New music is due from Daniel Schmidt, WeFreeStrings, and Water Damage, while old music is due from Jayne County, Durutti Column, and King Tubby.
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CAT #: 12XU 133LPWATER DAMAGE Repeater LP
"There is something really special about music based on drones. Whether it's the vocals of Pandit Pran Nath, the ARP 2500 of Eliane Radigue, or the nearly-blown amps of Sunn O))), by changing the listener's focus on details to one that favors flow, drones are uniquely capable of transporting our brains far far away. The debut LP, Repeater, by this loudly droning Austin septet is a goddamn splendid example of how the process works. Using the motto, 'Maximal Repetition Minimal Deviation,' Water Damage create glowing fields of post-rock lava that pretty much suck you right in and boil you alive. Water Damage, while technically a septet, actually operate in various configurations, with the proviso there should always be two drummers and two bass players on hand. They prefer if each of their sonic ideas takes up a whole reel of tape, and once they start they don't look back. Everything proceeds towards an imaginary end point that is only achieved when the tape starts flapping. What a way to run a railroad! But the folks in the band are all vets of various projects -- Spray Paint, USA/Mexico, Marriage, Black Eyes, Thor & Friends, among others -- so let's assume they know what they're doing. And why not? They sound fucking great. Their approach to the form is less front-loaded than most of their peers, and the surface of their sound is sometimes ruffled by aural events of an un-dronelike nature. But the main gush is usually a blend of harmonic tones and textures pointing towards a goal that is just out of ear-shot, just over the next bluff, and perhaps forever just beyond our reach. So remember to drink plenty of liquid while you spin this fine album. Nobody wants you to parch." --Byron Coley
A RECORDINGS (UK)
CAT #: AUK 049CDBRIAN JONESTOWN MASSACRE, THE Fire Doesn't Grow On Trees CD
Recorded in Berlin and remotely between 2020 and 2021, The Brian Jonestown Massacre returns with their 19th full-length studio album. Fire Doesn't Grow On Trees is the beginning of a thrilling new phase for Anton Newcombe and his band. Joining him in the studio and remotely for this album were Ricky Maymi (guitars), Ryan Carlson Van Kriedt (keyboards), Hakon Adalsteinsson (guitar), Hallberg Daði Hallbergsson (bass), and Uri Rennert (drums). Originally, Newcombe was heavily influenced by The Rolling Stones' psychedelic phase -- the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones. But his work in the 2000s has expanded into aesthetic dimensions approximating the UK shoegaze genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.
CAT #: AKU 1028LPMY JAZZY CHILD Inneisme LP
Innéisme: The title alone sums up perfectly the eighth album of French artist My Jazzy Child. Inspired by Noam Chosmky's "universal grammar", it refers to man's innate ability to develop language. It is that English, Occitan, French patois, Hindi, Pygmy or French cohabit on this record, juxtaposing on rhythms and beats that appear as a fantasized primordial tradition. If My Jazzy Child, aka Damien Mingus, questions languages about Innéisme, he also questions musical languages, mixing Asian rites and free jazz, electronic wanderings and traditional percussions. A virtuoso and experimental collage that nevertheless knows how to remain melodic and, in the end, strangely pop.
CAT #: AKU 1030LPROOTSMAN, THE Essentials 1996-1998 2LP
Akuphone present the first compilation dedicated to musician John Bolloten, aka The Rootsman. As a precocious punk, he formed his first band, State Oppression, in his teens. Yet he is best known for his dub music, a genre that gave him international recognition. Largely influenced by the rhythms of North Africa and the Middle East, he built his musical identity around samples from these regional repertoires. His encounter with Bryn Jones -- better known as Muslimgauze -- further defined his artistic path. This selection offers an overview of his work from 1996 to 1998, a prolific period when Into The Light (1996), 52 Days To Timbuktu (1998), Union Of Souls with Celtarabia (1998) and Distant Voices with Pachakuti were released. A visionary production that predicted today's growing international predilection for the musical heritage of the MENA regions. The compilation is enriched with an explanatory preface by Mabrouk Hosni Ibn Aleya and illustrated with rare archival photos. Jacket design by Ghiya Haydar.
ANGRY YOUNG WOMEN (ITALY)
CAT #: AYW 001LPVA Knuckle Girls Vol. 1: 14 Bovver Bird Blitzers from the Sequined Sisters Tuff Enuff to Rumble with Any Mister LP
2022 repress. An extract from the novel Bovver Birds Rool: "Dawn pushed Sue's head as hard as she could against the stone wall of the school. The connection registered with a gruesome 'thud'. 'That's for getting off with Steve', she snarled. A second girl cracked Sue sharply around the face with an open palm and then kicked her as she slumped to the ground. 'Do not mess...' shrieked Jane. 'Do you understand, Bitch!' A descending bike chain left a bloody trail across Sue's now fractured skull. 'Have you learned your lesson, Bitch, or do you want some knuckle too? Well? do you?' Dawn smiled approvingly at Jane and the two girls linked arms and walked away. 'What are you staring at?', snapped Dawn at their first passer-by, Dave, a pale and sullen lad from school. 'I'm not quite sure,' he quickly replied. 'It walks like a bloke and talks like a bloke, but it's got girly bits... Or, at least, I think it has.' Jane quickly broke away from Dawn and started to run towards Dave who immediately quickened his pace. 'And you'll never find out you piece of chicken shit,' she screamed. (to be continued...)"Bovver Birds & Knuckle Girls... a rare burst of etiquette. So, what would you get on a date with a Bovver Bird or a Knuckle Girl? A few harsh words and a cheap thrill -- or a competitively-priced thrill, at least. Up against the wall. Nothing fancy, just a bit of "hanky panky" with your tougher-than-average Knuckle Sandwich Nancy. "Girls used only to resort to psychological bullying... Now they're moving in gangs and using bicycle chains, knives and clubs. In fact they're beginning to behave in a way once only associated with the roughest of boys." --Henry Clover, Press Officer Of The National Union Of TeachersFeatures Kuny, Carol And The Boston Garden, Desira, Rock Follies, Twinkle Ripley, Misty, Kristine Sparkle, Glo Macari, Lelly Boone, C. Star, Vicky Fury, Ayshea, Heart, and Vic Lezal's Professionals.
CAT #: AX 056CDPARADOX (JEAN-PHI DARY/JEFF MILLS), THE Live At Montreux Jazz Festival CD
Recorded live at Montreux Jazz Festival, Montreux Switzerland on July 8, 2021. "With the release of The Paradox: Live At Montreux Jazz Festival, techno legend Jeff Mills and keyboard wizard Jean-Phi Dary embark on an exciting, ground-breaking musical trip that takes techno and electronic dance music to a new level . . . The Paradox's direction of travel into unexplored musical territory should come as no surprise since the original techno wizard has never stopped pioneering new ideas . . . Never content to outstay his welcome by staying in the same place for too long, in 2005 he revealed the breadth of his imagination with his conceptual classic Blue Potential, an album with the Montpellier Philharmonic Orchestra that saw techno happily co- existing alongside symphonic sounds. And now, Jacquline Caux's Man From Tomorrow -- the title of her film documentary of the techno maestro -- has cast his eyes over the musical horizon and borrowed a couple of ideas which he believes can transform techno and take it to the next level, 'I thought maybe it's not too late to bring or transfer some of the ideas from jazz over to electronic music, and look at the machines differently -- to play the machines and not just 'programme' them. I had the idea of trying to find the common link between free jazz and electronic music, so I reached out to jazz musicians to see if we could create something new that might be a benchmark that we could start from to create another step forward for electronic music.' Turning to keyboard player Jean-Phi Dary, with whom he had collaborated on the late Tony Allen's album Tomorrow Comes the Harvest, he remembered the musical ideas he had exchanged with the pianist while the sound engineer was doing his stuff during sound-checks on tour . . . Musically, they threw ideas out there to twist, turn and develop until they hit a groove and moved forward with that. The result was their first album together as Paradox called Counter Active (AX 096LP, 2021). It was a bold move, leaving the rhythmic certainties of techno to explore alternative, free flowing paths that allowed the breeze of change to blow through its highly compressed rhythms. Next came the challenge of presenting their ideas in live performance. They chose the demanding Montreux audience, and with the addition of Zaf Zapha on bass, the resulting album captures their spontaneous musical invention as it happens in the moment. It's a high risk, high reward strategy that was pulled off with conviction and aplomb . . . electronic sounds of techno are used to spontaneously interact with the piano, producing a deep musical conversation not pre-determined by tape loops, MIDI presets, the 96 rhythmic patterns stored in a TR-909 drum machine or the bass patterns of the Roland TB-303 electronic synthesizer-sequencer and all that technical geekery." --Stuart Nicholson Personnel: Jean-Phi Dary - keyboards, synthesizer; Jeff Mills - drum machine, synthesizer, percussions; Zaf Zapha - bass.
