. From his home studio in Kreuzberg, which includes an extensive collection of vintage hardware, self-built instruments and notebooks scribbled with endless lyrics, he has created a vast archive of material spanning ambient dub, avant-jazz, lush techno, and lovers rock. Tikiman Vol. 1 is a heady, downtempo tour de force of patois metaphors on education, displacement, and personal vs. global histories, as is evident on slippy album opener "Bedroom In My Bag": "Mister, mister / Where are you going? / I'm heading for a faraway land / What are you having in the bag in your hand? / Help us to understand / He said, I've got my bedroom in my bag." Overall, the album's lyrics reflect on life between Berlin and Dominica, specifically St. Hilaire's hometown of Grand Bay, where he has worked with various musicians famous for the island's different genres of carnival music. St. Hilaire himself always favored the island's more "discrete" music, developing a sonic synergy between two different geographical strains of groove and minimalism, and combining them with foundational Caribbean mixing techniques, which provide the basis for his songwriting and distinct baritone. Tikiman Vol. 1 offers a rare insight into St. Hilaire's complex artistry, from the eyes-down grooves of "Little Way" and the guitar-heavy digi dancehall experiment "Keep Safe," to the subtle hypnosis of "Ten To One" and the softly crashing synth waves of closer "Three And A Half," evoking not only beaches but also coasts and borders. It's a fitting expression of both the breadth of St. Hilaire's work, as well as his history as one of the few black, Berlin-based artists who, despite remaining largely overlooked, has influenced the city's electronic music culture since its beginnings. Gatefold; includes download card.

 

PRICE: $26.00

CAT #: 9788793659568

FILE UNDER: Misc

"Key works and writings from six decades of pioneering image-text works in celebration of Eros. For six decades, Dorothy Iannone (born 1933) has developed an iconography that is at once epic and intensely personal. Often her works bear a close resemblance to graphic novels: hand-lettered texts and images work together to tell the story, bluntly and with humor in both verbal and visual details. Liberated sexuality and romantic relations are central themes. Iannone's erotic scenes stem from historical representations of ecstatic unions across times, cultures and religions, with references to antiquity, Greek vases, Egyptian art, Roman and Pompeian murals, the Kama Sutra and Tantra, Icelandic sagas, Christianity, Buddhism, world literature and film history. Serving as muses, the artist's lovers appear in her narratives: several works feature the artist Dieter Roth, who was Iannone's partner from 1967 to 1974. This richly illustrated catalog presents some of the artist's most important work, alongside an introduction by Italian art historian Barbara Casavechia, the artist's own writing and an illustrated biography."

 

PRICE: $15.50

CAT #: LPDR 011EP

FILE UNDER: JAZZ

Born in Milan to a Cameroonese father and a Polish/Lithuanian mother, Nathan Dawidowicz moved at the age of six to Jerusalem. He was spending his childhood in a Jewish ultra-orthodox environment playing the piano and dreaming of being a fashion designer and musician. After waking up from the reality he was raised in, he moved to Venice and started to explore the "outside world" of the mental barriers of religion. Music and fashion were his medicine, and he quickly became addicted to musical textures and vinyl. Sanctuary of Ideas is a very personal and optimistic journey by Nathan Dawidowicz. His first solo album is a spiritual path, as cosmic and adventurous as Nathan's trajectory, with beautiful twists and psychedelic twirls into Dawidowicz personal rabbit hole. A record full of memories and positive affirmations, filled with jazzy yet psychedelic cosmic and krautrock elements. A fusion of inspiration -- and a perfect reflection of Dawidowicz heritage. "Idea's Eve" is a stargate to ancestral power. Dawidowicz leaves a lot of space to breathe in this magical opener. Enchanting melodies and bubbling sounds surround the listener while his voice keeps repeating a mantra of an ancient love spell. A track where you feel your DNA spiraling up the ladder of evolution. Yet so natural and healing. "Full Moon Dance" is the spiritual continuation of the first track. A swirl of magical melodies, yet jazzy but truly cosmic walking up the ladder to another dimension, where warm moon rays and fluffy clouds surround love. The synth lines represent the playful and smooth moon rays reflected on a rhythmical heart-beating ground where tears can be joyfully spent to honor emotions usually oppressed. To close the EP, Nathan Dawidowicz worked a half a year to finalize the last track in full detail. 23 minutes and 18 seconds long is "Capricorn Rising Over Jerusalemite Temple". This story is where the listener is brought to a higher level of consciousness. Against the rules of our consumerist world, Nathan Dawidowicz focuses on a dramaturgy full of patience for our own lifetime. Acidic lines come and go, powerful synth solos trigger unknown brain parts, and an epic melody accompanies the listener and lets dark emotions melt in a brass-filled part where a voice tells you that time is on your side.

 

PRICE: $34.00

CAT #: MH 020LP

FILE UNDER: HIPHOP

"... Vision Board is a focused affair that found him stretching his creativity farther and challenging himself to write in a way he's never written before. Recorded primarily in New Orleans and produced by Rob Mercurio of Galactic (who also produced 2015's Real People and 2018's Quite a Life), it posited him in a new environment that helped his creative juices flow even more fluidly . . . 'I'm so proud of this album. I'm in a different space. The world is in a different space, and I wanted to celebrate that, loosen up and really create some imagery and share some emotion that I never have. I was listening to a lot of Shuggie Otis; a lot of obscure psychedelic soul and later Temptations,' he explained. 'This is like if Alice in Wonderland was Japanese.' Vision Board was also inspired by another Bay Area rap luminary, although one who's no longer with us -- Gift of Gab. The dexterous Blackalicious MC and fellow Quannum Projects alum had a profound effect on Lyrics Born's life, both creatively and philosophically . . . Lyrics Born's vulnerability shines through on the nine-track effort, something he's not ashamed to admit (nor should he be). At one point during the pandemic, he was losing one friend, peer or family member every other week -- from Zumbi of Zion I to Gift of Gab to Digital Underground's Shock G. While many of the songs are deeply introspective, he had to 'write some fun shit,' too. Celebratory horns, up-tempo rhythms and fiery bars pepper the project from start to finish, and truly encapsulate Lyrics Born's evolution of not just a groundbreaking Asian-American MC but also a human being. As the only Asian-American MC to release ten studio albums, the first Asian-American to play major music festivals like Coachella and Lollapalooza and the first Asian-American to release a greatest hits compilation, Lyrics Born has been breaking barriers his entire life - and he's not going to stop anytime soon. From the bombastic and tribal 'I'm the Best Rapper in the World' with its self-winking boastfulness to the playful scat of 'Bang Bang Bang' that slinks like an outtake from West Side Story, to the smooth and seductive 'Who's The Best? (Dear Young LB),' to the psychedelic and swoony 'Alligator Boots' with it dreamy 'Walk on the Wildside'-esque reverby sway, Vision Board sees Lyrics Born tackling different tones, textures and genres without fear and making them completely his own. It's an eclectic body of work that boasts more synths, more psychedelia and is generally more abstract."