CAT #: BAR 333LPTEENAGE HEAD Teenage Head LP
Barnyard present a reissue of Teenage Head's self-titled album, originally released in 1972. Formed in Hamilton, Ontario in 1975 by Frankie Venom, Gord Lewis, Steve Mahon, and Nick Stipanitz. Fronted by the charismatic Venom, the band's live shows became infamous for inciting apocalyptic reaction from audiences across the country. Their 1978 show at The Horseshoe Tavern in Toronto ended in a riot, captured in the documentary film, The Last Pogo. Now back in stock the debut album for these Canadian punk rockers.
BEAT RECORDS (ITALY)
CAT #: LPF 090LP
FILE UNDER: SOUNDTRACKFRIZZI, FABIO Zombie Flesh Eaters - Definitive Edition LP
Repressed; LP version. White/green stripe; cover art by Graham Humphreys. After two years of absence from Beat Records' catalog the label reveals a new edition of Fabio Frizzi's fans most beloved horror score, Zombi 2, with the American title of Zombie Flesh Eaters, a project Beat Records worked on for five years. Since ever paired with Un gatto nel cervello (1990), now finally alone in a version that is gifted with unreleased material which was recorded in a tape found in an old Ribot archive. One of the holy grails in Beat Records' catalog, since ever bitterly loved, because of its shortness: even if the older version featured a good portion of the score, it was largely incomplete. With the addition of the material transferred from this extra tape, and with the song "There's No Matter", which can be heard at the beginning of the movie, when the two protagonists investigate the sequestered ship, Beat Records can attest this is the definitive edition of this outstanding soundtrack which marks a significant style evolution of the maestro, aside the growth of his artistic relationship with Lucio Fulci.
BUDA MUSIQUE (FRANCE)
CAT #: BUDA 860373CDFATHI & BIJAN CHEMIRANI, SHADI Awat CD
"Shadi Fathi, a setar soloist trained by the great master Dariush Talaï, and Bijan Chemirani, a virtuoso of the zarb, the daf and other percussion instruments, conceived the idea of combining bowed and plucked string instruments as well as percussion and wind instruments. Shadi recites poetries by Khayyam, Mowlana Rûmi and contemporary Persian authors."
BUREAU B (GERMANY)
CAT #: BB 413CDVA Silberland - Vol. 1: The Psychedelic Side Of Kosmische Musik CD
Bureau B invite you on an expedition to Silberland, a singular span of spacetime created by Germany's sonic futurists of the seventies and eighties. Embracing the early electronics and tape experiments of the sixties' avant-garde, these artists aimed to boldly go, eschewing small steps for giant leaps into a nebulous and novel sound. The kosmische generation emerged from the revolutionary student movement of '67 and '68, opposing any lingering political ties to Nazism and occupying the cultural vacuum which endured long after the post-war era. Encompassing both better known and more obscure artists, this collection is a trip into the psychedelic and cerebral strain of this amorphous genre, pairing the pulsating and propulsive with moments of cosmic calm.Opener "Strahlsund" by Die Partei serves as the national anthem for this no-place, its utopian melodies and stately rhythm evoking an optimism which is swiftly skewed by the chrome tones and snapping percussion of Ralf Trostel's "Two Face". The delirious drive of Michael Bundt's "Full Steam Ahead" embraces the uncanny as jarring bursts of laughter drown out a serpentine topline before the fever breaks into the cold sweat of Moebius' "Etwas", a sweet synth sonata decorated with detuned keys. "Scharfer Schnitt (No1)" is the first suggestion of Silberland's full scope, the Populäre Mechanik A-side fusing postpunk and dubby funk and perfectly paving the way for the ritualistic stomp of Roedelius' trance-dancing "Regenmacher". Splitting the difference between Berlin and Düsseldorf schools, Tyndall offers the typically glittering "Großstadtgefühl", which smoothly segues into the synth scree of Conrad Schnitzler's beatless and balletic "Bis Die Blaue Blume Blüht". The zero-gravity drift continues with a contribution from Cologne's Phantom Band, who achieve an effortless groove while Bernd Kistenmacher takes you to the midpoint with the deep space repetition and Teutonic tessellations of "Quitting Time". The return journey begins with the beauty and sadness of Heiko Maile's "Nachtspaziergang" then sidesteps into a punkish pair from Moebius & Plank and Faust. If this bristling brace toyed with the terrestrial, Riechmann takes an aerial view of Earth via "Weltweit" and Asmus Tietchens strays way too close to the sun with a playful take on Venusian exotica. Things take a turn for the psychedelic via the Arabesque piano of Cluster's transformative "Avanti" and Günter Schickert's strung-out and smoldering "Wanderer", before the roving sequences of You's "Live Line" fire up the hyperdrive for a foray into warp speed. Cutting the thrusters almost entirely, the synthesist himself Harald Grosskopf takes the controls for re-entry, gliding through the upper atmosphere on the heartfelt waveforms of "Emphasis", cushioning the craft into Eno, Moebius and Roedelius' hypnagogic "Base & Apex".
BURNING SOUNDS (UK)
CAT #: BSR 889CDBIGGS, BARRY Very Best Of Barry Biggs: Storybook Revisited CD
"This exquisite new album showcases a selection of recent recordings from Barry Biggs, one of reggae music's foremost proponents of sophisticated, romantically inclined music, whose hit making career has spanned the best part of half a century."
DAMAGED GOODS (UK)
CAT #: DAMGOOD 559CDJOHNNY MOPED The Search For Xerxes CD
"I like this album, Johnny hates it. But why? I think it's more 'Johnny Moped' than any other album out there. What other album has entirely penned JM songs/ditties like 'Soldiers' and 'Moped crash' plus ad-libs and all the other little interludes in between the tracks that are pure 'Moped'. Johnny thinks it sounds like a 'disco' album, which it does in places, but, hey-ho, it was 1989 and it was the age of Stock, Aitken and Waterman. At the time there had been no Moped band since 1985-ish and certainly Slimy hadn't been in the band since the early '80s. Also, there was only one album out there, Cycledelic so there was a lot of songs destined for a follow up album that never happened and it looked like we were going to be a one album band. So, with so much unreleased material and a chronic lack of 'mopedisum' I decided to embark on a little project... This album came out in 1990 on Deltic Records but the deal was that I had to produce a finished master tape that could go straight to the cutting room and be pressed, so I borrowed a 4-track Teac and a Roland sampler and Roland drum machine and got to work. Some of the tracks sound like they were recorded in someone's bedroom, that's because they were, but Captain recorded some great stuff on his 8-track where I had recorded Johnny 'live' and handed over a tape for him to work with ('I'm a Spasm', 'Soldiers', 'Cut Across Shorty'). Also, he provided some decent backing vocals on other tracks ('Corpse Boogie', 'Hiawatha')." --Dave Berk, May 2022
DEL VAL RECORDS
CAT #: DV 012LPTRYAD If Only You Believe In Lovin' LP
2022 restock, low price, last copies. Del Val Records present a reissue of Tryad's If Only You Believe In Lovin', originally released in 1971 as a private press. Ultra-deluxe LP reissue on the newly resurrected Del Val label -- obscure but legendary label previously responsible for early editions by The Brigade, The Bachs, Bent Wind, D.R. Hooker, Fifty Foot Hose, etc. Long overdue and much delayed reissue of this 1971 NYC private press few have heard and less have seen. Comparable to the best UK folk-fusion LPs of the era, this is like a Yankee version of Hunter Muskett's great Every Time You Move (1970) with co-ed vocals plus bass/drums/pedal steel/flute/keys accompaniment and East Coast haunted not West Coast hip, though you'll be reminded of a certain revered private from out there that wouldn't exist for another five years: Relatively Clean Rivers. Comes with a four page lyric insert and the cover is what they were made like fifty years ago."Low key but really cool. Hard to believe it's an NYC piece from '72 from a sonic aspect. There's a kind of innocence to overall heft that puts me in mind of very early Bay Area stuff, like the second We Five LP (1967). That same sort of psych-is-hanging-unnamed-in-
DESTINATION MOON (ITALY)
CAT #: DEST 011LPMONK, THELONIOUS The Prophet LP
Destination Moon presents a reissue of Thelonious Monk's The Prophet, originally released in 1961. In 1954, during his first trip to Paris, the adventurous pianist and be-bop pioneer Thelonious Monk recorded a handful of songs for French radio, later issued as The Prophet. Unencumbered by bass, drums, or most other accompaniment, Monk gives you all we need in left-hand rhythms and right-hand melodies; "Round About Midnight" and "Reflections" show Monk's masterful command and there's a one-off take of "Smoke Gets In Your Eyes". Highlighting his capabilities in full, this is required listening for Monk fans and lovers of solo jazz piano.
CAT #: DEST 014LPMONK, THELONIOUS The Unique LP
Destination Moon present a reissue of Thelonious Monk's The Unique, originally released in 1956. Pioneering be-bopper and unorthodox pianist Thelonious Monk was largely underacknowledged for the role he played in changing jazz forever. The Unique Thelonious Monk, the second of his LPs for Riverside, was recorded in 1956 with bassist/cellist Oscar Pettiford, who Monk had bonded with in Coleman Hawkins' band, and the wildcard drummer, Art Blakey, pushing things farther into the realm of experimentation, despite the set being comprised of jazz standards. Thus, "Tea For Two" becomes a hard-bop romp and "Honeysuckle Rose" has lashings of outré diversions -- plenty of fun for all Monk devotees.
CAT #: DKR 159EPWILSON, FLICK Two Youths Have a Quarrel 7"
"Long delayed but finally here. In our opinion, Flick's best tune (no small feat considering some of the greats on his album). A monstrous Radics rhythm with cold reality lyrics, backed with a fully unhinged Scientist dub, and for our two cents, one of the absolute best examples of Scientist's style and one of his best ever dub mixes to rival anything found on a dub LP bearing his name."
CAT #: DKR 227EPENFORCER Ride On Marcus 7"
"A masterpiece of mid '70s roots reggae and one that sits at the apex of Channel 1's roots output, the smoky voiced Enforcer with the Mighty Diamonds on harmonies. Newly remastered from the original tape and sounding better than ever, a must have for any fan of the militant roots reggae sound. The type of tune that needs to be perpetually available so that people can always hear the peak of the real thing."
CAT #: DKR 232EPPRINCE FAR I Blessed is the Man 7"
"First up in our new series of releases from underrated producer Lloydie Slim, with more forthcoming. We had previously issued Far I's first ever LP also produced by Slim, and now here's a killer never released cut on a one-away lick of the Satta rhythm, made right around the same time."
CAT #: DKR 256EPDAVIS, RONNIE Never Leave You 7"
"Previously unreleased. Killer never before released Ronnie Davis tune from producer Lloydie Slim, who produced arguably all of Ronnie's best records. This one is on the same killer rhythm much loved from Black Oney's 'Jah Jah Send the Parson.'"
EDITION TELEMARK (GERMANY)
CAT #: ET 923-06LPSCHNITZLER & WOLFGANG SEIDEL, CONRAD Music is not language. Neither is it painting. Just music. LP
A posthumous duo LP featuring text and music by Conrad Schnitzler, music by Wolfgang Seidel. Conrad Schnitzler and Wolfgang Seidel have been musical collaborators since the early 1970s when Seidel performed in Schnitzler's free-form group Eruption that had been founded as a successor to Kluster and featured a revolving cast of members. In the 1980s, they produced the duo albums Consequenz, Consequenz II and Con 3 where Seidel performed under his alias Wolf Sequenza. Shortly before Schnitzler's death in 2011, he handed Seidel a hard disk of his archive including a huge collection of music originally recorded to CD-R, subdivided into "solos" and "mixes", where solos are building blocks to be blended with other solos in a performance, and mixes are recordings of such performances. One of those solos turned out to be a spoken-word CD-R, aptly titled "CONtext", where Schnitzler gives an account of his musical philosophy -- in a performative lecture with a lot of humor. It is not known what he intended this recording for, but its unique character made it a natural choice for a building block of a new piece. Instead of making a collage with other solos from Schnitzler's archive, Seidel decided to record his own music to accompany the text, inspired by the early-1970s Eruption recordings. The resulting eight-channel piece was mixed down to stereo for side A of this LP and features Schnitzler's voice and English text-to-speech subtitles for his non-German-speaking fans. Side B contains an instrumental posthumous duo for which Seidel used excerpts from Schnitzler's EMS synthesizer performance at the Gallery House in London in 1972. The cover artwork was created by US comic artist Matt Howarth and features Con, a character from his Savage Henry comic book series who is a "German synthethist" and member of the premiere insect-rock group, the Bulldaggers. Printed inner sleeve with insert of transcript of side A and liner notes; edition of 300."Any combination of sounds is just as valid as any other. Any means for the production of a group of sounds is just as valid as any other means. [...] Music is not what reaches our ear as a sound wave. It's not the sounds that are music, but what we've made out of them and what has been heard from them." --Conrad Schnitzler
CAT #: ET 923-07LPWILLIAMS & LIMINAR, CHRISTOPHER A. On Perpetual (Musical) Peace? LP
Christopher A. Williams (born 1981) is a contrabassist, composer and theorist of experimental and improvised music whose artistic research takes the form of both academic publications and practice-based projects. On Perpetual (Musical) Peace? (PMP) is one of his projects -- an experiment in musical cohabitation with large improvising ensembles. It is inspired by Immanuel Kant's essay "Zum Ewigen Frieden: ein Philosophischer Entwurf" which speculates that nations do better for themselves by sorting out their differences through an international federation instead of through warfare, thus proposing a path to lasting peace. (It later influenced the UN Charter and EU Constitution.) Williams argues that Kant's idea of hospitality, publicity (transparency), and perpetuality (sustainability) may help players in improvising ensembles to articulate and transform their ways of playing and thinking, thus opening up new ways of interacting with each other. Composing in this way becomes less about giving the players a compositional structure to realize, and more about tweaking inherent constellations that are already present within the ensemble. This LP features the results of PMP realized in Mexico City in 2019 with Liminar, a Mexican ensemble that works at the boundaries between composed and improvised music, performance and sound installation, and regularly performs in Mexico City's main chamber music halls as well as in museums, galleries and alternative venues. An extensive PMP concert took place at Bucareli 69, an art and concert space in a late-19th-century villa near the city's historical center. The recordings for this LP were made afterwards in the studio NAFF. LP on UN-charter-blue vinyl; printed inner sleeve; edition of 300.
CAT #: ET 923-08LPMACIUNAS ENSEMBLE YoplaBoum + Permanent Wave 2LP+CD
Third release by the Maciunas Ensemble on Edition Telemark after 1976 (ET 314-07LP, 2015) and the self-titled 50th anniversary LP from 2018 (ET 785-08LP). The group had been founded in Eindhoven, The Netherlands, in 1968 with the aim of realizing the score Music for Everyman by Fluxus initiator George Maciunas, which they interpreted as allowing total freedom in the sounds being produced. The group met regularly, usually once a week during their heyday, and improvised on instruments that were at hand. Every session was recorded to be played back and discussed before the next session. This method meant that small changes and subtle new ideas could be integrated from one session to the next, eventually leading into completely new directions over a longer course. Paul Panhuysen linked this approach to the oral traditions of folk music. One of their most productive periods were the early 1980s where, after settling on a stable line-up of Paul Panhuysen, Jan van Riet, Leon van Noorden and Mario van Horrik, the group developed their own brand of minimalist rhythmic music, inspired in equal parts by rock, post-punk, drone and minimal music of the time. A selection of named pieces had crystallized from the improvised sessions that were worked on and refined, many of them having long durations and featuring wordless vocals by Paul Panhuysen that added another unique rhythmic layer to the music. Phill Niblock, while visiting the ensemble's home base Het Apollohuis in Eindhoven, called some of these pieces "rhythmic drones", drones produced by repetitive rhythmic strokes, simultaneously on various instruments. Some recordings from this period can be heard on the LP Music for Everyman 861 (1986, Apollo Records) and the self-titled LP. Virtually unknown until now have been five more pieces that were released by the band in 1983 and 1984 on two cassettes named YoplaBoum and Permanent Wave. They are re-released here for the first time, with a double LP featuring the whole YoplaBoum cassette -- the 43-minute title piece split across the first two sides, the two others on sides C and D -- and a CD including the two tracks from Permanent Wave. Single sleeve with two printed inner sleeves featuring liner notes by Leon van Noorden and Mario van Horrik, and a selection of photos and artwork from the period; includes CD in cardboard sleeve; edition of 300.