 

PRICE: $37.50

CAT #: MORR 177LP

FILE UNDER: ROCK

2023 restock; double LP version. Gatefold sleeve with printed inner sleeves; includes three bonus tracks; 28-page booklet; includes download code; edition of 500. Following in the footsteps of the pathbreaking Minna Miteru (MORR 168CD/LP, 2020) compilation of Japanese indie music, Morr Music and Alien Transistor have again joined forces to release The Fruit Of Errata, a compilation introducing the world to the intimate DIY pop of yumbo. Led by songwriter, pianist, and occasional vocalist Koji Shibuya, the Japanese band has released four albums since forming in 1998. This compilation draws from those albums, and some ancillary releases, to uncover a biographical narrative of yumbo, showing how Shibuya's songwriting, and the group's limber, sensitive playing, has developed over the decades. It also places them squarely within a tradition of home-spun but ambitious Japanese pop that takes in Maher Shalal Hash Baz, Tenniscoats, Nagisa Ni Te, Yuzo Iwata, Kazumi Nikaido, and more. There's the playful seriousness of Maher Shalal Hash Baz's Tori Kudo here, but also the flexibility of freely improvised music. You can also hear Shibuya's fondness for Mayo Thompson and The Red Crayola in both the idiosyncrasies of the writing and the egalitarian looseness of the playing. The great achievement of yumbo and Shibuya, though, is translating all of this into beautiful, unpredictable pop songs. There's a gorgeous soul-inflected lilt to "A House"; the swaying brass on "Storm"; the nakedness of "The Sweetest Mass" slightly reminiscent of Carla Bley's more pop-focused writing. Throughout, Shibuya renders pop a deeply personal experience; you can hear musings here on friendship, family, intimacy, the complexity of relationships, mortality, and imbalances of power. These musings are also shadowed by real-life events: the effects and impact of the Great East Japan Earthquake of 2011 are captured in songs like "Umbrella People" from Onibi. Throughout the performances on The Fruit Of Errata, Shibuya and the group play with tenderness; they also often draw on other players to flesh out the music even further, two such guests being the aforementioned Tori Kudo (on "Umbrella People") and Olympia, Washington's LAKE (on "The Devil Song"). Community-minded and generous in approach, the writing of Shibuya and the music of yumbo is never less than lovely, and The Fruit Of Errata is a welcome introduction to their world. Open and gentle, confident and generous, these pop songs are filled with charm and spirit.

 

PRICE: $23.00

CAT #: OM 074LP

FILE UNDER: EXPERIMENTAL

"At last! The long-promised duo LP by two undisputed masters of post-tongue instrumental gesticulation and invention. Augured by their eponymous 7" from 2019, Off Motion is a full-length exploration of the previously unknown aural destinations these two guys continually discover as they move beyond the borders of music-as-it-is-played. Often, when writing about music, it's possible to draw comparisons to players' stylistic relationships to what has gone before. But the music on Off Motion (to quote a William Burroughs chestnut), 'buggers comparison.' Nace's style on electric guitar may have its roots somewhere in the playing of Keith Rowe, but the sonic scapes he conjures are so nimbly freaked, I can rarely figure out what the hell he is doing (if anything) to generate what I'm hearing. And White's avant garde approach to the jaw harp (as well, I think, nose flute and maybe even bird call) has so few precedents apart from random Fluxus events, it's impossible to make any inferences as to possible influences. This duo lives up to the promise of ESP-Disk's motto as much as anyone I can think of. You have never heard such sounds in your life. The seven pieces on Off Motion are hard to unravel. Chik sent recordings to Bill. Nace added his own bits. Then he and Emily Robb screwed around with everything until it pulsed with sheer mystery. I took a lot of notes on the tracks, but the best ones are hard for even me to decode. For 'Pathways' -- starts with pixie twinkle guitar, then evolves into a duet for Taish?goto and nose flute that sounds as though it was designed to drive dogs nuts while they search for phantom, mocking squirrels. For 'Erasing' -- like a troubled pigeon visiting a guy who uses an electric razor while bouncing around on Slinky-shoes, before switching into carillon-based boots and breaking into a human pinball routine he's been practicing since he was a boy. I repeat these descriptions only to show how entirely Bill & Chik's music resists easy categorization. There is a sense at times the studio/mixing board itself is being used as an instrument, which is very cool. But I am still jonesing to see these guys do some live shows. Both Bill and Chik have the ability to mix jocularity and seriousness into a strangely compelling whole. Their music is bizarre as hell without being off-putting or sterile, and anyone who has a taste for weird thrills is gonna love Off Motion to death. Tell Alice Cooper the news." --Byron Coley

 

PRICE: $20.00

CAT #: PRTL 10030EP

FILE UNDER: WORLD

Two brand new instrumental thrillers from the UK's premium dub outfit The Disciples. Both tracks -- "Sabotage" and "Steppers Nah Sleep" -- are followed by their respective dub versions which have both been tried and tested on various sound systems throughout Europe. Highly regarded for their custom built dubplate cuts for Jah Shaka. The Disciples have a sizable following worldwide, particularly in the UK, France, Germany and Japan.

 

PRICE: $20.00

CAT #: PRTL 10033EP

FILE UNDER: WORLD

A couple of highly-sought after UK roots/dub classics, originally released on Nucleus Roots' own imprint back in 2002. Vocals and heavy-weight dub cuts from the Manchester-based Nucleus Roots crew with guests Simon Dan and Moses on mic duties.

 

PRICE: $13.50

CAT #: PRTL 7075EP

FILE UNDER: WORLD

Originally released on a Riz 12" in 1994 and produced by Nick Manasseh and Jeremy "The Equalizer". Poignant reflection from Jamaican vocalist Mikey Mystic on the days of Apartheid on a moody head-nodding mid-paced rhythm. Backed with a sparse and deep dub cut from Manasseh, which differs from the version on the original 12".

 

PRICE: $28.00

CAT #: PJ 017LP

FILE UNDER: HIPHOP

"When Ruff Draft saw its initial release in 2003, J Dilla possessed production skills on par with anyone in hip-hop -- technically and creatively. 'At the top of his game,' says longtime friend and collaborator, Karriem Riggins. After years of building while modestly deferring to others of both greater and lesser notoriety, Dilla finally completed the first solo endeavor on his own label, entirely on his own terms. The significance of such an autonomous success often gets overlooked, and partly accounts for why Ruff Draft is one of the lesser-referenced entries in Dilla's oeuvre. 'It's a mysterious little project,' says his mother, Maureen Yancey. 'But out of his entire career, that was the happiest time.' Prior to recording the EP, Dilla found himself at a crossroads. Estranged from his label, MCA, and separated from the mother of his youngest daughter, frustration abounded both personally and professionally. Dilla spent parts of 2002 and 2003 working on an album for MCA that featured his rapping over contributions from other producers with whom he had connected and whose music he respected. At the time, he was known primarily for his beats, yet reviled for his MCing by most anyone not from his hometown of Detroit. The project was to be an intentional freak of the industry. The project would go on to spur his collaborative album with Madlib, Jaylib, and would first showcase the template that he would take to his greatest heights with 2006's Donuts. The Stones Throw reissue of Ruff Draft from 2008 featured remixes of the songs from the album, done without Dilla's involvement. This version of the album takes Dilla's mixes of the album and restores his vision for the project. 'Straight from the mothafuckin' cassette,' as he phrased the sound he was going for on the EP's intro."