CAT #: ET 923-09LPFROMBERG & STEFAN ROIGK, DANIELA Unfamiliar Home LP
Daniela Fromberg and Stefan Roigk are multidisciplinary artists working at the borders between acousmatic sound collages, sculptures, installations, and graphical scores, often combining different types of media into one single composition. Many of their works deal with fragments of everyday life that are presented in narrative stage-like installations. One such work is Unfamiliar Home which began life in 2012 when the house the artists live in got renovated as part of a gentrification process in the Prenzlauer Berg district of Berlin. What used to be their home turned into an estranged hostile place that they were forced to inhabit while the wooden windows were wrecked, the roof stripped, all plumbing ripped out and the whole five-story building blindfolded in construction foil. During two years of living on a permanent construction site, the artists collected 400 hours of audio recordings of that novel sonic experience, out of which they formed a 12-channel mixed media installation with a sculpture made out of vintage wooden window sashes. The installation Unfamiliar Home was presented at Ausland, Berlin in December 2018. This LP mix merges the original sound collage with on-site recordings of the installation. Sound sources: tremors, hollow scratching, resonating gas-heaters, droning jackhammers, crumbling ceiling plaster, wind, chimney sweeping, blow torches, rustling plastic cover, elevator buzzing, dismantling of the scaffolding. "The ephemeral sound of an urban Berlin -- too soon to be history, when all vintage construction materials have fallen prey to real estate funds." --Daniela Fromberg & Stefan Roigk. Full-color outer sleeve, inner sleeve and three LP-sized inserts with photos of the installation; edition of 200.
CAT #: ET 933-01LPENGELEN, WILLIAM Falten LP
After Today, The Organ Has Played Beautifully Again (ET 864-05LP) and 32 bpm (ET 864-09LP) from 2019, Edition Telemark presents three new LPs by Dutch sound artist William Engelen, released on the occasion of his exhibition "Klinkt goed" at Kunstmuseum Den Haag. All three LPs are released separately but may be listened to as a whole because they portray three work groups that are representative of Engelen's compositional methods: Falten, Verstrijken, and Gebrauchsspuren. In Falten (folds), Engelen asks musicians to play and interpret pieces of folded paper. Falten scores exist in different sizes, ranging from about 60cm x 30cm up to works that are ten meters long. They consist of a piece of paper with stave-like lines drawn on it. The paper has been folded -- sometimes with origami-like proficiency that adds a sculptural element to each Falten score -- so that the lines collide, intersect, crisscross, disappear into folds, etc. The staves then represent sound, the parts of the paper that have disappeared represent pauses. The musician should interpret this paper environment like a choreography for their movements on their instruments. The actual notes don't count, but rather their parameters like intensity, timbre, vibration, etc. While this seems like total freedom at first sight, the staves and folds in fact give each performance a time structure that even allows for Falten to be played by ensembles. Falten scores have been realized on numerous occasions, from performances for orchestra to solo electric guitar. This LP contains "Falten for string quartet", performed in 2012 by Sonar Quartett, and "Falten for percussion", performed in 2013 by Talujon Percussion Quartet. Photos of Falten scores and liner notes by Dagmara Genda; edition of 300.
CAT #: ET 933-02LPENGELEN, WILLIAM Verstrijken LP
After Today, The Organ Has Played Beautifully Again (ET 864-05LP) and 32 bpm (ET 864-09LP) from 2019, Edition Telemark presents three new LPs by Dutch sound artist William Engelen, released on the occasion of his exhibition "Klinkt goed" at Kunstmuseum Den Haag. All three LPs are released separately but may be listened to as a whole because they portray three work groups that are representative of Engelen's compositional methods: Falten, Verstrijken, and Gebrauchsspuren. The Dutch word "verstrijken" means the same as its German counterpart "verstreichen": the time that passes. It is the name of a compositional method that William Engelen has been using since 2005. For a Verstrijken piece, he asks one or more musicians to keep a diary for a defined time period, usually a week. He then transforms each diary into a graphical score for the particular instrument played by each musician, where every hour is translated into eight seconds of sound. For the purposes of the composition, every activity described in the journal must belong to one of four general categories: sleeping, eating, working and free time. These will be represented by different colors in the score and later by different types of sounds. The quality of each individual sound is influenced by the quality of the particular activity, e.g. if the player slept well or not, how a particular meal tasted, etc. In this way, the musician performs a kind of self-portrait. Due to the nature of the composition, every score belongs to the particular player who has written the underlying journal and must only be performed by themselves. It is possible to perform Verstrijken in ensembles, though in this case each musician essentially performs solo and must not listen to the other players. Verstrijken has been realized for a large number of musicians and instruments. Some recordings have been released in 2008 on CD as part of the catalog Verstrijken (Audio Works 1999-2008) by Verlag für Moderne Kunst Nürnberg. This LP pairs two unreleased solo recordings: Verstrijken for Ko Ishikawa (2010) and Verstrijken for Luc Döbereiner (2007). Edition of 300.
CAT #: ET 933-03LPENGELEN, WILLIAM Gebrauchsspuren LP
After Today, The Organ Has Played Beautifully Again (ET 864-05LP) and 32 bpm (ET 864-09LP) from 2019, Edition Telemark presents three new LPs by Dutch sound artist William Engelen, released on the occasion of his exhibition "Klinkt goed" at Kunstmuseum Den Haag. All three LPs are released separately but may be listened to as a whole because they portray three work groups that are representative of Engelen's compositional methods: Falten, Verstrijken, and Gebrauchsspuren. Gebrauchsspuren (signs of wear) is a composition from 2016. It consists of the sounds of a CD player skipping on a piano track, transcribed for piano. The idea for this piece occurred to Engelen while he was listening to a CD of piano pieces by György Kurtág, Béla Bartók et al., when the CD player suddenly started skipping back and forth randomly on a track, repeating some notes and skipping others, thereby creating rhythms and additionally making its own noises. Because he was drawing, he couldn't get up immediately to remedy the situation. Rather, he was forced to listen to what became the CD player's own music. Engelen made an audio recording of the situation, transcribed the notes and noises, and asked pianist Benoît Gagnon to perform the resulting score. This LP contains two versions of the piece, both recorded by Gagnon in 2018. Edition of 300.
EGG RAID (ITALY)
CAT #: EGG 340LPCRAMPS, THE Live At The Keystone Club 1979 - FM Broadcast LP
Live at the Keystone, Palo Alto, CA on February 01, 1979. Radio Broadcast by KFAT FM.
CAT #: ESPDISK 5073CDWEFREESTRINGS Love in the Form of Sacred Outrage CD
WeFreeStrings was founded in 2011. This is the group's second album. Leader Melanie Dyer (not to be confused with the Australian country pop songwriter of the same name) is a jazz viola player and composer based in New York City who currently performs with the Sun Ra Arkestra, Dead Lecturers, Heroes Are Gang Leaders, Baba Andrew Lamb, Gwen Laster's New Muse 4tet, William Parker, Tomeka Reid Stringtet, Janice Lowe/Tyehimbe Jess Millie & Christina project, and Patricia Nicholson's Women with an Axe to Grind. She's played and/or recorded with Henry Grimes, Makanda Ken McIntyre's Contemporary African American Composers' Orchestra, Tulivu Donna Cumberbatch, Nona Hendryx, Joe Bonner, Reggie Workman, Howard Johnson, David Haney, and many other notable musicians. She trained with William Lincer (principal violist, New York Philharmonic), Lee Yeingst (principal violist, Colorado Symphony Orchestra), John Jake Kella (NY Metropolitan Opera), and Naomi Fellows (Colorado Symphony Orchestra); and studied viola performance at the LaMont School of Music/University of Denver. "... an outstanding modernist violist" --Anthony Barnett, The Strad. Features Charles Burnham - violin; Gwen Laster - violin; Alexander Waterman - cello; Ken Filiano - bass; Michael Wimberly. Liner notes: William Parker. Mixing and Mastering: Alexander Waterman. Sound engineer: Jon Rosenberg. Recorded by Rene Pierre Allain on June 22 and 23, 2021 at Scholes Street Studio (Brooklyn, NY).