 

PRICE: $14.50

CAT #: PILZ 2021103CD

FILE UNDER: ROCK

Reissue, originally released in 1971. McChurch Soundroom was founded in 1970 in Switzerland and was able to get a record deal with the PILZ label shortly after. Musically the influences range from bands like U.F.O, Black Sabbath, and Jethro Tull. In 1971, the first and only album of the formation, Delusion, was released. Produced by Jürgen Schmeisser and Conny Plank in only two days in the Star-Studios in Hamburg. Carefully remastered.

 

PRICE: $27.00

CAT #: PILZ 2021103LP

FILE UNDER: ROCK

LP version. 180 gram vinyl; gatefold sleeve. Reissue, originally released in 1971. McChurch Soundroom was founded in 1970 in Switzerland and was able to get a record deal with the PILZ label shortly after. Musically the influences range from bands like U.F.O, Black Sabbath, and Jethro Tull. In 1971, the first and only album of the formation, Delusion, was released. Produced by Jürgen Schmeisser and Conny Plank in only two days in the Star-Studios in Hamburg. Carefully remastered.

 

PRICE: $20.00

CAT #: PGMLT 165EP

FILE UNDER: ROCK

"This release is my way of celebrating the memory of one of the most important figures in early blues and gospel -- the great Blind Willie Johnson -- who would have turned 125 this year. The recording of his masterpiece 'Dark Was The Night, Cold Was The Ground' (recorded in my favorite recording year, 1927) can be found on the golden records onboard Voyager I and II and was added to the National Recording Registry in 2010, which selects recordings annually that are deemed 'culturally, historically, or aesthetically significant.' Although his music is often very hopeful, when you look back at his life, hope is not the first word that comes to mind. Willie wasn't blind at birth but became blind at seven years old. Exactly how it happened is uncertain, but one statement is that his aunt accidentally threw lye in his eyes. In his older years a fire took his house, but him being poor and blind and black he wasn't left with much else of a choice than to stay and live in the ruins of his old home. Living in this environment gave him pneumonia which subsequently led to his death. But his beautiful music just might live forever -- forever floating in space."

 

PRICE: $28.50

CAT #: PE 026LP

FILE UNDER: ELECTRONIC

The new album of Swiss artist Martina Lussi joins what no longer is conjoined. Conceived and realized over a period marked by major changes in both the private sphere and the world at large, Balance brings together the before and after. The album is held together by a common feature: Lussi's voice, with which every composition began. Her singing, modified by effects, is supplemented by other sounds, which are light at times, bittersweet at others, and sometimes replace her voice altogether, like on the album's fulcrum "Fragments of Attention". On the first half of Balance, Lussi's singing plunges "Meditation on the Multitab" into a cosmic soundscape; occasionally a rhythm irrupts into it. On "Time Laps", a track from the album's second half, the artist's singsong articulates rhythmical elements and propels them towards a reluctant euphoria. Balance appears open and fragile, at times even vulnerable, but Lussi's relentless openness derives from the immense strength needed to weather changes both small and large. Cover design by Dorothee Dähler. Features scented inner record sleeve, scent by In'n'Out Fragrances. Edition of 200.

 

PRICE: $34.00

CAT #: 9781737797944

FILE UNDER: Misc

"A long-awaited facsimile of Lawrence and Hujar's legendary '60s magazine documenting artists and photographers from Diane Arbus and Yayoi Kusama to Paul Thek and Lucas Samaras. Published by Steve Lawrence and edited alongside Peter Hujar and Andrew Ullrick, Newspaper was issued in New York City between 1968 and 1971. A wordless, picture-only periodical that replicated the scale of the New York Times, Newspaper ran for 14 issues and featured the disparate practices of over 40 artists. With an editorial focus on placing appropriated material alongside new artworks, the periodical sought to codify a visual language of high and low culture that represented contemporary society in the late 1960s. While largely overlooked in art-historical discourse, Newspaper showcased many of the most revered artists working in the United States at the time, as well as an emerging coterie of queer artists. All issues of Newspaper are collected and reprinted here for the first time. Artists include: Diane Arbus, Art Workers Coalition, Richard Avedon, Clyde Baines, Sheyla Baykal, Peter Beard, Brigid Berlin, Richard Bernstein, Ann Douglas, Paul Fisher, Maurice Hogenboom, Peter Hujar, Scott Hyde, Christo and Jeanne-Claude, Ray Johnson, Edwin Klein, Yayoi Kusama, Gerald Laing, Dorothea Lange, Steve Lawrence, Jeff Lew, Roy Lichtenstein, Frank Mercado, Duane Michals, Jack Mitchell, Forrest 'Frosty' Myers, Billy Name, Stephen Paley, Warner Pearson, Warner Piepke, Charles Pratt, Joseph Raffael, Mel Ramos, Lilo Raymond, Ruspoli-Rodriguez, Lucas Samaras, Alan Saret, Bill Schwedler, Leni Sinclair, Norman Snyder, Elizabeth Staal, Stanley Stellar, Terry Stevenson, Paul Thek, Andrew Ullrick, Andy Warhol, William T. Wiley and May Wilson." 416 pages. Paperback. 9.75 x 13.5 in.

 

PRICE: $17.00

CAT #: PRO 407CD

FILE UNDER: EXPERIMENTAL

"Turning shadows into sonic emotional rivers, synthesist and composer Jeff Greinke's A Thousand Year Flood skirts the edges where modern classical, electronic and ambient music converge. Working with cellist/violist Heather Bentley, Greinke's first record for Projekt in 26 years is a hybrid of ambient chamber music and electroacoustic beauty. Throughout the near-hour-long set, atmosphere is critical to the impact as Greinke locates his paired-back minimalism within a setting of spaciousness and sensitivity. 'A Thousand Year Flood,' Greinke explains, 'represents further explorations in composing electroacoustic music which I began over a decade ago. This time rather than working with an ensemble I focus on one instrumentalist -- cellist/violist Heather Bentley. Whether working with scored parts, improvising under my direction, or freely exploring her own ideas over my sketched-out sections, Heather's thoughtful expressions fit seamlessly within my own. Heather's voice is unique, lending a more expansive breadth of harmonic richness and emotional body to these compositions.' 'In the last four-plus decades my work has veered in a few different directions, the exploration of raw sound itself and the treating and layering of such sounds to create complex and interesting textures, moods and atmospheres, has always been my primary focus.' On his 23rd release, Jeff Greinke realizes an engaging balance between consonance and dissonance, timbre and shade, ambience and aura. His impressionistic ambient chamber music shimmers in the passing light of melodic stringed textures and shifting electronic shadow. CD in four-panel digipak, limited edition of 300. RIYL: Olafur Arnalds, Nils Frahm, Johann Johannsson, Max Richter, Hania Rani."

 

PRICE: $20.00

CAT #: PP 041EP

FILE UNDER: ELECTRONIC

Poetry written and performed by Georg Heunoske. Mastered by Andreas Lubich in memory of Andrew Weatherall and Genesis P-Orridge. Features Thee Church Ov Acid House, Thee Orchyds, Glow, Elektra, Thee Church Ov Acid House, Northsyde, and G..

 

PRICE: $18.00

CAT #: QUINTESSE 086EP

FILE UNDER: ELECTRONIC

It's about time for the first release of this true master of deep jazzy house, Shaka! Shaka has an impressive list of releases, ranging back to the mid '90s with some raw techno up to now with releases on Local Talk or his own label Vibes and Grooves for some serious deep house. His Four Flowers EP has plenty of soul soothing jazz-funk grooves nailed to a deep house beat and you just feel that Shaka is a real musician. These four tracks are hot ingredients!