FEEDING TUBE RECORDS
CAT #: FTR 612LPKOOL MUSIC Dagobah LP
"Dagobah is the first LP (following a couple of cassettes and a CD) by Kool Music, the solo guitar project helmed by Glasgow-based polymath, Jasper Baydala. Jasper has previously had some exposure on the label, when his image appeared on the cover of Joanne Robertson's Black Moon Days LP (FTR 179LP, 2015). At that point we knew of Jasper as a video artist and writer, but Joanne assured us he was an excellent musician as well. And so began the road to Dagobah. The soubriquet Kool Music has a bit of a hip-hop heft to it, but the 14 tracks here present a very different picture. Jasper has said that when he first hoisted the Kool Music flag, in Canada back in 2010, its sound was something of a cross between country music and Asian string traditions. Easy aural evidence of those roots has vanished over the past dozen years. The music on Dagobah has certain tonal similarities to the UK free music tradition, but the pieces display a humanity and sense of humor that (rightly or wrongly) we don't always associate with that scene. Each of the tracks is a solo electric guitar instrumental, usually taken at a slow pace with carefully built layers of sound that often overlap and decay before Kool Music moves on to the next trope. This gives the music a meditative quality, but the mildly casual dissonances make it tough for listeners to just float along on the sound. In that sense, Kool Music demands your attention. Although generally in the politest way imaginable. Every time I spin Dagobah I hear a bunch of new details. And they're really engaging. As is this whole damn album. And if you let yourself sink into its web, I do believe you will feel just the same. Now that's Kool Music." --Byron Coley, 2022
CAT #: FORLP 005LPFRANCIS, CLEVELAND Beyond The Willow Tree 2LP
"Beyond The Willow Tree is a hauntingly beautiful anthology of folk songs chronicling the experience of a young black man growing up in the segregated south. A balanced mix of covers and originals, Cleveland Francis' body of work seamlessly blends deep, soulful vocals with the stripped-down acoustic instrumentation of folk. In the late '60s Francis coined the term 'soulfolk', playing his genre bending music across college campuses and coffee shops while earning a medical degree at William & Mary. These songs serve as a missing link between soul and folk music, suppressed by the harsh political landscape of a music industry heavily influenced by racial stereotypes. 'If you were black, you played blues or soul music ... I wanted to play folk music,' Cleveland professed. Included in this double LP set is Cleveland Francis' entire 1970 self-released album Follow Me, featuring the original artwork and liner notes printed inside the gatefold. The second LP takes you Beyond The Willow Tree with unreleased demos recorded in 1968 along with one 45 only single recorded in 1970." "These recordings are a look into my soul through a long and lonely journey to understand feelings of my childhood, poverty, racial segregation, bigotry, war, love and hope. It represents my attempt to express and come to terms with all that I have seen and felt as a Black man growing up in America." --Cleveland Francis
FRACTURED FRANCE (ITALY)
CAT #: FF 476EPJOY DIVISION Transmission/Novelty PIC. DISC
Limited French fan club release. Picture disc. Includes "Transmission" and "Novelty".
GET ON DOWN
CAT #: GET 51297LP
FILE UNDER: HIPHOPNAS Illmatic LP
2022 repress. "In 1994, hip-hop was going through a painful growth spurt. Since N.W.A. and Ice-T's ascent in the late '80s, the rap game was no longer owned by the east coast. After the worldwide popularity of Dr. Dre's The Chronic in 1992, things were looking even worse for hip-hop's hometown. The east coast/west coast feud that would indirectly claim the lives of Biggie and Pac was still in its infancy, but New York needed a shot in the arm. And as soon as the first lines of 'N.Y. State of Mind' kick in, bolstered by perhaps DJ Premier's darkest beat of all time, the entire east coast breathed a collective sigh of relief. God's son had arrived. Backed by an absolute all-star cast of New York's top-shelf producers -- Premier, Pete Rock, Large Professor, Q-Tip, and a youngster named L.E.S. -- the album never lets up. Serious to a fault, and lyrically dense to an extent that has possibly never been matched, the 20-year old Nas stood on the shoulders of his predecessors and proudly proclaimed, 'Don't f*** with the east? we are back.' It was a dark, hard record, made for heads in New York, not teeny-boppers in Des Moines. There were no dance beats, no crossover love songs. Just boom-bap and rhymes, skills, and heart."
CAT #: GET 51469LP
FILE UNDER: HIPHOPMOBB DEEP Infamy 2LP
"The fifth studio album by the Infamous duo of Prodigy and Havoc was originally released 20 years ago on December 11, 2001. The album features Mobb Deep Queensbidge affiliates Infamous Mobb and Big Noyd and was certified Gold. To commemorate the 20 year anniversary, Get On Down is proud to present this reissue for Mobb Deep fans worldwide. RIP Prodigy."
HEY SUBURBIA (ITALY)
CAT #: SUBURBIA 016LPUNLOVABLES, THE Crush, Boyfriend, Heartbreak LP
Hey Suburbia presents a reissue of The Unlovables' Crush, Boyfriend, Heartbreak, originally released in 2005. Finally, the seminal album from these New York pop-punk heroes gets its first-ever vinyl pressing. Originally released by Whoa Oh Records in 2005, The Unlovables' super-peppy melodies, sugary backup vocals, and heartfelt lyrics make these songs timeless gems. Features Mikey Erg on drums. Mixed by Luke McNeill from The Copyrights at Sonic Iguana Studios. Pink vinyl; includes double-sided lyric insert.
CAT #: JPR 056LPWIPERS Land Of The Lost LP
2022 repress. Yellow vinyl. "Wipers' hard to find and highly sought after 4th studio record. Originally released in 1986 on Restless Records. Featuring nine original tracks w/ locked groove. An underrated classic!"
CAT #: JL 028LPWISS Mr. Sunshine LP
"First time reissue of this killer mid '80s LP cut at Philip Smart's HC&F studio in NYC. A solo album by Wiss from Israel Vibration made during a period when the group had parted ways, this one features nine vocals and one dub. A balanced mix of hard rhythms and more mellow cuts, this is a proper album made as such, and a great listen all the way thru."
CAT #: JL 045EPSMART, LEROY You Don't Love Me 7"
"Another previously unreleased bomb on one of the dozens of killer Radics rhythms of the period, this one familiar from other cuts by Barrington Levy and Mystic Eyes. Leroy Smart may be Jamaica's finest ever when it comes to freestyling some simple lyrics on a hard rhythm, yet another piece of evidence here."
LILITH (RUSSIAN FEDERATION)
CAT #: LR 336LPOS MUTANTES Os Mutantes LP+CD
2022 repress. Lilith present a reissue of Os Mutantes' self-titled debut, originally released in 1968. With the release of their debut LP in 1968, Os Mutantes cracked the already red hot Tropicalia scene wide open. Fusing traditional Brazilian music, psychedelia, rock, and a good dose of pure experimentation, they quickly became giants both in Brazil and in the outer fringes of pop music, where they have managed to reign supreme for the past four decades. Not an easy task in such a crowded arena. Caetano Veloso, Gilberto Gil, Gal Costa, Jorge Ben, Tom Zé, and Os Mutantes? What do these people put in their drinking water? The band went on to release several more albums, but this one was their magnum opus. Obi "bookmark" Japanese style; 180 gram vinyl; Includes CD.
CAT #: LR 337LPVELOSO, CAETANO Caetano Veloso LP+CD
2022 repress. Originally released in 1968, Caetano Veloso's debut album did for Brazilian music what the Beatles' Sgt. Peppers did for rock & roll, giving birth to the soon-to-be Tropicalia movement, which fused Brazilian music with pop, psychedelia and social awareness (and Veloso's leftist politics actually earned him a stint in jail in 1968 for 'anti-government activity'). Veloso, nonetheless went on to become one of the most popular and influential Brazilian musicians of all time. Includes the genre-defining classics "Clarice" and "Soy Loco Por Tì, América", "Superbacana", "Tropicalia" and "Alegria, Alegria". Now with bonus CD of the album and OBI "bookmark" Japanese style.
CAT #: LR 349LPJOBIM, ANTONIO CARLOS Wave LP+CD
2022 repress. By the time this album was released, Antonio Carlos Jobim was already an international superstar. Having recently won a Grammy (1965) for "The Girl From Ipanema", by 1967 all the big name stars from up north were breaking down his door to work with the new "Gershwin of Brazil." In fact, Jobim had just finished working on an album with Frank Sinatra when he went into the studio to record this album. Recorded in 1967, Wave is actually one of the lesser known masterpieces of Brazilian music, and undoubtedly one of Jobim's greatest. Here Jobim and the great Claus Ogerman lead a top-flight cast on hidden classics like Batidinha, Triste and Wave.
CAT #: MUSCUT 022LPDOBROVOLSKI, VLAD Playbacks For Dreaming LP
Vlad Dobrovolski (12th Isle, GOST ZVUK) is 1/2 of S A D, a band previously released as on Muscut and GOST ZVUK, a band LP on 12th Isle, came up with his solo album called Playbacks For Dreaming. Features P-SH.
MUSIC ON VINYL: AT THE MOVIES
CAT #: MOVATM 261C-LP
FILE UNDER: SOUNDTRACKMORRICONE, ENNIO Themes: Passion (Red & White Marbled Vinyl) 2LP
"Passion is part of the Ennio Morricone Themes series, a unique collection of the greatest scores 'The Maestro' composed for movies over the past 70 years, divided into different themes. Starting 70 years ago as an arranger for the piece Mamma Bianca, Ennio Morricone is the emperor of scores and soundtracks. Morricone has always been a huge influence for the likes of Hans Zimmer, Danger Mouse, Muse, Metallica and many more musicians. He was one of the most successful composers of all-time, selling over 70 million records and winning dozens of awards. Ennio Morricone composed soundtracks for well over 400 films during his stunning career. He did so with a genius and a passion that is unrivalled in film composition; yet looking back over his catalogue, certainly in his more familiar works, it is hard to find one single film that could be categorized as a conventional love story. However, passion is woven through so much of The Maestro's creations. Not merely by expressing the simple romance of a love story, but evoking passion in a grander sense, that passion that celebrates life, that pushes people to the limit of their endurance or inspires them to the peak of their capabilities. This is passion Italian style, not just reserved for love and affection. Morricone reminds us that everything in Italian life is approached with gusto, energy and passion. Passion is available as a limited edition of 1500 individually numbered copies on 'passionate red and white' marbled vinyl. The package includes a four-page insert with liner notes written by Claudio Fuiano."
OUTSIDER (ITALY) (ITALY)
CAT #: OUTS 016LPJOY DIVISION Preston 28 February 1980 LP
This gig, taped at the Warehouse in Preston, took place during the final round of UK dates Joy Division was to play before jetting off to the US. The live captures the band raw sound with Ian Curtis's haunting vocals. It's raw and powerful, a glimpse into that gig in February 1980 which became a live album. Translucent blue vinyl.
RADIATION DELUXE SERIES (ITALY)
CAT #: RRS 114LPKIDS, THE Naughty Kids LP
2022 repress; black vinyl version on 140 gram vinyl. Radiation Deluxe Series present a reissue of The Kids' second album Naughty Kids, originally released a mere eight months after their groundbreaking 1978 self-titled debut LP (RRS 113LP). The Kids' second album is a pure masterpiece of straightforward punk rock. A little less raw than their previous material, but still far from the new wave sounds the band started experimenting with on their following records, Naughty Kids remains one of the best examples of non-UK '70s punk and definitely a mandatory addition to the collection of any Killed by Death fanatic! Includes five bonus tracks recorded live in 1978.
RADIATION RECORDS (ITALY)
CAT #: RRS 060CV-LPEXPLOITED, THE Troops Of Tomorrow (Red Vinyl) LP
Red vinyl. Radiation Records present a reissue of The Exploited's Troops Of Tomorrow, originally released in 1982. In the early '80s, British punk took a turn toward hardcore and the Exploited (along with G.B.H, Disorder, etc.) led the charge. The beat was fast and furious, the politics ferocious, and the magenta mohawk became state of the art. This album is blessed with great production, something many hardcore albums lack, meaning the froth and fury don't come across as a total muddle. Moreover, the machine gun beat comes with hooks that leave you humming along with the tunes. It's raw, loud, and a downright classic. This is a crucial album in the evolution of The Exploited.
CAT #: RRS 072CV-LPEXPLOITED, THE Punks Not Dead (Yellow Vinyl) LP
Yellow vinyl. Radiation Records present a reissue of The Exploited's Punks Not Dead, originally released in 1981. Born of working class roots in Edinburgh, Scotland, The Exploited emerged from the punk underground in 1981 with the release of their debut LP, Punks Not Dead. A direct reaction to Crass' Punk Is Dead, The Exploited brought to the early '80s all the fire, speed, and attitude of 1977's first wave, with a street/Oi! swagger that was fresh. Peaking at #20 on the UK charts, Punks Not Dead was the best-selling independent record of 1981. Another essential piece of the UK Oi! scene of the early 1980s.
CAT #: RRS 121LPAGENT ORANGE Living In Darkness LP
2022 restock. Adventurous southern California punk trio Agent Orange was the first band to mix surf rock with punk. The group was formed in1979 in Placentia, a small town close to Fullerton and Anaheim, by front man Mike Palm on guitar and lead vocals, Steve Soto on bass, and Scott Miller on drums. That early line-up recorded the classic version of "Bloodstains" in 1979 as a demo produced by Daniel R. van Patten (of the group Berlin). A year later it was included on the seminal Rodney On The Roq compilation album released by Posh Boy Records. Meanwhile, James Levesque had replaced Steve Soto (Adolescents) and the new line-up released their own self-produced and self-released 7" EP in 1980. A year later, the group signed with Robbie Fields' Posh Boy Records for their debut LP, Living In Darkness, co-produced by Fields and former Simpletones guitarist, Jay Lansford. The album was recorded at Brian Elliot's store front studio in North Hollywood (a few years before Elliot struck gold writing Madonna's "Papa Don't Preach"). A milestone in California punk rock history. Includes five bonus tracks. Black vinyl.
CAT #: RRS 163LPBURIAL, THE A Day On The Town LP
Radiation Records present a reissue of The Burial's A Day On The Town, originally released in 1989. Hailing from Britain's formerly industrial heartland of North Yorkshire, The Burial was a forward-facing ska-punk/Oi band with a strong Left orientation, channeling 2Tone, northern soul, punk, and folk influences. Rhythm guitarist Eric "Barney" Barnes made sure the world knew these skinheads were antifascist and the use of a full horn section made their sole LP, A Day On The Town, stand out. Unlike the Redskins, who soon moved to the student circuit, the Burial remained embedded in the working-class communities from whence they came; this fine, often overlooked LP will be devoured by all fans of ska-punk and Oi!
CAT #: RRS 169LPYAPS Punk Directo De Las Montanas LP
Heavily influenced by The Ramones and The Damned, Los Yaps had been shredding around Mexico since the early '80s. At that time punk began to penetrate the marginalized areas of Mexico City and the band started to practice even though they did not know how to play an instrument. Over the years Yaps changed several line ups but still they crated this unique sound leading them to tour with Total Chaos and open up for main acts such as Ramones, GBH, Exploited, Eskorbuto, and many more. This LP includes the s/t 7" from 1988 and the Tu Sentencia LP from 1990. Mexican punk at its best. Released in cooperation with the original members and the sole rights' holders (Bam Bam Discos).
CAT #: RRS 170LPSOLUCION MORTAL Solucion Mortal LP
Formed in 1981 in Tijuana, Mexico, Solucion Mortal is one of the longest serving hardcore punk bands of the area. This retrospective includes the first LP Live at Fairmont, the self-released cassette En Iguanas, and one track from the 1998 album, Al Filo De Abismo. This is Mexican hardcore at its best. Released in cooperation with the original members and the sole rights' holders (Bam Bam Discos).