 

PRICE: $13.50

CAT #: RADCD 009CD

FILE UNDER: ROCK

Reissue, compilation originally released in 1990. Legendary punk trio the Dils formed in San Diego in southern California and when they moved to San Francisco, bassist Tony Kinman found himself living with the Avengers, but once they hit Los Angeles in 1977, they began recording frantic singles for fledgling independents such as What? Records, Dangerhouse, and Rogelleti for more melodic, country-influenced songs, pointing to their further reincarnation as Rank & File. Ace compilation Dils Dils Dils gathers early studio work and live recordings. This edition featuring two bonus tracks, recorded in LA in 1979. Crucial listening for all Dils fans!

 

PRICE: $22.50

CAT #: RRS 157LP

FILE UNDER: ROCK

Known as the "bad boys of the Ulster punk scene," Belfast quartet the Outcasts was formed in 1977 by bassist/vocalist Greg Cowan, with brothers Colin and Martin on drums and rhythm guitar, along with Getty Getgood on searing lead. With their debut gig descending to a riot, the group began a long tenure of local notoriety, shifting members and styles as their sound evolved, before imploding in 1985. This ace compilation gathers early singles for the IT, Good Vibrations, and GBH labels, as well as later work for Anagram, New Rose, and their own Outcasts Only imprint, presenting the fearsome foursome at their very best. Includes replica of Outcasts' 1979 full-length debut promotional poster.

 

PRICE: $22.50

CAT #: RRS 193LP

FILE UNDER: ROCK

LP version. Pink vinyl. Trail-blazing female punk band Tozibabe was the first girl group in Slovenian to play their own instruments and write their own material, and one of the few female hardcore acts of Eastern Europe. Their furious, uncompromising songs had scathing, shouted vocals, and its members tackled different instruments, making them the stuff of legend. This wide-ranging compilation gathers material from the Hard-Core Ljubljana compilation (1985), their groundbreaking mini-LP, Dezuje, live tracks from their appearance at Novi Rock in 1985, plus previously unreleased work from their 2015 reunion show. Raw hardcore, Tozibabe style!

 

PRICE: $22.50

CAT #: RLL 052LP

FILE UNDER: ROCK

Janis Joplin, San Francisco Radio Sessions 1963-1967. Three sessions recorded between 1963-1967. Side A: KPFA-FM session in 1965. Side B1-B4: KQED-FM session in 1967. Side B5: KPFA-FM session in 1963.

 

PRICE: $22.50

CAT #: RLL 077LP

FILE UNDER: ELECTRONIC

The first side of this fine album features three tracks ("Tanzmusik", "Kometenmelodie", "Klingklang") from a live show in Denver (Colorado) during Kraftwerk's first tour of America in spring 1975. The second side is occupied by a 26-minute version of their first robotic big hit "Autobahn," recorded in Köln in March of the same year. Another great document from one the groundbreaking electronic music bands of all times.

 

PRICE: $18.00

CAT #: RLL 082LP

FILE UNDER: ROCK

Limited 2023 restock. In March 1969, the Velvets (with Doug Yule now on bass) embarked on a nationwide tour. One of these included a stint at the "End Of Cole Avenue" club in Dallas -- one of the Velvets' few live performances where a professional sound engineer was actually on hand to record the sets. Some of the songs recorded over those few nights showed up in 1974 on their 1969: Velvet Underground Live album, but the sound quality was not great due to the use of third or fourth generation tapes. However, the first-generation tapes have since resurfaced, and the difference in sound quality (heard here) is a welcome one.

 

PRICE: $32.00

CAT #: ROG 126CD

FILE UNDER: JAZZ

"Steve Swell's Fire Into Music -- For Jemeel: Fire From The Road -- Steve Swell (trombone), Jemeel Moondoc (alto saxophone), William Parker (double bass), Hamid Drake (drums) at their best on tour on 2004 and 2005. This album is tribute to Jemeel Moondoc who passed away August 29, 2021."

 

PRICE: $15.50

CAT #: SDBANU 031CD

FILE UNDER: JAZZ

As rookies in the thriving Brussels scene, jazz fusion quartet L?p?GangGang have been making waves the last couple of years. After the EPs Stalingrad and Urban Detox, they are now releasing their debut album Dopamine Overdose via Sdban Ultra. Lyrically the inspiration for the album comes from growing up in a digital world and the constant dopamine everyone has to deal with because of that. Musically their sound is rich, diverse and hard to pin down, looking at Yussef Dayes, BADBADNOTGOOD, and even Black Country, New Road for inspiration. L?p?GangGang started out as a jazz/funk cover band in 2017. Anton, Miel, Lena, and Rob all met at a jam session summer camp while still in school. Over time, the band started writing their own songs and released two EPs to critical acclaim. Due to the band's desire for creative expansion over genres, they have been able to perform on various Belgian stages for the past three years including Ancienne Belgique to Flagey, Gent Jazz and Handelsbeurs in support of label mates, Black Flower. The album title Dopamine Overdose is a quote from the track "Dada Data", a track about the influence social media tends to have on our lives. The album's recurring theme is definitely the struggle with today's hyper virtual society and the overwhelming influence tech is having on society. With unbridled enthusiasm the band tackle relevant themes and combine striking observations with a highly contagious and very diverse sound. From "Out the Light", a smooth track about being stuck in the image we all try to create of ourselves, to "Wanderer", a jazzy tune about the road to self-acceptance, and from "Candy", combining a punk attitude with infectious hand claps, to 'Time Faded', about the difficulty of finishing your artistic work, L?p?GangGang constantly showcase their genre-defying versatility. As a whole, the album is a very balanced collection of tracks, ranging from brooding atmospheres to punky explosions with a constant drive, social criticism and an indomitable energy binding it all together. A promising debut, indeed. LP version includes printed innersleeve.

 

PRICE: $28.00

CAT #: SDBANU 031LP

FILE UNDER: JAZZ

LP version. Includes printed innersleeve. As rookies in the thriving Brussels scene, jazz fusion quartet L?p?GangGang have been making waves the last couple of years. After the EPs Stalingrad and Urban Detox, they are now releasing their debut album Dopamine Overdose via Sdban Ultra. Lyrically the inspiration for the album comes from growing up in a digital world and the constant dopamine everyone has to deal with because of that. Musically their sound is rich, diverse and hard to pin down, looking at Yussef Dayes, BADBADNOTGOOD, and even Black Country, New Road for inspiration. L?p?GangGang started out as a jazz/funk cover band in 2017. Anton, Miel, Lena, and Rob all met at a jam session summer camp while still in school. Over time, the band started writing their own songs and released two EPs to critical acclaim. Due to the band's desire for creative expansion over genres, they have been able to perform on various Belgian stages for the past three years including Ancienne Belgique to Flagey, Gent Jazz and Handelsbeurs in support of label mates, Black Flower. The album title Dopamine Overdose is a quote from the track "Dada Data", a track about the influence social media tends to have on our lives. The album's recurring theme is definitely the struggle with today's hyper virtual society and the overwhelming influence tech is having on society. With unbridled enthusiasm the band tackle relevant themes and combine striking observations with a highly contagious and very diverse sound. From "Out the Light", a smooth track about being stuck in the image we all try to create of ourselves, to "Wanderer", a jazzy tune about the road to self-acceptance, and from "Candy", combining a punk attitude with infectious hand claps, to 'Time Faded', about the difficulty of finishing your artistic work, L?p?GangGang constantly showcase their genre-defying versatility. As a whole, the album is a very balanced collection of tracks, ranging from brooding atmospheres to punky explosions with a constant drive, social criticism and an indomitable energy binding it all together. A promising debut, indeed.