RADIATION ROOTS (ITALY)
CAT #: RR 361LPKING TUBBY King Tubby Classics: The Lost Midnight Rock Dubs Chapter 1 LP
It's impossible to think about "dub" without thinking about the late Osbourne Ruddock, the great King Tubby. The singular most creative human being of the great many who've plied their trade behind a mixing desk in the name of reggae since the early 1970s. Dub may well have existed before Tubbs raised its profile to almost unimaginable heights, and it has continued to exist in the 21 years since he was senselessly slain in 1989.
CAT #: RR 362LPKING TUBBY King Tubby Classics: The Lost Midnight Rock Dubs Chapter 2 LP
The early days of the man affectionately known to his peers as Tubbs's are chronicled in some detail in the notes to this LP's predecessor and companion volume, not unreasonably titled King Tubby Classics Chapter 1 (RR 361LP). It's unlikely that anyone who buys Chapter 2 will not already have Chapter 1, but for the few who don't it's only fair that you start the note with a short précis of the early life and career of the boy born to be king.
CAT #: RR 363LPKING TUBBY King Tubby Classics: The Lost Midnight Rock Dubs Chapter 3 LP
When dubwise music really started to come into its own in the early to mid-70s, it made overnight stars of backroom boys who had hitherto worked behind a mixing desk to serve those who were beginning to hoist reggae to an international stardom that it had long deserved, but that it had only achieved on short and non-sustained bursts until Chris Blackwell decided to throw a lot of promotion and money at the work of Bob Marley and his fellow Wailers in 1972. Of those men, there was no bigger star than the late Osbourne Ruddock, the great King Tubby's and the man who, from a tiny home-made studio in the Waterhouse district of Kingston, Jamaica, did more than most to reposition the boundaries that production and mixing of Jamaican recordings.
CAT #: R 017CDSCHMIDT, DANIEL In My Arms, Many Flowers CD
2022 repress; fifth edition of 400; Glass-mastered CD; Gatefold wallet, with a 12-page booklet of program notes and photography. Includes additional track "And the Darkest Hour Is Just Before Dawn" (1978 live recording). Recital present the first album of American Gamelan composer Daniel Schmidt (b. 1942). Schmidt, who emerged in the Bay Area music scene in the 1970s, wove the threads of traditional Eastern Gamelan music together with American minimalism (repetitive music). Schmidt was (and is still) a prime figure in the development of American Gamelan music -- studying and collaborating with Lou Harrison, Jody Diamond, and Paul Dresher. He currently is a teacher at Mills College, teaching instrument building. The recordings on Flowers date from 1978-1982, selected directly from Schmidt's personal cassette archive. It holds two studio tracks, along with two live performances. The first track, "Dawn" (commissioned by composer John Adams), employs an early digital sampler provided by Pauline Oliveros. It holds the sound of a string quartet. The nature of this piece is breathtaking, an ocean of strings pulsing beneath the gliding bells of the gamelan -- such a lovely interplay. Furthermore, the title track, "Flowers", features the addition of a rebab, a traditional bowed instrument, which reels through the piece, netted and taught. The final two works are strictly gamelan compositions. "Ghosts" is a dynamic piece; rife with dexterous euphoria, it well displays the skillset of the percussionists heard on the LP. The closing work, "Faint Impressions", is a somber elegy. Demonstrating the fragility and grace possible with the gamelan; sounding almost as an evening piano sonata. In My Arms, Many Flowers is a unique document from an under-represented movement of American new music. An account of the curious beauty and woven emotions hidden within resonating pieces of metal.
CAT #: R 073LPONDA, AKI Nam June's Spirit Was Speaking To Me LP
2022 repress. Recital label head Sean McCann on the record (2020): "A spellbinding tribute from one multi-faceted artist to another. New York-based artist Aki Onda (b. 1967) conjured a transduction to the Korean multi-media pioneer Nam June Paik (1932-2006). Aki himself describes the project: 'Nam June's Spirit Was Speaking To Me occurred purely by chance. In 2010, I was spending four days at Nam June Paik Art Center in South Korea for a series of performances and had plenty of free time to wander . . . I have always felt a close kinship with him as an artist, and so it was a great opportunity to immerse myself in his works and ephemera. It was that night I made the first contact, via a hand-held radio in a hotel room in Seoul . . . Scanning through the stations, I stumbled upon what sounded like a submerged voice and I began to record it in fascination. I concluded this was Paik's spirit reaching out to me. The project continued to grow organically as I kept channeling Paik's spirit over long distance and receiving cryptic broadcasts/messages. The series of séances, conducted in different cities across the globe, began in Seoul in 2010, and continued in Köln, Germany in 2012, Wroc?aw, Poland in 2013, and Lewisburg, USA in 2014. The original recordings were captured by the same radio which has a tape recorder, with almost no editing, save for some minimal slicing and mastering. Paik is known for his association with shamanism, a practice that constantly surfaces in his works all through his career. In an interview, he stated 'In Korea, diverse forms of shamanism are strongly remained. Even though I have created my work unconsciously, the most inspiring thing in my work came from Korean female shaman Mudang.' . . . These recordings also became a way for me to explore the mythic form of radio -- a medium which is full of mysteries. The transmissions captured may be 'secret broadcasts' on anonymous radio stations. There are in fact hundreds of those stations around the world, although the numbers dwindle as clandestine messages can now be sent via encrypted digital channels...' Nam June's Spirit is a beautifully formed homage, I cannot think of any other like it. An intimate, flickering language discovered through the air." Includes 20-page art booklet including rare photographs of Nam June Paik from the set of Michael Snow's film Rameau's Nephew (1974), two essays on radio-wave phenomenon (by Onda and Marcus Gammel), and a remembrance of Paik by Yuji Agematsu.
ROCKERS INTERNATIONAL (JAMAICA)
CAT #: ORD 029EPMUNDELL, HUGH Stop Them Jah 12"
Originally released in 1979. 45 rpm. Arranged/produced by Augustus Pablo.
CAT #: SLT 007LP
FILE UNDER: CLASSICALJENNINGS, TERRY Piece for Cello and Saxophone (1960) 2LP
Saltern's latest offering marks the first-ever release of "lost minimalist" Terry Jennings' visionary 1960 composition, Piece for Cello and Saxophone, as arranged in just intonation by legendary composer La Monte Young for renowned cellist Charles Curtis. Born in Los Angeles in 1940, Jennings was a close associate of Young, Terry Riley, and Dennis Johnson, and an early adopter of minimalist tendencies, creating slow, sustained music, influenced by jazz, modalism, and late romantic classical music. Jennings died tragically in his early forties, most of his work lost to a chaotic life; however, his forward-looking music quietly exerted a lasting influence on composers including Young and Harold Budd. Composed over sixty years ago, Piece for Cello and Saxophone, foreshadows a number of movements in postwar avant-garde music. Despite the title, there is no saxophone on this album. At over eighty minutes, La Monte Young's justly tuned realization of Piece for Cello and Saxophone for cello alone unifies and extrapolates Terry Jennings' dense harmonies, creating an extended field of complex sonorities in motion, all brought to life by the immaculate playing of Charles Curtis. The recording captures Curtis in a performance from 2016 reflecting more than twenty-five years of dedication to the piece. Piece for Cello and Saxophone is released physically on double-LP. Mixed by Anthony Burr, mastered by Stephan Mathieu, and cut to vinyl via direct metal mastering by Hans Jörg Maucksch at Pauler Acoustics. Pressed at RTI and printed at Stoughton. Includes a four-page insert with liner notes by Young, Curtis, Burr, and Tashi Wada, and a download of the full recording.
CAT #: SOAVE 030LPPOPOLI, TIZIANO Sull'Accordo Mimetico LP
"Sull'Accordo Mimetico (On the Mimetic Chord) dates back to the end of the '80s. It was commissioned by the artistic director of the ParcoScenico Festival, held in Treviso, Italy. Since the area where artists and the public gathered after the festival was located to a very busy street, Marco asked me for a sound installation that could work as some sort of a defensive barrier for the street noise. I suggested that my work, rather than hiding the noise, should aim to harmonize the disturbances coming from the street within musical structures and forms, without burdening or saturating too much the acoustic spectrum of the place. In this way, I thought about sonic veils, consisting of repetitive -- but also light and discreet -- harmonic-rhythmic structures. Since the festival took place in a beautiful centenary park, I also integrated the music with natural sounds and animal calls, always as an attempt to bridge these sound events and the other materials that made up the composition. The human voice constitutes a central element in this musique d'ameublement project, as a constant source of memory of places and times -- here with many references to traditional music for children." --Tiziano PopoliA pearl of ambient electroacoustic minimalism with field recordings components in which the nostalgia of maestro Tiziano Popoli shines through in painting landscapes that slowly change to be seen with the ears. Nocturnal, emblematic, Lynchian.
SPITTLE RECORDS (ITALY)
CAT #: MASO 90024LPDURUTTI COLUMN, THE Dry LP
2022 repress. Spittle Records present a reissue of The Durutti Column's Dry, originally released in 1991 on Materiali Sonori. Durutti Column are still one of the most sought-after band of the English post-punk. Since their first album The Return Of Durutti Column (released on Factory in 1980), the guitarist, pianist and composer Vini Reilly has published a series of remarkable albums that filled the gap between new wave and ambient music. Reilly and Bruce Mitchell (who's been working with such major artists like Simply Red and Rod Stewart) represented the future of the Manchester scene moving forward from the forerunners (Joy Division, A Certain Ratio, etc.) to the new musical heroes (Happy Mondays, Stone Roses, and the likes). Materiali Sonori invited The Durutti Column to the first edition of the Greetings Festival in San Giovanni Valdarno in 1985, and build since then a steady relationship with the band. It was precisely Vini Reilly that started the record series Greetings (dedicating to the Belpaese tracks like "Florence Sunset", "San Giovanni Dawn", "For Friends In Italy"). Subsequently, Materiali Sonori dedicated the first cover of the magazine Sonora to Reilly and Mitchell (including a previously unreleased track on the magazine's compact disc). Dry is conceived as a new journey among Vini inventions, through rarefied moods and subterranean streams of sound. The fifteen songs (lasting fifty-five minutes) were recorded in Manchester in 1990. Vini sits in on guitar and piano, while Mitchell is on electronic and acoustic percussion, other instruments such as the clarinet (played by Zinnia Mitchell-Williams, Bruce's daughter), harmonica, viola and keyboards are also featured on the session. Here, once again, Durutti Column's music could be defined as half-way between melancholy rock and "progressive" new age. Licensed from Materiali Sonori.
CAT #: SPITTLE 107LPROBOTNICK, ALEXANDER Ce N'est Q'un Debut LP
2022 repress. Co-released with Materiali Sonori. Raised from the ashes of eighties new wave (when Materiali Sonori debuted the Fuzz Dance series), "Problemes D'amour" soon began a disco and electro classic all over the place. Florence born producer and musician Maurizio Dami -- with co-conspirators Giampiero Bigazzi, Arlo Bigazzi, and Marzio Benelli -- created a mysterious character, a so-called "modular structure born out a soviet calculator and promptly runaway". He was singing in French and was supported by primordial digital machine, using at the same time the more classical electric guitars, sax, and sensual female voices. A handful of evergreens are still played all over the world by many international deejays, while "Problemes D'amour" was even featured on influential Strut compilation Disco Not Disco 2. American label Sire (home of Talking Heads and a young Madonna) published a Fuzz Dance EP in 1985 with the Robotnick masterpiece and several contributions from Mya & The Mirror, Gina & The Flexix, and Naïf Orchestra. Maurizio Dami is still performing worldwide as a DJ and is still composing new music. After 40 years Spittle Records in joint venture with Materiali Sonori re-issues the mini album and the 12" with its original artwork. "Once I was in Chicago, it was around 2010, I was just finishing my set and went outside the club to light a cigarette. Suddenly a police car stops nearby. I thought the policeman was here to fine me (I was more than 20 meters outside the venue), but he just lifted a poster of mine and asked to sign it. Then I realized that 'Problèmes D'amour' has been for a longtime the opening theme for a popular radio broadcast well-known between the black community (hence the policeman was black)." --Maurizio Dami
CAT #: SPITTLE 131LPJAYNE COUNTY Rock 'N' Roll Resurrection LP
Reissue, originally released in 1980. Recorded live in Toronto on New Year's Eve 1979 and originally released the following year, Rock 'N' Roll Resurrection was Jayne County's first release after the Electric Chairs disbandment. A great live show with County fronting a raw and loud new band performing a breathtaking selection of cracking songs, among them, the phenomenal title track and some "in your face" versions of classics such as "Paranoia Paradise," "Fuck Off," and "Cream In My Jeans." One of the best live albums of the whole early punk era.
CAT #: SV 056LPBRANCA, GLENN The Ascension LP
2022 repress. 2014 release. "Glenn Branca's first full-length album The Ascension is a colossal achievement. After touring much of 1980 with an all-star band featuring four guitarists (Branca, fellow composers Ned Sublette and David Rosenbloom, and future Sonic Youth member Lee Ranaldo) along with Jeffrey Glenn on bass and Stephan Wischerth on drums, Branca took his war-torn group into a studio in Hell's Kitchen to record five incendiary compositions. Originally released in the summer of 1981, The Ascension effectively tears down the genre-ghettos between 20th century avant-garde and ecstatic rock 'n' roll. On 'The Spectacular Commodity,' chiming, shimmering tones unfold into sinister drone-territory à la Tony Conrad, while abrasive guitars and repetitive beats retain the raw primitivism of No Wave. The title track attains a densely packed, larger-than-life sound and (as author Marc Masters says best) 'never stops climbing skyward.' With artist Robert Longo's stark front cover that depicts Branca battling an unidentified man, The Ascension is a must-have record not only for fans of early Swans and Sonic Youth, but also of Steve Reich or Slint's Tweez."
TAKE IT ACID IS (ITALY)
CAT #: LSD 69007LPVA Hot Nuts: 14 Sizzling Hot Vintage Sex Songs from the 20s-40s LP
Features Bessie Smith, Sister Rosetta Tharpe, Julia Lee, Lillie Mae Kirkman, Sippie Wallace, Lil Johnson, Victoria Spivey, Albinia Jones, and Lucille Bogan.
CAT #: WHP 1444LPEARTH, WIND & FIRE Live on Soul! (N.Y., N.Y., October 1st 1973) LP
An outstanding Earth Wind & Fire live performance in NYC in 1973. A perfect snapshot of Maurice White and company caught in transition between their third and fourth album. A sophisticated yet infectious mix of R&B and soul-funk elements taking shape from White's embracing kalimba playing. At this stage EW&F were Jessica Cleaves and Philip Bailey (vocals and congas), Johnny Graham (guitar), Verdine White (bass), Larry Dunn (organ, electric piano), Ralph Johnson (drums), and Andrew Woolfolk (sax, flute). A super tight band with a trademark and unique sound. Features a version of James Taylor's "Don't Let Me Be Lonely Tonight".
CAT #: WHP 1445LPDAVIS, MILES Ao Vivo Em Sao Paulo (May 28, 1974) LP
Miles Davis, the so called "dark magus", caught in full electric flight in Sao Paulo, Brazil in 1974 featuring Dave Liebman on soprano and tenor sax and flute, the electric guitars tandem of Reggie Lucas and Dominique Gaumont, the bass anchor of Michael Henderson, and the deep groove of Al Foster on drums and James "Mtume" Forman on percussion. This was Miles's mid-seventies band, a great coalition of young talents ready to set stages on fire with their visionary funk explorations.
WRWTFWW RECORDS & PALTO FLATS (SWITZERLAND)
CAT #: WRWTFWW 019LPTAKADA, MIDORI Through The Looking Glass LP
2022 repress; LP version. Comes in a Stoughton "Tip-On" jacket; Includes printed inner sleeves. Palto Flats and We Release Whatever The Fuck We Want Records present the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient/minimal album Through The Looking Glass, originally released in 1983 by RCA Japan. Considered a holy grail of Japanese music by many, Through The Looking Glass is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Midori Takada is a composer, multi-percussionist, and theater artist renowned in Japanese vanguard circles. Midori has released two solo albums: Through The Looking Glass and Tree Of Life (1999) and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments. She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad. In the 1980s, Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh. Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality. This fully licensed reissue comes with extensive liner notes.
Forced Exposure, 60 Lowell St, Arlington, MA, 02476, United States, www.forcedexposure.com