 

PRICE: $28.00

CAT #: SDBANU 032LP

FILE UNDER: JAZZ

LP version. Belgian junk jazz trio schroothoop (which translates as "junk yard") bring together multi-instrumentalists Rik Staelens (wind and string instruments), Timo Vantyghem (bass and thumb piano) and Margo Maex (percussion). Their new album called MACADAM will be out via Sdban Records, home of many strongholds in the lively contemporary Belgian jazz and groove scene. In 2020, schroothoop first emerged with their much-acclaimed and infectious debut album Klein Gevaarlijk Afval (Small Hazardous Waste). On their second album, schroothoop explore the vast sounds of discarded objects found on the macadam streets of Brussels. Wooden crates turn into guitars and lyres. Scrap metal becomes a thumb piano, a cimbalom, or percussion bells. Their compelling collection of semi-improvised songs is born out of several fruitful residencies and live performances during which Margo Maex, Rik Staelens, and Timo Vantyghem dive deeper into the possibilities and unique timbres of their DIY instruments. The junk jazz trio find inspiration in traditional Afro-Cuban and North-African rhythms, New Orleans second line grooves, and Arabic Hijaz scales. On MACADAM, the band also explore the realms of electronic music, not shunning hints of drum and bass, dub riddims and ambient soundscapes, using pitch shifting delays or gauzy reverbs. The album delivers a mesmerizing trip through the most diverse capital of Europe, mixed and post-produced by none other than sound wizard Dijf Sanders. The trio originally met in the Brussels street orchestra scene. One night they found themselves jamming on trash cans, buckets and other illegally dumped materials. Soon after, they started building their own DIY instruments from street trash. Imagine flutes made out of PVC pipes, a scrap metal drum kit, thumb pianos made out of old kitchen knives, a tin can violin, worn-out cutting discs as gongs, and a washtub bass. Delivering their own brand of "junk jazz", schroothoop literally gives junk a second life by immortalizing a whole range of lost and found objects through music. The Brussels-based group effortlessly incorporates jazz, Northern African music, and Afro-Cuban rhythms, resulting in a danceable and hypnotic trip through the city's melting pot.

 

PRICE: $41.00

CAT #: SHUKAI 003LP

FILE UNDER: ELECTRONIC

2023 repress! Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies. Valentina's was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv and later in Leningrad (now St. Petersburg) from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. The improvisatory nature of free jazz and then-budding experimental rock circles also intrigued Valentina. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop-Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within Recordings Vol. 1, though as opposed to any degree of uncertainty Valentina's practice is one in flux by way of earnest curiosity. Pushing further into an exploration of solo electro-acoustic sounds, she took to home taping on a modified Olimp reel-to-reel recorder. Intrigued by the manipulability of dubbing and the fresh sounds of DIY effects chains, Goncharova developed pickups alongside her husband Igor Zubkov. Her infatuation with the music of Stockhausen, Xenakis, Ganelin Trio, and Pierre Boulez channels through considerations of space and erratic sound design, the three movements of "Metamorphoses" embodying this textural approach to musique concrete. The compositional skills developed in Leningrad unfold in the romantic gestures of "Higher Frequencies", whilst manipulated cello combines with synthesizer keys across "Passageway To Eternity". The slow, pulsating drone soundscapes recall the likes of Robert Rutman's US Steel Cello Ensemble or even deep listening pioneer Pauline Oliveros. The juxtaposition of written notation and improvisatory flare is central to Goncharova's sound world. This period of home recording documents a confluence of minimalism, free form and flirtations with new age tropes (including bell chimes and cavernous vocal mantras). Experimenting with unusual performance techniques, such as shouting into amplified cello strings, Valentina's home studio functioned as a place to foster full artistic and creative freedom away from any academic strictures. Relocating to Estonia in 1984, in a sense, the recordings on these discs offer only a glimpse into her lifelong body of work. Private experimental home-tapes unheard for thirty years.

 

PRICE: $17.50

CAT #: SOF 008EP

FILE UNDER: ELECTRONIC

"It's like nothing I have ever done before." For the past ten years, the Bulgarian-Turkish artist Alper Durmush aka Impérieux has been carefully developing his artistic style and building strong momentum with a high-profile following. Now the young Berlin-based producer enters a fresh chapter with his EP named Extensions on Sofia Records's eight release. It is filled with brisk, forward-looking breaks, raw jungle attitude and highly combustible house. In all this you can still trace Impérieux's emotional signature interwoven into delicate soundscapes and ethno antics. The place to kickstart this new direction is a symbolic one, and in a way -- coming back home. In his five-tracker, Impérieux keeps consistent with Sofia Records' establishment as a breeding ground for hyper-energetic, yet intelligent sound. And to do the honors, a signature stomping remix has been added by the label headmeister himself -- KiNK.

 

PRICE: $16.50

CAT #: SOMM 082CD

FILE UNDER: ROCK

Reissue, originally released in 1970. Cool library-styled French album. Psychedelic, proggy jazz-funk with Brazilian/bossa touches. Groovy flute by Bernard Wystraëte plus heavy bass, drums (by André Ceccarelli), violin, occasional fuzz-wah guitar and Urszula Dudziak-like scat vocals. In 1970, the AFA label asked flautist Bernard Wystraëte to register a "pop" album after the worldwide impact of progressive bands like Aphrodite's Child and Jethro Tull. Bernard recruited some of his friends who were professional musicians and Structure was born. He wrote a collection of songs influenced by progressive rock, jazz and Brazilian music. The Pop Music album was recorded live in the studio to give a "live show" feel. It was released later that year housed in a superb psychedelic sleeve. The band even toured across France and several countries at the same time that Bernard and other Structure members started backing famous French singer Marie Laforêt live. After the good reception given to the album, another label asked Bernard to record a Structure 45. Dilatation/Scale was released under a new line-up. RIYL: Jean Cohen-Solal, COS, Cortex, ZAO, Triode... Original artwork in hard cardboard sleeve; insert with liner notes and photos. CD version includes two bonus tracks: the tracks on the Dilatation/Scale 45.

 

PRICE: $25.00

CAT #: SV 024LP

FILE UNDER: ROCK

2023 repress. "Few moments in pop music history can match the grinding, pent-up energy of 'Mongoloid' and the spastic bounce and sputter of 'Jocko Homo' (two anthems presented in their earlier and superior versions here). Cult favorites like 'Mechanical Man' and 'Auto-Modown' make Volume 1 essential listening."

 

PRICE: $25.00

CAT #: SV 188LP

FILE UNDER: ELECTRONIC

"Cluster was the pioneering German duo of Hans-Joachim Roedelius and Dieter Moebius. Formed on the cusp of the 1970s, they were a part of West Germany's nascent Kosmische Musik scene. The group would use restrained improvisational techniques similar to Gruppo Nuova Consonanza, working with both electric and acoustic instruments (organ, guitar, tone generators, cello, etc.) to create a singular sound that Julian Cope called 'a huge beating heart, planet-sized and awesome.' Originally released in 1972 on Brain, Cluster II features six pieces of atmospheric, proto-ambient drones -- a step forward from Cluster's 1971 self-titled debut, which had all untitled songs. On 'Im Suden,' hypnotic bass pulsations and repetitive guitar patterns flow serenely, while side two opener 'Live In Der Fabrik' dives deep into Roedelius and Moebius' foreboding industrial soundscapes and synergistic textural interplay. As Roedelius told Uncut magazine in 2022, 'This feels like a breakthrough? Well, we were just getting more into it, and getting more experienced at being able to elaborate it. Conny (Plank) was working with us again -- as well as being a multi-talented artist, he was a very experienced sound master and great human being. He contributed as a fellow musician, adding sounds with his mixing table such as reverb, delay and other effects enriching the whole pieces so that they finally became somehow unique.' It's no surprise that when Neu! guitarist Michael Rother first heard Cluster II, he suggested a collaboration with the band -- resulting in the supergroup Harmonia who would make their first album together the following year."

 

PRICE: $25.00

CAT #: SV 189LP

FILE UNDER: ELECTRONIC

"Cluster was the pioneering German duo of Hans-Joachim Roedelius and Dieter Moebius. Formed on the cusp of the 1970s, they were a part of West Germany's nascent Kosmische Musik scene. The group would use restrained improvisational techniques similar to Gruppo Nuova Consonanza, working with both electric and acoustic instruments (organ, guitar, tone generators, cello, etc.) to create a singular sound that Julian Cope called 'a huge beating heart, planet-sized and awesome.' Following the release of Cluster II, the duo relocated to the village of Forst where they built a home studio and began to collaborate with like-minded artists such as Michael Rother and Brian Eno. 1974's Zuckerzeit, Cluster's first album made in their countryside studio, marked a major shift in their music from experimental noise to avant-pop. 'Hollywood' starts things off with infectious loops, analog drum machines and sweeping synth. 'Caramel' seems to pick up the pace even more; its sugary groove promptly dissolves into a sea of ethereal keyboards, amorphous layers and sparse chords. For Zuckerzeit, Roedelius and Moebius developed the tracks individually. They recorded in separate rooms on different days, although each piece flows into the next seamlessly. While Rother is listed as producer on the original Brain release, he was reportedly not present at the sessions and simply loaned the band some equipment. Bringing together Cluster's haunted melodic sense and motorik rhythms, Zuckerzeit reveals not only how much the band grew from their experience in Harmonia, but also how instrumental they were in their later collaborations with Eno."

 

PRICE: $18.00

CAT #: SV 198CD

FILE UNDER: EXPERIMENTAL

"La Monte Young was born in Bern, Idaho in 1935. He began his music studies in Los Angeles and later Berkeley, California before relocating to New York City in 1960, where he became a primary influence on Minimalism, the Fluxus movement and performance art through his legendary compositions of extended time durations and the development of just intonation and rational number based tuning systems. With wife and collaborator, artist Marian Zazeela, they would formulate the composite sound environments of the Dream House, which continues to this day. Seeing reissue for the first time since its initial 1969 release, Young and Zazeela's first full-length album is often referred to as The Black Record due to Zazeela's stunning cover design, complete with Young's original liner notes in magnificent calligraphy. Side one was recorded in 1969 (on the date and time indicated by the title) at the gallery of Heiner Friedrich in Munich, where Young and Zazeela premiered their Dream House sound and light installation. Featuring Young and Zazeela's voices against a sine wave drone, the recording is a section of the longer composition "Map of 49's Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery" (begun in 1966 as a sub-section of the even larger work The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young's group The Theatre of Eternal Music). According to Young, the raga-like melodic phrases of his voice were heavily influenced by his future teacher, the Hindustani singer Pandit Pran Nath. Side two, recorded in Young and Zazeela's NYC studio in 1964, is a section of the longer composition Studies in the Bowed Disc. This composition is an extended, highly abstract noise piece for bowed gong (gifted by sculptor Robert Morris). The liner notes state that the live performance can be heard at 33 and 1/3 RPM, but may also be played at any constant slower speed down to 8 and 1/3 RPM for turntables with this capacity." "La Monte Young is the daddy of us all." --Brian Eno

 

PRICE: $29.00

CAT #: SV 198LP

FILE UNDER: EXPERIMENTAL

LP version. "La Monte Young was born in Bern, Idaho in 1935. He began his music studies in Los Angeles and later Berkeley, California before relocating to New York City in 1960, where he became a primary influence on Minimalism, the Fluxus movement and performance art through his legendary compositions of extended time durations and the development of just intonation and rational number based tuning systems. With wife and collaborator, artist Marian Zazeela, they would formulate the composite sound environments of the Dream House, which continues to this day. Seeing reissue for the first time since its initial 1969 release, Young and Zazeela's first full-length album is often referred to as The Black Record due to Zazeela's stunning cover design, complete with Young's original liner notes in magnificent calligraphy. Side one was recorded in 1969 (on the date and time indicated by the title) at the gallery of Heiner Friedrich in Munich, where Young and Zazeela premiered their Dream House sound and light installation. Featuring Young and Zazeela's voices against a sine wave drone, the recording is a section of the longer composition "Map of 49's Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery" (begun in 1966 as a sub-section of the even larger work The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young's group The Theatre of Eternal Music). According to Young, the raga-like melodic phrases of his voice were heavily influenced by his future teacher, the Hindustani singer Pandit Pran Nath. Side two, recorded in Young and Zazeela's NYC studio in 1964, is a section of the longer composition Studies in the Bowed Disc. This composition is an extended, highly abstract noise piece for bowed gong (gifted by sculptor Robert Morris). The liner notes state that the live performance can be heard at 33 and 1/3 RPM, but may also be played at any constant slower speed down to 8 and 1/3 RPM for turntables with this capacity." "La Monte Young is the daddy of us all." --Brian Eno

 

PRICE: $20.50

CAT #: SVVRCH 067LP

FILE UNDER: ROCK

Reissue, originally released in 1970. Adventurous rock trio Glass Harp formed in Ohio in 1968 by guitarist/vocalist Phil Keaggy, drummer John Sferra, and bassist Steve Markulin, who was soon replaced by Dan Pecchio. After topping a "Battle of the Bands", producer Lewis Merenstein signed them Decca Records for this unusually diverse debut LP, comprising country rock, prog-rock, boogie-rock, Christian rock, folk rock, and more. Fingerpicking genius Keaggy is a major creative force, though, Pecchio and Sferra are also great players whose vocal contributions aid the range. Full of surprises, this long overdue reissue is highly recommended for all discerning rock fans.

 

PRICE: $20.50

CAT #: SVVRCH 069LP

FILE UNDER: ROCK

Reissue, originally released in 1975. During the late 1960s, Japanese band Blues Creation was formed from the ashes of an earlier group, the Bickles. Beginning as a covers act and then switching to original material, they had several line-up changes before calling it quits, only to be born again as Creation in 1973, touring the US with heavyweights Mountain. The self-titled Creation LP from 1975 saw guitarist Kazuo Takeda and drummer Masayuki Higuchi intact from the former incarnation. It captures this version of the band at their freshest with Takeda's excellent guitar work firmly in the lead and often with heavy doses of fuzz -- the best Creation album by a longshot.

 

PRICE: $12.50

CAT #: TPTDD 004CS

FILE UNDER: ROCK

Tracks A1 to B3 recorded at the Arrow Studios, Manchester, England, May 1978. Track B4 recorded at Britannia Row, March 1980. Tracks B5 to B9 recorded at Pennine Sound Studios, Manchester July 18, 1977.

 

PRICE: $35.00

CAT #: TR 526LP

FILE UNDER: ROCK

2023 repress.... Double LP version. Since the historiography of punk is a male-dominated one, a Revenge of the She-Punks was long overdue. This feminist reckoning was written by none other than post-punk pioneer Vivien Goldman, who has an insider's perspective due to her work as a musician and one of Britain's first female music writers. Along four themes -- Identity, Money, Love and Protest -- the "punk professor" traces empowering moments that punk holds especially for women. This compilation is inspired by the book, originally released by University of Texas Press in 2019. Compiled and with liner notes by Vivien Goldman."We're not talking a mean-spirited gotcha! revenge here. As both my book that inspired it and this recording prove, us She-Punks' revenge is about our complex survival in an all too often hostile environment. The book offers a template to finding a way through the patriarchal labyrinth of the music industry by telling the backstories of thirty-eight songs by women from not only the Anglophone countries, but Africa, the Caribbean, Asia and Eastern and Continental Europe. Together, they demonstrate how girls around the world, with no or few role models, found ways to thwart blockages and become self-expressive musicians, breaking traditions and expectations, setting new standards with every chord . . . We open with Identity featuring Fea, Big Joanie, The Raincoats, Blondie, and Poly Styrene with X-Ray Spex. Then comes Money with Patti Smith, Shonen Knife, Malaria! and the Slits; followed by Love/Unlove: Crass, Cherry Vanilla, Grace Jones, Rhoda Dakar with the Special AKA, Alice Bag (The Bags), Tribe 8 and the Au Pairs, the Mo-Dettes, Neneh Cherry from the UK/Sweden/US and this writer/musician. The closing chapter, Protest, features Sleater-Kinney, Jayne Cortez and the Firespitters, Skinny Girl Diet, Vi Subversa and the Poison Girls, the Czech Republic's Zuby Nehty, Colombia's Fertil Miseria, and Jamaica's Tanya Stephens. Many people have questioned how I arrived at those four themes (answer: thinking,) and so far, no-one has disagreed. However, in sequencing this compilation, the important thing was to sonically flow through the breadth of our creativity, led by the rhythms and sound, rather than the lyrics; they, I already knew, formed a compelling whole, an implacable critique. My perspective on punk is based on spirit rather than adherence to the venerated concept of the genre as only a frenetic full-frontal sonic attack (though that is also represented here). Having been involved with the movement at the start in mid-1970s London, as Features Editor of the punk rock weekly, Sounds, I understood it to be a front line, inclusionary genre, with DIY at its core, which is why it was the first genre to give anything approaching an equal platform to women musicians. Especially for the less conventional, all too often the path for women artists is still steeper than that of male peers. Despite the massive success of today's female superstars, there remains a quota perception in an industry that still largely lives in boystown (though always factor in that it's not the men, it's the mentality,) who are less receptive to forceful females; like the sort of bookers who say, 'Well, we've done our bit, we've booked our female artist' -- as if booking women were some grim post-MeToo duty. But as heard in these tracks, in all its forms, whether sounding strident or soft, punk is a music of resistance; women's punk specially so..." Also features Bush Tetras and The Selecter.

 

PRICE: $37.50

CAT #: VEYL 036LP

FILE UNDER: ELECTRONIC

Years Of Denial is back on Veyl with their second LP, Suicide Disco Vol. 2. The follow-up to 2019's Suicide Disco (VEYL 012LP), the duo makes a triumphant return, elevating their distinct sound which fuses dark wave, goth, new beat, post-punk, EBM, and techno. 12 tracks all written and produced at Ark of Noise studio, located miles away from the polluted noise of social turbulences, immersed in isolation, creative indulgence, and poetic writing. From the start, "Art Break" provides the perfect warm-up, gently cleansing the palette and re-introducing us to Barkosina's lustful vocals with a slow-burning pace that only marks the beginning. "Wrong" picks things up, injecting a dose of body music for an infectious piece that bleeds into "La Pendue" which keeps the energy rising. Next up, "Mr. Guillotine" delivers a razor-sharp edge, carving out a fresh post-punk feel which then brings you to the brooding, 'Never Satisfied'. 'Lover's Crime' marks the halfway point of the record and one of the album's standout tracks. Undeniably seductive with an ominous feel, the pair keep this mood going with "City Lights" and then smash things open with "Dancing With Demons". After the devious message sent with "The Letter", you are submerged in the romantic melancholia of "Death Of A Lover" and "Regarding the Pain of Others" before closing things out with "Social Anxiety" which features vocals by longtime collaborator Broken English Club. The result is an immersive journey through the pair's self-described, "Suicide Disco" sound, and further builds on the Years of Denial form and legacy. Gatefold; includes poster and download.

 

PRICE: $41.00

CAT #: VL 990137LP

FILE UNDER: ROCK

2023 repress; light pink and light blue vinyl. Reissue of the fourth Allman Brothers album, originally released in 1972. During the recording of this album, band leader Duane Allman was tragically killed in a motorcycle accident. Still reeling from their loss, the band nonetheless managed to complete this classic album with Dickey Betts on guitar. In tribute to Duane, however, they chose to bring the album to a close with a 34-minute jam taken from the Fillmore East sessions, which showcased what an amazing guitar player and force to be reckoned with Duane really was. Includes three bonus tracks and a replica of the original insert.

 

PRICE: $28.50

CAT #: VL 999051P-LP

FILE UNDER: ROCK

2023 repress. 180 gram picture disc in clear plastic sleeve. The Velvets legendary debut album with the Warhol's Banana cover art printed on vinyl. Although Warhol, who was listed as producer on the album, allegedly gave the Velvets free reign over their sound, it was on his insistence that Nico performed on this album. However, this does not detract from the fact that when this album was made the Red Sea parted, and the Velvet Underground crossed into the Promised Land.

 

PRICE: $21.50

CAT #: WG 097EP

FILE UNDER: ELECTRONIC

Gorje Hewek follows up 2022's impressive Life EP, with a new five-track package brimming with collaborative spirit. The work also marks the Watergate label debut of the legendary Hernan Cattaneo. The artist is a mainstay of the All Day I Dream collective and a master of intricately woven electronic compositions, which also transfix the dancefloor. For his return contribution to Watergate Records he brings a string of cohorts in toe -- Dulus, Polo, and Molac from his excellent Shanti Records imprint, alongside ADID affiliate Roy Rosenfeld and Argentinean great Cattaeno. The opener "Altitude" is a dreamy bass-driven heater that unfolds beautifully over an eight-minute period and is highlighted by a key driven melody that's both playful and emotive. "Astro World" is an eclectic slice of organic house that captivates with a string-laden break before dropping down into a rhythmic second half. The EP's title track is a silky sunset cut resplendent with twinkling pads that has enough groove to seduce a dusty dancefloor. "Vida" begins life as a slinky percussive jam, before the dam breaks and a colorful river of melody drives the track home. A delight. "Kaleidoscope" stays true to its name driven by a lush chord melody that cascades throughout. A gem made for big moments. Includes download.

 

PRICE: $27.50

CAT #: WRJ 005LTD-LP

FILE UNDER: JAZZ

Limited 2023 restock. We Release Jazz presents its fifth release, the first ever live performance and recording by Marc Moulin's sought-after jazz-funk band Placebo, captured at Casino Kursaal during the Montreux Jazz Festival in 1971 and never released before. June 17th, 1971, the Montreux Riviera, its delightful microclimate and postcard scenery, its fabled music history and the luscious wines of the region. A dream setting for Marc Moulin to lead his ensemble on a 26-minutes+ jazz adventure -- Nick Kletchkovsky on bass, Freddy Rottier on drums, Johnny Dover on bass clarinet, Alex Scorier on soprano saxophone, and Richard Rousselet on flugelhorn. The magic of that night is dripping through Placebo's sumptuous "Showbiz Suite", a soulful piece in two parts in which every instrument gets enough room to shine, smoothly navigating between cozy cognac-by-the-fireplace funk and heartfelt grittiness, served with a pinch of Soft Machine vibes. It's the night Placebo was born, when foundations were laid for three classic albums: Ball of Eyes on which you can hear a shorter studio version of "Showbiz Suite" (1971), 1973, and their final self-titled album (1974). Born in 1942 in Ixelles, the multifaceted Marc Moulin had one of the most fascinating careers in the history of Belgian music, from his jazz roots and Placebo to founding electronic disco pop band Telex ("Moskow Diskow", "Rock Around The Clock"), producing a vast array of French and Belgian hits (notably for Philip Catherine and Lio), pioneering downtempo and electro jazz with three albums on Blue Note, and exploring other avenues of expression such a radio hosting and comedy. He sadly left us in 2008. His incredible legacy shall live on. 180 gram vinyl mastered at half speed; housed in a 350gsm sleeve with UV coating and an obi strip.

 

PRICE: $57.00

CAT #: WRWTFWW 076-1LP

FILE UNDER: SOUNDTRACK

Cover variant 1. WRWTFWW Records announces the first ever vinyl release for the remarkable soundtrack of HBO® hit series The White Lotus by Chilean born composer, arranger, music producer, multi-instrumentalist Cristobal "Cristo" Tapia de Veer (Utopia, Smile, Black Mirror, and more). This limited-edition release is packed with 28 tracks, showcasing the complete music score of the cult series' first season. Shamanic, feral, mysterious, sexual, sometimes very danceable, sometimes slightly frightening (in the best ways), and always insanely enjoyable, The White Lotus soundtrack is a roaring beast of its own and one of the most visceral listening experiences in recent memory. Tapia de Veer's haunting score sensually blends tribal percussion with charango, bass, atmospherics, and organic vocals from humans and animals, bringing to life the tension, the wildness, as well as the rare but precious serenity and romance felt throughout the guests' adventurous stay at The White Lotus Resort -- with grace and a just the right amount of insolence. It's big, wonderful and audacious music, sure to captivate a wide array of melomaniacs, from soundtrack collectors to exotica adventurers, library diggers, ambient dreamers, sorcerous dancers, and experimental pop bon vivants. Included in the release is the series' iconic theme song (S01 version), a bonafide hit and spellbinding sensation. Cristobal Tapia de Veer's work has been celebrated with numerous award wins, including two Emmy Awards for The White Lotus.Available in three sleeve variants, each based on the series' brilliant opening sequence concept by Plains of Yonder and illustrator Lezio Lopes (WRWTFWW 076-1LP, WRWTFWW 076-2LP, WRWTFWW 076-3LP). 180 gram white vinyl; heavy 350gsm gatefold sleeve; inside out sleeve printing; Obi; 12x12" art print inlay.

 

PRICE: $57.00

CAT #: WRWTFWW 076-2LP

FILE UNDER: SOUNDTRACK

Cover variant 2. WRWTFWW Records announces the first ever vinyl release for the remarkable soundtrack of HBO® hit series The White Lotus by Chilean born composer, arranger, music producer, multi-instrumentalist Cristobal "Cristo" Tapia de Veer (Utopia, Smile, Black Mirror, and more). This limited-edition release is packed with 28 tracks, showcasing the complete music score of the cult series' first season. Shamanic, feral, mysterious, sexual, sometimes very danceable, sometimes slightly frightening (in the best ways), and always insanely enjoyable, The White Lotus soundtrack is a roaring beast of its own and one of the most visceral listening experiences in recent memory. Tapia de Veer's haunting score sensually blends tribal percussion with charango, bass, atmospherics, and organic vocals from humans and animals, bringing to life the tension, the wildness, as well as the rare but precious serenity and romance felt throughout the guests' adventurous stay at The White Lotus Resort -- with grace and a just the right amount of insolence. It's big, wonderful and audacious music, sure to captivate a wide array of melomaniacs, from soundtrack collectors to exotica adventurers, library diggers, ambient dreamers, sorcerous dancers, and experimental pop bon vivants. Included in the release is the series' iconic theme song (S01 version), a bonafide hit and spellbinding sensation. Cristobal Tapia de Veer's work has been celebrated with numerous award wins, including two Emmy Awards for The White Lotus.Available in three sleeve variants, each based on the series' brilliant opening sequence concept by Plains of Yonder and illustrator Lezio Lopes (WRWTFWW 076-1LP, WRWTFWW 076-2LP, WRWTFWW 076-3LP). 180 gram white vinyl; heavy 350gsm gatefold sleeve; inside out sleeve printing; Obi; 12x12" art print inlay.

 

PRICE: $57.00

CAT #: WRWTFWW 076-3LP

FILE UNDER: SOUNDTRACK

Cover variant 3. WRWTFWW Records announces the first ever vinyl release for the remarkable soundtrack of HBO® hit series The White Lotus by Chilean born composer, arranger, music producer, multi-instrumentalist Cristobal "Cristo" Tapia de Veer (Utopia, Smile, Black Mirror, and more). This limited-edition release is packed with 28 tracks, showcasing the complete music score of the cult series' first season. Shamanic, feral, mysterious, sexual, sometimes very danceable, sometimes slightly frightening (in the best ways), and always insanely enjoyable, The White Lotus soundtrack is a roaring beast of its own and one of the most visceral listening experiences in recent memory. Tapia de Veer's haunting score sensually blends tribal percussion with charango, bass, atmospherics, and organic vocals from humans and animals, bringing to life the tension, the wildness, as well as the rare but precious serenity and romance felt throughout the guests' adventurous stay at The White Lotus Resort -- with grace and a just the right amount of insolence. It's big, wonderful and audacious music, sure to captivate a wide array of melomaniacs, from soundtrack collectors to exotica adventurers, library diggers, ambient dreamers, sorcerous dancers, and experimental pop bon vivants. Included in the release is the series' iconic theme song (S01 version), a bonafide hit and spellbinding sensation. Cristobal Tapia de Veer's work has been celebrated with numerous award wins, including two Emmy Awards for The White Lotus.Available in three sleeve variants, each based on the series' brilliant opening sequence concept by Plains of Yonder and illustrator Lezio Lopes (WRWTFWW 076-1LP, WRWTFWW 076-2LP, WRWTFWW 076-3LP). 180 gram white vinyl; heavy 350gsm gatefold sleeve; inside out sleeve printing; Obi; 12x12" art print inlay.